Jamiroquai, probably best known as the band with the “moving floors” music video that won the group several MTV Music Awards way back in 1997, just released their seventh album, Rock Dust Light Star.

Yes, SEVENTH.

The band, unfairly best known in the USA for that thirteen-year old music video (for Virtual Insanity) and a corny dance sequence in Napoleon Dynamite, has been going at it for a while now, and the musical progression shines through on Rock Dust Light Star.

This is the first Jamiroquai release since 2005’s Dynamite, and let’s just say that the product was well worth the wait between records.

Frontman/singer/songwriter, Jay Kay (or Jason Kay if you’re not into rhyming nicknames) has always been the most identifiable aspect of the band; in fact, most times I’ve ever heard someone discuss Jamiroquai the project is usually referred to as “him” or “that guy”. I guess his image overwhelms the “band” aspect of the Jamiroquai name.

On Rock Dust Light Star, though, it’s more than evident that this is a group effort. The title track kicks things off with a jarring record scratch, before leading into a silky smooth keyboard-driven jam. It’s somewhat less attention-grabbing than other album openers like Feels Just Like It Should and Canned Heat, but it sets the mood for this album perfectly, mostly due to its velvety bass line and lush beeps and chords.

The opening track segues into White Knuckle Ride, the first single. This tune is much more familiar Jamiroquai territory, with the disco-stomp and neo-soul funk turned up to twelve. At first, I wasn’t sure about this song, as its overall feel was one of “yeah, I’ve heard this before” from the band, but on repeated listens it gets better, due in part to another stellar bass line and the cascading dancefloor synth whirls and twirls. The song has a million different dance remixes already, and for good reason.

Smoke and Mirrors sounds like something Jamiroquai would have made in the mid to late 1990s, around the time of underappreciated albums like Synkronized. Jay Kay sings over a bass line until some sweet horns kick in and the song takes off. The addition of the horns really gives the tune a 1970s vibe, almost as if it’s a James Brown cover or something sextastic like that.

No idea how old this pic is, but I like it

Hurtin’, with its thick riff, reverb, and apostrophe, sounds more like The Black Keys than you’d expect to hear on an album like this. Jay Kay employs a rougher, less squeaky-clean voice on this one, and it accentuates the dirty, bluesy guitar exquisitely, as does the chorus of “How the hell did I lose ya??”, sung from the perspective of a lover scorned. Because of its sheer willingness to go down a different path, Hurtin’ is one of the album’s brightest (and most creative) moments.

The rest of the disc spans different styles and tempos, Blue Skies taking the “slow epic ballad” spot, Lifeline the “orchestral, piano-flavored jam”.

By the time the album reaches She’s a Fast Persuader, the listener is reminded that Jay Kay & Friends aren’t funkin’ around with this one. The song’s slamming lead guitar, somewhat reminiscent of Steve Nicks’ Edge of Seventeen, combined with Jay Kay’s echoed vocals, nasty bass, and ethereal keyboards make this song arguably one of Jamiroquai’s best in years. It’s got attitude, it’s got a killer hook, and there’s just no way you can listen to it without moving some part of your body. It’s just so…slick.

Two Completely Different Things, a tale from the point of view of a discontent lover, revisits the same kind of summer outdoorsy feeling as Seven Days in Sunny June (from Dynamite).

Goodbye to My Dancer is another key track on the album, with Jay Kay singing another breakup-ish song (seeing a theme here?) set to some sad-sounding guitars and keys. It’s another song filled with melancholy, something Jamiroquai usually does pretty well.

The album comes to an end with Hey Floyd, led by some tribal-sounding bongo drums. This one sounds like it’s the result of some jamming in the studio, as it has an organic, easy feeling to it. It then morphs into a powerful instrumental break, before switching to reggae. The vocals sound almost improvised, and that lends the song its organic tone. The song sounds like it would be a good candidate for a delicious extended jam in the band’s live show.

By the time Hey Floyd comes to a close, it’s obvious Jamiroquai still have a lot to say, musically. The band recorded somewhere around 40 songs for this album, and while only 12 (or 15, depending on which release of the album you have) made the cut, it’s apparent that the band is in a creative revival.

Dynamite was a good record, but Rock Dust Light Star blows it away.

The 12 songs on this record pack so much funky, passionate neo-disco soul funk jazz into one album it should come with a warning.

It’s too bad this hasn’t been released stateside yet, but that’s no excuse to not hear it. You owe it to yourself to seek it out, by whatever means necessary (and then buy it when it’s released on some label here sometime next year).

It’ll funk you up.

First off, I just want to be upfront and say that I have a secret dream of being the leader of a band. With that being said, this would be the band that I would be a part of. AoA (Astronauts of Antiquity if you’re nasty) are one of the funkiest, stankiest, grooviest, most original kats I’ve heard in a long time.

Funk is the way to my musical heart apparently, because their album, Rocket Science, hit me in the head and kept it spinning like I was in Mortal Kombat with Shao Khan yelling “Finish Him!!”. The biggest shame of all is that again, the East Coast wins again with another hit album.

Rocket Science mixes the ridiculously energetic funk of live instruments, with the sting of the electronic hits and pops that haven’t been this impressive since the 80’s. Add the top notch funky lady known as India to the mix for the heavy handed experience.

But this band slows it down on tracks like Miss Caroline to let you know that they aren’t tempo sluts, and have actual talent to bring us. B. Rhyan is the mastermind behind the tunes you hear from the live band and the laptops, which after listening to this album, make me want to pick his brain on inspiration. Their MySpace gives hint to hanging with Erykah Badu, and perhaps other members of the Soulquarians, but I can’t be too sure yet.  I can see how they would get along well though, with tracks like Emo Healing running rampant.

Ten bucks says Supa Soul is playing in their head, whilst solving a crime on the streets.

The R&B track on the album though, had to be the 9^th track, Breakthrough, with its mellow tempo but powerful hits, complete with the background singers and sparkle sounds underneath it. It brings a solid glow to the already shining album as we hear it already.

Tracks like Supa Soul make me want to strut down the street like a badass detective trying to beat the subways and streets of New York, while you have the axe-heavy Sweet-Tooth adding some variation if you feel like the funk is too much for you. Make sure you listen for the sax solo in the latter half of the song for the full effect of rock-funk. I’m a sucker for a good bass line.

I feel like this may be a stretch but to hell with it: this band is a mix of Massive Attack, Janet Jackson, Erykah Badu, The Mars Volta, and funk heavy TV show tunes of our yesteryears. Add a dash of elevator music feeling to it, with vicious breakdowns as an undertone and you have one of the more original albums I’ve heard in quite some time.

It’s been said that AoA will be making their move to Los Angeles for touring in the future, so in the meantime, make sure you get on their MySpace page and fill your heart with Supa Soul like I did. Ten bucks says you’ll want to strut down the street and solve some mysteries of your own.

Rocket Science is out now, so go cop it ASAP, or at the very least go get your listen on. And big up to Clint over at Miles High Productions for getting this one out to us, this one’s going on repeat.

Until next time my friends,

~Flak