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10 Ft. Ganja Plant, "Midnight Landing"
ROIR
Don't be fooled: this isn't some silly pot-worshipping reggae groupcome to praise the benefits of marijuana use to the masses. This is abody-swaying group of musicians fusing "acoustic" reggae with the bestelements of dub. The sexiest horn combo this side of the universe blowsthrough "Kneel At the Feet" and slithers through a sax solo hell-benton turning these cold days into humid, fire-lit nights in a steamy bar.There's the moon shining over the mountains just outside the openwindow of the bar and the smell of salt-water splashes up through mysenses with every drum POP! and guitar stroke. The music isn't justsexy, though: 10 Ft. Ganja Plant recalls the best of classic reggaewith upbeat and playful rhythms, bass-led melodies, and, especially inthe case of "Let the Music Hit," outstanding lyrics celebrating thepower of great reggae tunes. The best part is that each track soundsdistinctly different: the production is never the same between twotracks and all the instruments have a unique voice that bursts away andstands alone as a shining beacon. If that beacon isn't shining, though,it's pulsing and moving like the waves on the ocean: it's hard not totap a foot or get caught up in the melodies. With each track being asurprise both musically and production-wise, it's an album that movesalong quickly and leaves a hunger for more. The chiming, foreign, andexotic "Midnight Landing" stands out like a lone dancer on the beach:the strange bells used that form the center of the melody couldn't bemore whimsical and yet they stand at a paradox: they're a sharpcontrast from standard reggae instrumentation but they keep in focuswith the soul of the album. I could spend hours talking about theimagery this album throws at me every time I listen to it. I don'tthink I've ever heard a reggae/dub album quite as diverse as this. Infact, even putting a name like "reggae/dub" on Midnight Landing is unfair: this isn't just reggae or dub and this isn't justsome combination of the two. Between the vocal-pieces and theinstrumentals there is an amazing variety of styles employed and it'shard not to stand back and look at it all and wonder: this is one ofthe most creative albums I've heard all year. It's diverse, fun, risky,experimental, creative, and entirely unique. This goes beyond itsstylistic marker and shatters into something entirely new and beautifulwithout forgetting where it came from.
Don't be fooled: this isn't some silly pot-worshipping reggae groupcome to praise the benefits of marijuana use to the masses. This is abody-swaying group of musicians fusing "acoustic" reggae with the bestelements of dub. The sexiest horn combo this side of the universe blowsthrough "Kneel At the Feet" and slithers through a sax solo hell-benton turning these cold days into humid, fire-lit nights in a steamy bar.There's the moon shining over the mountains just outside the openwindow of the bar and the smell of salt-water splashes up through mysenses with every drum POP! and guitar stroke. The music isn't justsexy, though: 10 Ft. Ganja Plant recalls the best of classic reggaewith upbeat and playful rhythms, bass-led melodies, and, especially inthe case of "Let the Music Hit," outstanding lyrics celebrating thepower of great reggae tunes. The best part is that each track soundsdistinctly different: the production is never the same between twotracks and all the instruments have a unique voice that bursts away andstands alone as a shining beacon. If that beacon isn't shining, though,it's pulsing and moving like the waves on the ocean: it's hard not totap a foot or get caught up in the melodies. With each track being asurprise both musically and production-wise, it's an album that movesalong quickly and leaves a hunger for more. The chiming, foreign, andexotic "Midnight Landing" stands out like a lone dancer on the beach:the strange bells used that form the center of the melody couldn't bemore whimsical and yet they stand at a paradox: they're a sharpcontrast from standard reggae instrumentation but they keep in focuswith the soul of the album. I could spend hours talking about theimagery this album throws at me every time I listen to it. I don'tthink I've ever heard a reggae/dub album quite as diverse as this. Infact, even putting a name like "reggae/dub" on Midnight Landing is unfair: this isn't just reggae or dub and this isn't justsome combination of the two. Between the vocal-pieces and theinstrumentals there is an amazing variety of styles employed and it'shard not to stand back and look at it all and wonder: this is one ofthe most creative albums I've heard all year. It's diverse, fun, risky,experimental, creative, and entirely unique. This goes beyond itsstylistic marker and shatters into something entirely new and beautifulwithout forgetting where it came from.
