The Radicle 2x12

Description

'This is a mass culture we live in. It makes you act like something you really aren't. It made me so narrow that I couldn't really do myself justice so I broke away from that whole modern dance thing. I want to be me, I want to be human.' Doctor Barbara Ann Teer's words on The Radicle's opening jam 'JAS' may have been lifted from an old Folkways record, but that doesn't make the sentiment any less prescient. In fact, these words could have been said by Tim himself in reference to the spirit and ideology of 'The Radicle', only his third ever artist album to date. Released 30 October on the Seminal Strictly Rhythm label, the album is vastly different from the majority of electronic albums out there. It has a decidedly soulful, blues-y feel and instead of the 'here's ten club tracks, will this do' approach, Tim took his time and immersed himself completely into the record, surrounding himself with some of the best contemporary jazz musicians around, including Jim Mullen (guitar), Rod Youngs and Enzo Zirilli (drums), Pete Wareham (sax), Jay Phelps (trumpet), John Donaldson (piano) and Ben Hazleton (bass). The Radicle was born out of a pure love of real instruments and instrumentation and a desire to return to the source. 'Working with musicians really inspired me,' comments Tim 'I started having piano lessons once a week with my teacher Cherry and started reconnecting directly with the music via the instrument, rather than going out and listening to old jazz records. With The Radicle I really had the vision about what I wanted to achieve.' The Radicle is a proper musical trip. And in keeping with the spirit of the record, the look and feel of the actual album reflects that authenticity, with the first promo shoot location being infamous East End boozer The Clapton Heart, where many of the shots were taken on Rolleflex film, cementing the consistency between analogue production and the photos themselves. The Radicle is a nine track sonic adventure with ideas bursting from every kick and lick. There's even a cover of the Miles Davis classic 'So What!' which bends the trumpet classic into new forms while 'Shanti' explores a more mysticial, Indian vibe with a sax solo John Coltrane would be proud of. There are no synthesizers or electronics on the record: in some respects, it's also a reaction against the electronic world.