Georgia Anne Muldrow could have justifiably responded to the warm and broad reception of Overload, her 2018 LP for Brainfeeder, with another round of collaborative and off-center R&B. Instead, she returns to Mello Music Group for an hour-long sequel to the instrumental Vweto. Like that 2011 volume, Vweto II is voiceless -- save for a smudged interjection over the backsliding boogie of highlight "Bronx Skates" -- and emphasizes funk with a parade of bumping bass lines. While it's possible that Vweto II also was pieced ...
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Georgia Anne Muldrow could have justifiably responded to the warm and broad reception of Overload, her 2018 LP for Brainfeeder, with another round of collaborative and off-center R&B. Instead, she returns to Mello Music Group for an hour-long sequel to the instrumental Vweto. Like that 2011 volume, Vweto II is voiceless -- save for a smudged interjection over the backsliding boogie of highlight "Bronx Skates" -- and emphasizes funk with a parade of bumping bass lines. While it's possible that Vweto II also was pieced together, the transitions in mood and style are less abrupt, making for a rather fluid sequence despite the sprawl. "Emo Blues" has all the grim elegance of an imagined '70s psychological thriller score by Isaac Hayes and Lalo Schifrin. "Nate Dogg's Eulogy," with jubilant synthetic horns bouncing off a thumping bass line, triggers visions of hydraulic lowriders. Other highlights leave terra firma. "Almost Trendy," titled with a wink, could pass for prime Mo Wax with surreal early electronic music (something like Jean-Jacques Perrey's "E.V.A.") fused to clomping drums. The chiming and swaying "Brokenfolks," contrary to its title, is as elevated as anything else Muldrow has made. Oddly enough, "Mary Lou's Motherboard" -- twitching, icebox-cold electro with a deeply embedded upright bass line -- is more in line with the Brainfeeder catalog than Overload. Crucial as it is, Muldrow's voice is not missed here. ~ Andy Kellman, Rovi
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