Label: Impulse! Records, 2022

Personnel - Shabaka Hutchings: alto sax; Danalogue: keyboards, electronics; Betamax: drums.

The UK-based trio The Comet is Coming stakes their virtuosity claim in this current disc of whimsical instrumentals with a panoply of influences and hip mutations.

For their fourth opus, the group rides the crest of modernity with some homespun weirdness, offering a few flamboyant pieces suitable for dancefloors. An example is the opener, “Code”, whose EDM vibes are enriched with textural ostinatos and staccato saxophone lines seasoned with an Eastern flavor. Caustic synth layers build crescendos here, but take the form of warped and overpowering laser-focus beams on “Technicolour”. Another piece within the genre is “Atomic Dance Wave”, a punchy, frisky indie electronic rock inspiration that call to mind the energy of The Prodigy.

Despite the stylistic connections, the alchemic roads traveled here are varied in steepness, direction, and instrumentation. ”Lucid Dreamer” is a standout, evolving with a syncopated beat, gratifying melody, and Ensonic synth washes dispensing ethereal choir effects. The ominous “Angel of Darkness” conjures up a sense of fear before installing a three-time-feel groove that alleviates the jitters for a bit. It’s all very cinematic, and saxman Shabaka Hutchings riffs like a Brazilian cuíca before discharging trills, rhythmic figures, and angsty outcries. At the end of the line, an incendiary rock feel imposes.

Immediately following the frenetic, short-lived “Tokyo Nights”, we have “Pyramids” whose club/dance manner (redolent of Technotronic and Snap!) permeate the trap-knit hip-hop propulsion with flowability. In turn, “The Hammer” has a slow beat invading the dark atmosphere, with discoverable keyboards sweeps emulating harp sounds, and modulations that inspire Hutchings to expand.

Occasional sparkle and some interesting atmospherics can be found, but the music never went beyond the expected. Yet, followers and completists of the trio will most likely find what they’re looking for.

Favorite Tracks:
03 - Lucid Dream ► 07 - Angel of Darkness ► 10 - The Hammer

Label: Impulse! Records, 2019

Personnel - Shabaka Hutchings: saxophone; Dan Leavers: synth; Max Hallett: drums, percussion.

The leader of Sons of Kemet, Shabaka Hutchings also leads The Comet Is Coming under the pseudonym of King Shabaka. This London-based trio, which includes Dan Leavers on synthesizers and Max Hallett on drums, releases its third full-length album, the second for the legendary Impulse! label.

Following quickly on the heels of Trust in the Lifeforce of Deep Mystery and despite has been created at the same time, The Afterlife doesn’t have the same boldness and hallucinogenic effect of its antecedent. Way more controlled, Shabaka’s discursive ideas still ignite some cosmic fire here, with the band deftly juggling elements of jazz, funk, electronica, and rock.

The opener, “All That Matters is the Moments”, has the prophetic voice of Joshua Idehen announcing ‘the comet is coming / Babylon burned down / our time has come / our clock has run down’. This is placed on top of trancing electronic synths and beseeching saxophone prayers. Yet, the tune builds up to a rock-infused section with a strong thematic riff and a ritualistic Afro rhythm with a tinge of hip hop.

While “The Softness of the Present” rises from the mist to settle in an unexciting ambient electronica, the title track inflicts the atmosphere with a mix of airiness and tightness. Expect synth-soaked layers, droning sounds, steady tribal beat, and circular sax riffs.

Using both space and dynamics favorably, the group devises “Lifeforce” as two distinct four-minute parts. The first one feels like a mythological spiritual journey, but everything glides back to the Earth on the second, via a danceable electro-funk, more in the line of the hit “Summon the Fire”.

“The Seven Planetary Heavens” concludes the session with a simple and soft electronic preparation that, by the end, sees its beat reshaped with a three time feel.

Jazz purists won’t go this way, but admirers of eclectic modern music may want to dive into the hybrid, apocalyptic sonic pool of The Comet.