EP Review: Rootwork - Trees

Charles Trees is allegedly something of a legend in the city of Ann Arbor, Michigan, where locals are said to often proclaim "I spent half my life waiting for Charles". And yet up until now he has remained something of a secret, despite releases for Ghostly International, Moodgadget and Fulgeance’s Musique Large.

This new EP, Rootwork, has been in the making since mid-2012 and it just might help to explain what the fuss is all about. Opening with the title track there is a Latin-jazz, Sun Ra vibe to proceedings as Trees pretty much throws an onslaught of beats and percussion against Dan Bennet's brilliant sax playing. It is organic, fresh and absolutely full of life, bumping along to its increasingly electronic and acidic climax - this is the sound of totally disperate genres playing together and it seems effortless.

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Exodus takes the baton from Rootwork and creates a calypso punk-funk stomp, house beats gradually dissolving as the track breaks into sunny funkadelic joy. On Get Advanced rapper and poet Intricate Dialogue casually flows over a loose rhythm, James Brown samples and a little 303 to create something intoxicating. Finally What's Left is cosmic funk, keys floating in space whilst some chunky bass lines create a sense of movement.

The EP also comes with two remixes, though neither feels quite as innovative as the originals. DJ F gives Rootwork a isolated and galactic feel with sinister keyboards substituted for the sax. Shigeto then extends What's Left to a nine-minute epic, a lengthy freestyle-sounding intro eventually giving way to a rapid, elastic and jazzy take on the original.

Rootwork is out on Monday through Lovemonk, available to order from Amazon.co.uk on MP3 [affiliate link]. Preview Rootwork on Soundcloud below:

Ann Arbor's Trees drops this wicked ep, six slices of lush, each on their own planet but part of the same galaxy, where techno, hip-hop and house rub up against jazz, Kraut-rock and African percussion. There's a saying in Ann Arbor that goes “I spent half my life waiting for Charles”. Charles Trees, because that's who people are referring to when uttering those words, is the local music scene's best kept secret. In a city literally brimming with talent (MC5, Iggy, George Clinton, Mitch Ryder, Recloose, Mayer Hawthorne, Shigeto, Dabrye, anyone?), Charles is one of the absolute heroes, a gem among gems, yet relatively few people outside the city limits have heard of him. Why? Well, probably because our man doesn't really care too much about fame, hipster blogs, online social networking or other forms of shameless self promotion. He just makes his music, and remixes, and spins his tunes around town, and sometimes even releases some of them, like his EPs on Moodgadget, Ghostly International, or Paris imprint Musique Large. Which is how we heard about Charles. He made us a brilliant remix for Pajaro Sunrise' “Old Goodbyes”, and after that we had the pleasure of meeting him in person. A deal was struck for an EP. It was the summer of 2012, and we were about to find out what the “half my life waiting for Charles” was all about. Fast forward to 2014, and lo and behold, habemus EP. And not just any EP. A HUGE EP. Six slices of lush, each on their own planet but part of the same galaxy, where techno, hip-hop and house rub up against jazz, Kraut-rock and African percussion. Sounds like a cliché, right? Uh huh, yeah. The title track starts out like a Sun Ra jam, with the brilliant Dan Bennett on sax. After the fist bass stab, the beat kicks in and we're taken on a jubilant ride towards the acidic finish. “Exodus” continues on a hypnotic house tip while the level of funk keeps rising. The slamming beat finishes things off quite nicely. On “Get Advanced”, Detroit rapper, poet and Egyptologist Intricate Dialect spits his rhymes over hypnotic and minimal percussion and some nasty 303-stabs. Dan Bennett returns on “What's Left”, a slow burning piece of space boogie. Madrid-based DJ F does a good job of remixing”Rootwork”, adding some eeriness by changing the beat and replacing Bennett's sax with trippy keyboards. And finally, the mighty Shigeto stretches “What's Left” to almost nine minutes, with a four-minute intro leading up to a more uptempo but equally hypnotic version of the original. https://soundcloud.com/charlestrees http://lovemonk.bandcamp.com/album/rootwork