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There are no hidden agendas behind this Canadian electronics-oriented band. As stated on the ensemble's website, the music aims to please via a feelgood type manifesto, where jazz, house music, ethereal musings and solid instrumentation coalesce into a fastidiously assembled package. Marked by wah-wah trumpet lines, steady beats and layered effects, the ensemble looms as groove merchants, underscored by several acutely-placed detours.
The program features prismatic soundscapes and ethereal electronics treatments. However, the musicians diversify the sound processing component with jazzy and danceable riffs. On "Sugar Pusher," keyboardist Eddie Bullen revs up an airy, melodic vibe via his sweet-toned electric piano phrasings, spiced with a modern jazz tinge. The band soothes the mind and uplifts the soul by spreading a dense framework, consisting of thoughtful arrangements. With drifting themes and ascending crescendos, Kush perpetuates a happy-go-lucky muse that is not sugarcoated into oblivion, evidenced by similar units, steeped within these hybrid electronica-jazz formats.
The piece titled "Free with a Vengeance," projects an Indo-fusion outlook, accentuated by what could be a digitally-processed female voice track. Hence, Kush ventures into a world-music sculpted motif, brimming with good cheer and a harmonious motif-building exercise. Among other positive attributes, Kush transcends the norm by instilling an artistic aura into a few of the many roads previously traversed by other units of this ilk.
Track Listing: Love is the Currency (Part 1); Love is the Currency (Part 2), Frredom to Love; Shake Me Please; Sugar Pusher; Desirable Cycle of Fate; Lost In Your Own Mind; Farewell Soulfinger; Freeloaders Remorse; Glamazon; Free With a Vengeance; Dirty Budgie.
Personnel: Etric Lyons: fretless bass, vocals, programming, arranging, mixing and producing;, Eddie Bulien: keyboards; Bryden Baird: trumpets, effects;, Robert Sibony: drums and percussion; Serge Nikol: acoustic guitar; Jason Duncan aka Simply Jason: programming; Steve Major: mastering.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.