The tireless Tenderlonious, it seems, produces a new record almost every month. I emailed the label, 22a, asking them how does he do it, and keep the quality so high? The newest one, Still Flute, is scheduled for release this Friday, October 29th, although on Bandcamp, at least, the vinyl has already sold out. While the press one-sheet promises a varied set that takes in ambient, and a spiritual Hindustani raga, at present only 4 pieces have been made public but that’s definitely enough to be going on with. Enough for a 200-odd word review.
All the tracks I’ve received are electronic compositions, and 3 of them are at a house / techno tempo. The slower cut, Neptune’s Mood, starts with the sound of a sampled shoreline, before getting it on with an TR-808 clap and boom. Squelchy and seductive, it`s a horny bedroom boogie – think Mtume or The Isley Brothers` Between The Sheets. As with each of the tunes, it, of course, features Tenderlonious` fine flute. In this case its tongued groove, eventually, surrendering, disappearing back into a swirl of surf.
On Hold Tight that flute is just a flash of feathers fluttering, floating, dancing to a pace-y, garage-y, bounce – a pitched up rerub of a mid-90s Mike Delgado / Matthias Heilbronn dangerous New York dub. Its keys, wah-wah-ed, and funkily flanged. Song For My Mother adds latin percussion to a bumping machined bottom-end. Synergising in a sort of modal samba. The synths in countering stabs and subtle, but epic, uplifting, sustained notes. The melody twisting, turning, and taking on a Middle Eastern edge.
The title track is slightly metallic, more techno in tone. Busy with high hats, and speedy syncopated cymbals, Tenderlonious on top, carrying a carefree celebratory air – blowing like Rahsaan Roland Kirk, or Jeremy Steig, with everything he’s got.
Tenderlonious`s Still Flute is released on October 29th, care of 22a.