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That's especially true on the two closing cuts, both stretching toward seven minutes, which eschew electronics almost entirely and feel more than anything like dense, moody, compositionally intricate modern jazz. Elsewhere, "We Could Forever" is a funky Afro-Latin workout riding an infectiously crisp guitar riff, and the scruffy, swing-inflected breakbeats that dominated Bonobo's earlier output crop up again on "Kong" and "El Toro." But while the grooves here serve quite nicely (and keep things consistently varied), it's the lush layers of unmistakably live instrumentation laid on top - most of it played by Green himself - that make the album really soar.
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Green's clearly been keeping his ear to the ground for a bit of rhythmic reinvigoration: the immediately striking "Kiara" reworks the hauntingly elegant string refrain that opens the album with submerged vocal splices and a halting, head-nodding left-field hip-hop beat รก la relative Ninja Tune newcomer Flying Lotus, while cuts like the "Eyesdown" and "All in Forms" shade subtly toward the dubstep diaspora. While it's not terribly divergent from the future-jazz cut-ups that made his earlier efforts such an instinctively natural fit with the turn-of-the-century Ninja Tune stable, Black Sands evidences a clear evolution into a more distinctive, sophisticated, and complex style, resulting in his most musically adventurous work to date, and certainly his most modern-sounding. Laid-back London groove maestro Simon Green (alias Bonobo) returns after a considerable absence (on the recording front, at least) with this fourth full-length helping of his masterfully mellow monkey magic. Purchase and download this album in a wide variety of formats depending on your needs.
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