Shabaka Hutchings returns as Kofi Flexxx, and offers enticing sounds from an ensemble cast of performers who are more than just music.
VERDICT:
I’ll be honest, I didn’t know much about Kofi Flexx until I realised he is the figurehead for Sons of Kemet, a jazz group that only recently dissolved. Regardless, this release is an incredible undertaking, not least, for all the things we no doubt do not see behind the scenes. From the negotiations to join forces with other musicians, including Alex Hawkins and Daisy George, to the process of putting it together and agreeing on the mastering and politics of sound.
You may have already heard Apothecary featuring Billy Woods, an ethereal moment whereby the rapper treads carefully, yet surpasses expectations, landing bar after bar of impressive rhyme schemes. The same comes around again when rapper ELUCID verbalises a style similar to horrorcore against a backdrop of surrealist moments perpetuated by Flexxx.
This complex, yet polished flow of work has a distinct fragrance of music, one that feels more guileless than the saturated market we are privy to. Kofi Flexxx seems to have had no problem with this whatsoever, bolstering a grin of attractive music that is of the highest degree. It feels environmentally sound, and natural in construct to the point it touches the senses like a good trip.
The record has an enthusing vigour about it, something not heard for some time. From beginning to end, its entrancing character filled with blends of hypnotically valiant jazz, twisted with an array of hip-hop, slams home an elegant appeal. At times, its atmospheric landscape can appear timorous, working to balance the occasional confidence that seemingly jet-streams from out of nowhere, something I find endearing.
Featuring a string of appearances that include Billy Woods and Confucius, I feel this is a classic in the making filled to the brim with something for all, especially lovers of the genre. Filled with a complex of horns, and percussion in particular, and used in a fascinating way, Flowers In The Dark is not a release, it is an experience.
Addendum: The cover is also interesting in the sense it appears similar to Billy Woods’ Brass, where he also wears a similar mask. Nevertheless, this is purely observation. Though it makes me ponder if this is an easter egg hinting at a collaboration of sorts.
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