Blending members from Chicago, NYC, Texas, and Scandinavia, the Young Mothers have created Morose – a wild mix of hip-hop, jazz, and house music that hasn’t been heard since the likes of Digable Planets and Jurassic 5.
Starting with “Attica Black,” the sweet drum groove by Frank Rosaly leads into a sharp rap and downright fierce trumpet jam by Jawaad Taylor and wild saxophone by Jason Jackson that sounds like something off a rare Captain Beefheart record. Jackson’s sax is soulful and then sad and then angry on “Black Tar Caviar.” The track turns into a funky, crazy one in the second half, sounding not unlike a Faith No More tune. Jackson’s sax bubbles alongside Jonathan Horne‘s guitar and Stefan Gonzalez‘s vibraphone on the instrumental “Bodiless Arms.”
Chaos reigns on “Untitled #1,” which sounds like a drunk jazz band in a car wreck with a truck hauling a bunch of Theremins. I mean this in the best possible way. I actually wish it lasted longer, but “Jazz Oppression” is a fun follow-up and is probably one of the few songs that can induce a mosh pit at a jazz show. The title track is something as dirty and funky as a Jon Spencer Blues Explosion record, and Gonzalez’s vibraphone work on it is outstanding.
“Osaka” is another bizarre instrumental, but it’s tame when compared to “Untitled #2.” Remember that drunk jazz band in the car crash? Well now they’re fighting an army of killer robots. Again, I mean this in the best of compliments. “Shanghai” gets back to the band’s love of rap, but still drenches it in distortion, reverb, and sonic oddities.
It’s hard to describe Morose. The album’s title is also a bit of a mystery. The psychedelic jazz freak-outs on it are anything but morose. It’s an album that will get your blood pumping and freak you out a bit. It’s dangerous, and we always need dangerous music.
Keep your mind open.
[I’ll be morose if you don’t subscribe.]
