With the release of this incredible debut album вЂњUnder One SunвЂќ, Brina is ready to share her music with the world.

& amp amp amp amp amp amp lt a href='' _mce_href=''& amp amp amp amp amp amp gt Under One Sun by Brina& amp amp amp amp amp amp lt /a& amp amp amp amp amp amp gt Д«rina is a new voice of World Roots Reggae Music from Jamaica, an artiste steeped in the sounds and rhythms of her Jamaican culture. Regardless diversity is almost always a good thing and this album is perhaps his most diverse yet. With so many styles in this album itвЂ™s expected that I personally wonвЂ™t dig all of them, and there are a couple of tracks where IвЂ™m not feeling the vibe. With so many styles presented over the years, some more experimental than others, Fat Jon has a wealth to choose from at this point, and itвЂ™s only from this that I can draw any criticism. Despite this, the album is still far from predictable. Rapture Kontrolle plays like a lot of Fat JonвЂ™s art but, as youвЂ™ve probably gathered thus far, thatвЂ™s no bad thing at all. This is the kind of music that makes you want to look up at the night sky and ask some big questions. Immediately conjuring up a potent soundscape, understated vocal elements are introduced to great effect (more so than some of the vocal-heavy tracks from Lightweight Heavy or Afterthought) until the piano work prevails through at the end. Then thereвЂ™s вЂњIntellect BombsвЂќ вЂ“ lordamercy вЂ“ this is Fat Jon at his synaesthesia-inducing best. Things get more up-tempo in the spirit of Humanoid Erotica with the G-Funky space jam вЂњEternal Type SatelliteвЂќ, вЂњVarious RandomsвЂќ in its entirety, and вЂњGalaxy ClassвЂќ which contains beat breaks ill enough to get people forming a circle for the BBoys and BGirls all before it evolves into a more expansive spectacle. ThereвЂ™s the flute on вЂњMagic FluteвЂќ hitting Minnie Ripperton level whistle-registers, the woebegone strings and woodwind on вЂњLosing YouвЂќ, and the dancing hi-hats and buoyant bass on вЂњThirdbass AlldayвЂќ. Elsewhere, fleshed-out characters are created within the tracks from the instruments themselves. Even the first track вЂњThoughtformвЂќ вЂ“ which, true to its name, initially sounds like a discordant tangle of musical synapses firing uncontrollably вЂ“ becomes something more malleable in Fat JonвЂ™s mind as he subtly draws out harmonious elements. The elements of music are like tai-chi delicate in their movement but resolute in their purpose. I credit this to what I believe to be Fat JonвЂ™s masterful use of nuance youвЂ™ll find transitions occurring effortlessly and instrumentation coming and going stealthily from all corners of the tracks. It happened to me with Humanoid Erotica and, in time, itвЂ™ll likely happen to me with this.

However, itвЂ™s in the replays that things come to life each one revealing a new layer, a new favourite track, until the whole thing damn near sounds like a masterpiece. But here goesвЂ¦ Like IвЂ™ve found with the bulk of Fat JonвЂ™s discography, Rapture Kontrolle sounds almost inoffensive upon its first spin as it predominantly utilises familiar elements of down-tempo music to induce head-nodding grooves.

Because of this, thereвЂ™s a slight apprehensiveness in writing about his music, like anything said will be a pretentious attempt to define his assured craft which, in all truthfulness, escapes many definitions. IвЂ™d always been a fan of instrumentals, however self-sufficient instrumental music is arguably something different вЂ“ but unarguably something Fat Jon is legendary for. Under the auditory tutelage of Humanoid Erotica (and a handful of other records at hand) my eardrums wised up to the joys instrumental music had to offer. With Rapture Kontrolle, Fat Jon returns under the alias of Maurice Galactica (previously heard on 2002вЂ™s Humanoid Erotica) to present another round of interstellar beatscapes.

Baby blue action bronson 320