Few weeks ago, I posted up this track of Georgia making great music and speaking directly on the Monsanto situation. It was a pretty amazing 70s themed funk victory on several levels, and had me intrigued to hear more on the album. Welp, here’s first word I’ve read since… and its great words. Pitchfork, the haters of everything, actually liked Georgia’s work. Not only liked it, but ranked it high at a 7.9 (out of 1o. Rare, since everything gets about a 2 there). That doesn’t happen to often, and should be noted in those rare instances when it happens for the right people and the right project.
Read the swipe from PK below and click here to read the full interview. Take a listen to the lead single below.
Seeds is another left-field deviation in Muldrow’s career: it’s one of her most captivating and immediate front-to-back statements of purpose as a singer, but it’s also the first album where she’s handed over all the production duties to somebody else. That this somebody else is Madlib is a good hook, and his most prominent R&B production job prior to this one– two excellent songs on Erykah Badu‘s New Amerykah Part One: 4th World War– makes for an optimistic precedent. It’s one he fills with a relatively understated smoothness, rolling out his more classic-soul-influenced side to subtle effect. This isn’t the Madlib of Firesign Theatre clips, damaged-filmstrip horns, and resin-caked surface hiss; it’s the one that put the buttery Stacy Epps feature “Eye” on Madvillainy and rode the bliss of Roy Ayers‘ slow jam “DC City” on Quasimoto‘s “Seasons Change”. The beats on Seeds are characteristically weathered, peppered with abrupt truncated loops and instilled with a familiar sense of hard-wrought excavation. But they still come at you head-on with no tricks or punchlines, whether they lift cues from stretched-taut funk (“Kali Yuga”) or sleek vintage drum machine R&B (“Best Love”). They help make the album click, but they don’t take over the spotlight.