Electric Worlds
FRANCISCO MORA CATLETT
Electric Worlds
Boomkat Product Review:
Joyful and chaotic techno-fusion statement from ex-Sun Ra Arkestra percussionist Francisco Mora Catlett, who y'all likely know from providing the rhythm section for Carl Craig's epoch-defining Innerzone Orchestra masterpiece 'Bug in the Bass Bin'. One for anyone looking to dive deeper into the psychedelic waters swum by Hieroglyphic Being or Galaxy 2 Galaxy. Fully tipped.
'Electric Worlds' isn't a jazz album. Jazz is a language Mora's undoubtedly fluent in, but he's making techno here - hence the title - and it's techno that reminds us of Detroit's 1980s flexibility and the inherent hope in its boundless creativity. Tempos are fluid, synthesizers are unglued, and basslines are dipped in pure funk essence. The music sounds unmoored from reality, almost like a dream of what techno might have been, rather than what it actually is. It's exactly what theorist DeForrest Brown Jr. describes when he states: "Make Techno Black Again".
There's a tradition on display here that draws clear, indelible lines between jazz, funk, fusion, disco, house, electro, techno and hip-hop - they're all simply dialects in one unified spiritual, revolutionary, language. Mora's virtuoso musicianship is the resin that stops everything from collapsing: synths sing wildly over throbbing bass loops and percussion that's unafraid to drift outside the grid. It's as starry-eyed and jaw-droppingly singular as Jamal Moss's out-there beat experiments, and as loosely groovy as Nyege Nyege's drum machine deity DJ Diaki.
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Boomkat Product Review:
Joyful and chaotic techno-fusion statement from ex-Sun Ra Arkestra percussionist Francisco Mora Catlett, who y'all likely know from providing the rhythm section for Carl Craig's epoch-defining Innerzone Orchestra masterpiece 'Bug in the Bass Bin'. One for anyone looking to dive deeper into the psychedelic waters swum by Hieroglyphic Being or Galaxy 2 Galaxy. Fully tipped.
'Electric Worlds' isn't a jazz album. Jazz is a language Mora's undoubtedly fluent in, but he's making techno here - hence the title - and it's techno that reminds us of Detroit's 1980s flexibility and the inherent hope in its boundless creativity. Tempos are fluid, synthesizers are unglued, and basslines are dipped in pure funk essence. The music sounds unmoored from reality, almost like a dream of what techno might have been, rather than what it actually is. It's exactly what theorist DeForrest Brown Jr. describes when he states: "Make Techno Black Again".
There's a tradition on display here that draws clear, indelible lines between jazz, funk, fusion, disco, house, electro, techno and hip-hop - they're all simply dialects in one unified spiritual, revolutionary, language. Mora's virtuoso musicianship is the resin that stops everything from collapsing: synths sing wildly over throbbing bass loops and percussion that's unafraid to drift outside the grid. It's as starry-eyed and jaw-droppingly singular as Jamal Moss's out-there beat experiments, and as loosely groovy as Nyege Nyege's drum machine deity DJ Diaki.
Boomkat Product Review:
Joyful and chaotic techno-fusion statement from ex-Sun Ra Arkestra percussionist Francisco Mora Catlett, who y'all likely know from providing the rhythm section for Carl Craig's epoch-defining Innerzone Orchestra masterpiece 'Bug in the Bass Bin'. One for anyone looking to dive deeper into the psychedelic waters swum by Hieroglyphic Being or Galaxy 2 Galaxy. Fully tipped.
'Electric Worlds' isn't a jazz album. Jazz is a language Mora's undoubtedly fluent in, but he's making techno here - hence the title - and it's techno that reminds us of Detroit's 1980s flexibility and the inherent hope in its boundless creativity. Tempos are fluid, synthesizers are unglued, and basslines are dipped in pure funk essence. The music sounds unmoored from reality, almost like a dream of what techno might have been, rather than what it actually is. It's exactly what theorist DeForrest Brown Jr. describes when he states: "Make Techno Black Again".
There's a tradition on display here that draws clear, indelible lines between jazz, funk, fusion, disco, house, electro, techno and hip-hop - they're all simply dialects in one unified spiritual, revolutionary, language. Mora's virtuoso musicianship is the resin that stops everything from collapsing: synths sing wildly over throbbing bass loops and percussion that's unafraid to drift outside the grid. It's as starry-eyed and jaw-droppingly singular as Jamal Moss's out-there beat experiments, and as loosely groovy as Nyege Nyege's drum machine deity DJ Diaki.
Boomkat Product Review:
Joyful and chaotic techno-fusion statement from ex-Sun Ra Arkestra percussionist Francisco Mora Catlett, who y'all likely know from providing the rhythm section for Carl Craig's epoch-defining Innerzone Orchestra masterpiece 'Bug in the Bass Bin'. One for anyone looking to dive deeper into the psychedelic waters swum by Hieroglyphic Being or Galaxy 2 Galaxy. Fully tipped.
'Electric Worlds' isn't a jazz album. Jazz is a language Mora's undoubtedly fluent in, but he's making techno here - hence the title - and it's techno that reminds us of Detroit's 1980s flexibility and the inherent hope in its boundless creativity. Tempos are fluid, synthesizers are unglued, and basslines are dipped in pure funk essence. The music sounds unmoored from reality, almost like a dream of what techno might have been, rather than what it actually is. It's exactly what theorist DeForrest Brown Jr. describes when he states: "Make Techno Black Again".
There's a tradition on display here that draws clear, indelible lines between jazz, funk, fusion, disco, house, electro, techno and hip-hop - they're all simply dialects in one unified spiritual, revolutionary, language. Mora's virtuoso musicianship is the resin that stops everything from collapsing: synths sing wildly over throbbing bass loops and percussion that's unafraid to drift outside the grid. It's as starry-eyed and jaw-droppingly singular as Jamal Moss's out-there beat experiments, and as loosely groovy as Nyege Nyege's drum machine deity DJ Diaki.
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Boomkat Product Review:
Joyful and chaotic techno-fusion statement from ex-Sun Ra Arkestra percussionist Francisco Mora Catlett, who y'all likely know from providing the rhythm section for Carl Craig's epoch-defining Innerzone Orchestra masterpiece 'Bug in the Bass Bin'. One for anyone looking to dive deeper into the psychedelic waters swum by Hieroglyphic Being or Galaxy 2 Galaxy. Fully tipped.
'Electric Worlds' isn't a jazz album. Jazz is a language Mora's undoubtedly fluent in, but he's making techno here - hence the title - and it's techno that reminds us of Detroit's 1980s flexibility and the inherent hope in its boundless creativity. Tempos are fluid, synthesizers are unglued, and basslines are dipped in pure funk essence. The music sounds unmoored from reality, almost like a dream of what techno might have been, rather than what it actually is. It's exactly what theorist DeForrest Brown Jr. describes when he states: "Make Techno Black Again".
There's a tradition on display here that draws clear, indelible lines between jazz, funk, fusion, disco, house, electro, techno and hip-hop - they're all simply dialects in one unified spiritual, revolutionary, language. Mora's virtuoso musicianship is the resin that stops everything from collapsing: synths sing wildly over throbbing bass loops and percussion that's unafraid to drift outside the grid. It's as starry-eyed and jaw-droppingly singular as Jamal Moss's out-there beat experiments, and as loosely groovy as Nyege Nyege's drum machine deity DJ Diaki.
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