Naveed Akhtar dons the guise of Sasso to describe The Place I’ve Always Known. Can that only refer to home? The album references Manchester, Cheetham Hill, the electronic music of Naveed`s 80s childhood, his 90s youth, his own productions throughout the 2010s on Ralph Lawson`s 20:20 Vision, and arrives at somewhere internationally metropolitan and now.
The press release cites those Streetsounds Electro compilations (mixed by Mastermind and brothers Noel and Maurice Watson) that we all treasured. But Naveed`s compositions also mix the bubbling rhythms of Compass Point with Gary Numan synths. Woodwinds blowing a cool breeze to counter the heat of Grace pulling up against your bumper. Feeding hungry audio plug-in interfaces with forcible chugs, crazy cowbells, and sweetly sung chants. Greetings and blessings. Naveed invokes gods, both Greek and of the Orisha, snapping proto-acid Pacmen, and acid proper. Nearly all at a laid-back boogie tempo. A low-riding, sequenced, robotic, funk. Keys traveling the world to mimic the strings of the Japanese koto. While friends help out with that aforementioned flute, a blue horn, timbales, Jah Wobble-like bass, and Spanish flamenco toque.
You can purchase a copy of Sasso`s The Place I’ve Always Known directly from Naveed`s own Northern Life Records.