Every Day

Back in 1999, the group's debut record "Motion"set critical tongues wagging with its unique take on modern dance music production techniques and the sheer visual energy of its sound. Now the group return with a follow-up which is deeper than the ocean, packing a tremendous emotional punch, by turns mournful and celebratory and with a rigour that is so often lacking in contemporary cut and paste.

Across seven sweeping, dramatic tracks, the group take you on a journey through classic soul, jazz, choral pieces, sinking horn riffs, throbbing harp b-lines, minimalism and more. All imbued with a contemporary edge and an intellect that keeps things as far as is possible from lazy wallpaper wank. 

J Swinscoe is more the arranger/conductor here than the producer, but of course, there's little need for samples or effects with such an accomplished band sharing the burden.

For the opener "All That You Give," Swinscoe and Co., plus harp player Rhodri Davies, spend a few minutes delicately paving the way for a deeply felt vocal by soul hero Fontella Bass ((the writer and performer of '60s soul masterpiece "Rescue Me" and member of free jazz renegades the Art Ensemble of Chicago). "Burn Out" is a lush, meditative track with a pleasantly ambling solo from Phil France on electric piano, a few appropriately cinematic-sounding horns, an age-old vocal sample, and occasional creaking static phasing through. Bass returns for another splendid track ("Evolution"), and the mighty Roots Manuva appears on a magisterial, spoken-word quasi-autobiography, "All Things to All Men."

Except for a pair of detours into highly programmed "broken beat" production, Every Day is a textured, acoustic work; Cinematic Orchestra take their time setting up these songs -- of the seven tracks, four last over nine minutes.

So sit back, close your eyes and be prepared to enjoy the latest home movie from J. Swinscoe and his associates. It's anything but everyday…