Hanna Benn & Deantoni Parks, "The Line" (Humani Machina)

Not so long ago, composer/vocalist Hanna Benn was a prime mover in Seattle's music scene, connecting the dots among conservatory-honed art song, African and Asian trance music, and indie-rock with the extraordinary sextet Pollens. She also sang with choral ensemble Esoterics, another platform for her to flex her remarkably supple and radiant voice. On this blog eight years ago, I speculated that Benn could be the American Björk, if she put her mind to it. “She has that same ability to merge pop accessibility with experimental techniques and challenging melodic flourishes,” I wrote in a 2015 Slog post. 

Alas, Benn moved out of Seattle in 2015 and eventually settled in Los Angeles, where she creates music with her life partner, Deantoni Parks (aka Technoself). The latter's an exceptional drummer and composer in his own right, and he's played with the Mars Volta, Omar Rodriguez Lopez Group, and KUDU, among others, so you know he has chops to spare. Parks's solo recordings reflect his unconventional, jagged, and intricate approach to rhythm, putting him in the upper echelon of producers such as Flying Lotus and Prefuse 73. Check out Westwave 2, Parks's radical deconstruction of country & western music, for a taste of his aesthetics.

For “The Line,” Benn and Parks have summoned perhaps the most straightforward, accessible piece of their careers. Early-'80s new wave appears to be the primary inspiration, but this isn't cheesy/easy nostalgia-mongering. Parks kicks out fleet, pistoning beats that should get even automatons dancing while Benn sings with understated gravitas, like Annie Lennox in a coolly defiant mood. Brian Eno/Paul Simon collaborator Leo Abrahams adds aerated guitar punctuation to this pile-driving anthem that pivots on the line “Time is wasted on the fear that holds you back/If you had faith in me, time might kiss you back.” This song kisses you and it feels like a hit.

(Another former Seattleite, Jordan Rundle, made the video below.)

VuVuVu, “Supernova Express” (Wax Thématique)

You don't hear much about Israeli funk... ever, really. But it exists, and thanks to intrepid crate-digger Nathan Womack, who runs the sometimes Seattle-based Wax Thématique label, we have more proof that Israeli funk is indeed a thing—matter of fact, a very good thing, as the Tel Aviv quintet VuVuVu demonstrate.

Wax Thématique—which has released records by local luminaries such as Noel Brass Jr., Select Level, and Gel-Sol—has expanded its reach to Great Britain (Grandbaby), Germany (Feed LA), and Israel (the Flavors). Womack's ambition and impeccable aesthetics have made his label a trusted source of heady groove science. 

Only two tracks from VuVuVu's self-titled debut album are available on their Bandcamp, but they convey enough information to make some safe observations. With no vocalist, VuVuVu let their expressive instrumentation carry the emotional burden. Yonatan Nahmias's guitar has a liquid gracefulness that will appeal to fans of Phil Upchurch and David T. Walker. The Israeli's tasteful use of effects lets his ax serve as the group's “singer” while bassist Amir Sadot and drummer Itamar Weinstein hold down solid grooves and clavinet player Tomer Zuk and percussionist Matan Caspi add crucial, subtle accents that lift VuVuVu above the throngs of funkateers struggling to get a deal with Daptone.

“VuVuVu” establishes the band as excellent purveyors of laid-back, economical funk in the Khruangbin vein. Even better is “Supernova Express,” which rides a slinky, undulating bass line and soars with chattering clavinet and guitar inspired by Skip Pitts's elasticated, “Theme From Shaft” tone. All of this sonic butter is buttressed by head-nodding beats whose funkiness has fueled countless golden age hip-hop classics. “Supernova Express” is a must for funk-oriented DJs and anyone who appreciates the lower-key end of the genre. It may not be peak-time material, but it'll work wonders on the ascent to that sweet moment. Begin—or continue, as the case may be—your Israeli funk infatuation here.