As we head into the new year, let's look back at what we loved that came out of 2016.

You see that period at the end of that sentence above? That’s cause this album is the greatest album of the year, period. Melbourne’s own has put out an LP that no one really saw coming. Not like it came at least, like a flame in the dark that has the R&B, rock and indie world talking. True artists in the sense of composition, skill and ability and creativity. The JD beat like swagger, the Coltrane experimental jazz, the Jill Scott Lyrical style, all wrapped up in a neat little funky package any palate can digest. You may have heard their latest commercial single, “Breathing Underwater” (Not to be confused with Metric’s recent release of the same title, another incredible female vocal driven band) which has been getting quite a bit of licensing and airplay a son late. This four piece is a true breath of fresh air, masters of their instruments and playing as if four old-soul veterans of the craft have come once again, reincarnated in yet a new form, to inspire us and push the envelope of tempo and time signature all while staying commercially viable. No easy feat in what is presumably still called the “music business.” Perrin Moss plays that gospel church pocket drum role like I haven't heard in a very very long time on a recording, with a staggered kick that reminds me of an old Yamaha hip kit meets George Duke broken beat brut sound. Mia Palm is not only an incredibly bold singer who takes risks at every turn but a damn fine guitarist as well. Some people can play 7th and 9ths and run modes like they’re sleeping all the while singing their asses off. She’s one of these people. I don’t like her being characterized as an R&B singer, she’s so much more than that and her style seems as if she’s simply just reaching to be as far out there as she can be while remaining musical resolute.  Simon Mavis creates synth timbre like a true master of his craft, taking cues from the great lead synth pioneers like Kraftwerk, Stevie Wonder and what Rich Costey did for Muse. Paul Bender keeps the whole thing together with his incredible jazz influenced bass lines. There when you expect them and buried when Mia takes center stage. Like a real musician. Like a bad ass. Man this album is just killer. New sounds, new approaches, new bold risks… what more can we ask for? Thanks guys, we can’t wait to hear what’s next from the greatest album of 2016. Check out the jpegs below of some of the other music reviews we’ll be putting out in 2017.