California’s New American Hustle is a virtual band led by Ian Smith. Their music is created with live studio musicians, pre-recorded loops and online track-swapping with various collaborators. They cite influences such as Beck, Gorillaz, Khruangbin, Bob Marley, Portishead, Queens Of The Stone Age and Tame Impala. Just a quick glance at their Bandcamp page shows their prolific and professional-looking output.
My previous review of a New American Hustle album was Destination Go-Go! That collection was a jumpy, trip-hop celebration of the ’90s. While similar in some ways, Butcher’s Daughter feels like a more traditional release. Smith confirms this impression by calling this “… our most fully-formed album. It pays homage to what we’ve done before, yet opened us up to more dynamic new sounds. Nothing is more important than the power to make people shake their ass.” As such, they’ve dedicated these tracks to exploring grooves: “reggae, dub, funk, hip hop and African rhythms.” Partner Lolita Larsson states that “there are many beautiful voices on these songs” and her role this time out was to be more of a “sonic curator, making sure the melody was glued to the rhythm.” The album was mixed and mastered by Nate Bridges from Black Market, who also contributed instrumentally. These tracks were recorded in Merced, California; Toronto, Canada; Dartmoor, England; Philadelphia, Pennsylvania and Nashville, Tennessee. The rhythms are crisp, solid, and polished to perfection like diamonds, while the backgrounds - featuring both synthesized and treated “real” instruments - float back and forth throughout the songs, bathing each vocalist in a downy bed of sound. Though less prominent this time, the quick little samples always feel exactly right for the moment. This review was based on the original version of this release; there’s also a “complete” version with four additional songs. “Last Diver Into The Bay” sets the sonic table with agitated synth swirls and a militaristic beat, which melds into a short spaghetti western-style instrumental. “The City & The Town” features the lovely, hushed vocals of Lolita Larsson, sometimes reflecting a Diana Ross quality. The backing track is a funk-rock hybrid with nice wah wah guitar, engaging piano and fairly straightforward drum kit. The title track “Butcher’s Daughter” feels like harder rock, thanks to the crunchy electric guitar and uptempo melodies with another sweet Larsson vocal. “I don’t want to talk too much / sometimes it hurts.” Really stellar drum work here. “The Maze” is the first appearance of a guest vocalist Lisa Bregneager on “dreamy vocals.” An exotic-sounding track with both East Indian and Egyptian influences, this is a composition that wanders freely while always centered by Bregneager’s voice. “Mellow Razor” is closer to traditional hip hop with a rap by Ian Smith and funky, circular guitar riffs throughout. “Like a machine of rage / five four three two one, we engage / still working for minimum wage.” “Lips Touch Bliss” has a solid rock beat with funky, scratchy guitars and more echo-drenched and sampled vocals by Larsson. Vocalist Lisa Bregneager returns on the reggae workout “Vultures Rising” where the spooky guitar figures sometimes dissolve into wispy molecules floating across the stereo spectrum. “Whistle Inside A Mistress” is bluesy dub-funk with a fuzzy synth bassline. Interesting moments include a female vocal in a language I can’t place, and what sounds like a tin whistle solo. “Ballad Of A Barefoot Bride” features English folk singer Em Marshall, who brings a Sandy Denny spirit to the folky mix; I also love the bright acoustic guitar strumming, violin, and more chanting… possibly American Indian? Really nice layers of drum playing and construction here. The barefoot bride then gets “Naked By The Pool” which begins with shimmering metallic feedback and resonant guitar stabs, before settling into a film noir-sounding jazz instrumental with the welcome addition of Philadelphia saxophonist Isak Gaines. In retrospect, it’s funny that Smith mentioned “shaking your ass” to these songs. Though highly danceable, this release often veers toward trance for me with any dance floor moves being of the more liquid, balletic style. Overall this is another excellent addition to the seemingly endless New American Hustle catalogue.
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