Karl Blau "Zebra"

Karl Blau is one of the most prolific artists of the Pacific Northwest music scene. When he is not running his own record label, guest-starring on other band's records, being a part of other bands like D+, or producing albums for Dub Narcotic Studios, he finds time to make his own albums. Zebra, his fifth and latest, is arguably the best he has ever done. Although he has always been influenced by African artists like Abdullah Ibrahim and Waldemar Bastos, this is his first attempt to overtly pay respect to them through rich hints of Afrobeat, polyrhythm, soul, funk, R&B, etc.

It's expansive and layered, instruments layered upon instruments, one by one adding into a swell of lush instrumentation that never once feels overwrought. What's more, he never once leaves his Northwest roots: this album, at its heart, is still just a beautiful folksy record in the K Records tradition like Phil Elvrum, Mirah, or LAKE.

It begins with "Waiting for the Wind", a light and airy piece which floats above distant vocals, jazzy drum riffs and bright guitars. The next track is darker, more somber, and full of fuzzy, ominous tones. The third track, "Apology to the Pollinators", bursts out of nowhere with full-on Afrobeat guitars, jazzy drums, funky instrumental breaks and female back up vocals. It's clearly the highlight of the album, a culmination of everything Blau has ever done before. From there the album moves in several different directions: he presents a straight-up funk/dance piece called "Dark Sedan"; a classic Blau track with "Tha Ole Moon Smile", a blues rocker piece with "Welcome in NW" and an Afro-Caribbean groove called "Free the Bird".

Essentially, this album manages to take the African influences Blau grew up with and blend them into unbelievably chill folk tracks in the finest Pacific Northwest tradition. It's a great album for autumn, perfect for sitting on a porch under the smell of burning leaves.