Shrift: Lost in a Moment
CML call number: CD/JAZZ/Shrift
Sasha Frere-Jones wrote in the New Yorker: "I call it 'hotel music.' Record stores call it 'downtempo.' You may have your own term. … The music started in England, at some point in the mid-nineteen-eighties, as acid jazz, an undemonstrative blend of jazz and funk. Over time, it absorbed the skipping digital rhythms of jungle. … Shrift's 'Lost in a Moment' … fits neatly into this genre, with a distinct difference: it's really good. Shrift turns the innate gentility of the music into actual grace, and the singer Nina Miranda has a voice like a rough cotton washcloth -- comforting, but not without some pleasantly unpredictable bumps. 'Lost in a Moment' is cast in a vaguely Brazilian color. … [T]here is a deep sense of physical pleasure to Shrift's music, which is made mostly by Miranda and the British musician Dennis Wheatley. There are brisk moments like 'To the Floor,' a snippet of seventies disco filtered through several other musical memories, but more typical is 'Snow Samba,' a slow and diaphanous blend of Brazilian percussion and Miranda's singing in Portuguese, neither element taking the lead" ("Pop Notes: Subtle Charms," 3/20/06, p. 32).
Sasha Frere-Jones wrote in the New Yorker: "I call it 'hotel music.' Record stores call it 'downtempo.' You may have your own term. … The music started in England, at some point in the mid-nineteen-eighties, as acid jazz, an undemonstrative blend of jazz and funk. Over time, it absorbed the skipping digital rhythms of jungle. … Shrift's 'Lost in a Moment' … fits neatly into this genre, with a distinct difference: it's really good. Shrift turns the innate gentility of the music into actual grace, and the singer Nina Miranda has a voice like a rough cotton washcloth -- comforting, but not without some pleasantly unpredictable bumps. 'Lost in a Moment' is cast in a vaguely Brazilian color. … [T]here is a deep sense of physical pleasure to Shrift's music, which is made mostly by Miranda and the British musician Dennis Wheatley. There are brisk moments like 'To the Floor,' a snippet of seventies disco filtered through several other musical memories, but more typical is 'Snow Samba,' a slow and diaphanous blend of Brazilian percussion and Miranda's singing in Portuguese, neither element taking the lead" ("Pop Notes: Subtle Charms," 3/20/06, p. 32).
posted by casemusic at 1:08 PM
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