John Lurie, Barry Adamson, Ennio Morricone, David Holmes, The Latin Playboys, Tom Waits, Bill Frissell, Marc Ribot, Lalo Schifrin, Jerry Goldsmith, John Barry, Chico Hamilton and film soundtracks from the noir era. Portishead, Tricky and Massive Attack. Also listening intently to artists such as Isaac Hayes, Curtis Mayfield, Lonnie Smith, Marvin Gaye, Sonic Youth, Neil Young, Nick Cave, Roland S. Howard and the Flaming Lips
Sounds Like
The soundtrack to a surrealist film, a happy nightmare, a sonic opiate. Aural absynthe.
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The Escapist approaches the sort of ambient tones of Ry Cooders Paris, Texas soundtrack or Angelo Badalamentis haunting works for David Lynch.
--Curt Schulz, The Oregonian
Simms stitches together an album of cool, slithery instrumentals that call to mind New Orleans after everyone has finally gone to bed.
--John Chandler, The Portland Tribune.
Lee Baby Simms is taking you down a mysterious musical alley, one that’s as intoxicating as it is enigmatic.
--Dave Heaton, Erasing Clouds
This musical escape is like an alternative soundtrack for just over a bakers dozen filmsAs if the films were all re-shot through a hazy lens, perhaps the bottom of a cocktail glass.
--Slug Mag
Picking up where he left off with the first album of surrealist cinematic instrumentals influenced by composers and musicians like John Barry, Ennio Morricone, Lalo Schifrin, David Holmes, Morphine, Calexico, Marc Ribot, Ry Cooder and others, Lee Baby Simms expands upon his aura of spooky criminality.
With Mystery Loves Company, Lee Baby Simms follows up on his critically acclaimed debut, The Escapist, with twelve new tracks of Dead Sea soundtracks for imagined films. As with The Escapist, Simms wrote performed and recorded the album in its entirety, playing all instruments and creating the beats and loops from scratch. Utilizing the influence of film-noir, crime jazz, down-tempo electronica and trip-hop, the album is designed to work as if each track were a scene in a film.
Peppering the album with Latin influences, on tracks like Latino and Lluvia dOro, Simms reveals the influence of his immersion via travels in such countries as Cuba, Puerto Rico, Mexico and others. Tracks such as Ennio, Schifrin and Meanside highlight Simms’ dark, cinematic inspirations, while surreal acoustic tracks like Rainy and Golden Shower provide the light and a reprieve from the nightscapes.
So check it.
Thanks for being friendly. Yours is a very particular and effective style... Both descriptive and unfamiliar, it's extremely good and we like it a lot.
It's very tempting to go out on a limb and say that Up, Bustle and Out are the most exciting dance music collective currently releasing music in any genre. No matter what genre or style they experiment with, they manage simultaneously to do honor to its traditions while also creating music that is undeniably their own. For their 8th album, they traveled to Monterrey, Mexico, and collaborated with the Control Machete hip-hop crew; the result is some kind of deliriously funky cumbia-hip-hop-reggae-dub fusion that simmers and bubbles with a constantly changing but consistently brilliant and spicy heat. Turntablism, dubwise sound effects, Latin percussion, rap en español, and Jamaican toasting are all woven through the fabric of this wonderful album, and there is literally not a single boring or even underwhelming track. Particular highlights include the turntable-fueled dancehall strut of"Mi Chat Latin,"the smoky Spanish dub-hop flavor of"Genio del Dub,"the swaying minimalist funk of"Tinto Tintero,"and Kabanjak's Latin-reggae remix of"Corazón del León".It simply does not get any better than this.Rick Anderson -allmusic.com Download this album/Preview mp3/blog
Rick Anderson -allmusic.com
