https://www.youtube.com/watch?v=gWJolDnITe0
(The groups absolutely stunning cover of James Blake's "Limit To Your Love")
This album starts off basically where their last album left off, with “And That, Too”. The intro to this one shows us that BBNG are not done with experimenting with electronics in their music, the keyboards here are a major player. It’s the atmosphere that really hooks me about this one. While I liked “BBNG 3”, the atmosphere was a little lacking in my book. On “And That, Too”, the atmosphere is just as semi-dark as I loved on “BBNG 2”. Those woodwind arrangements are absolutely stunning up against this slow paced Jazz piece. “And That, Too”, isn’t the most exciting track here, but it’s a solid intro to the band, as they introduce a rhythm in the first few seconds and constantly build on it. Now, this is the first full length BBNG production with Leland Whitty as a full-fledged band member. They’ve had contributions from him in the past tons of times, but this is his first rodeo as a BBNG member, and his contributions to the band are fantastic. I’ve always thought BBNG and Whitty’s collaborations were always spot on, and here his sax, flute, and seemingly countless other instruments playing really compliment the band. Moving on to “Speaking Gently”, the band continues on with more keyboards, but still sound super hip and keep to their Jazz roots. These aren’t the sharp keyboards that showed up on their early recordings though, these are much more personalized keyboards that sound just as wonderful as every other instrumental here. Alex Sowinski’s drums on this one sound absolutely incredible, he’s always impressed me so much. It’s so early in the album, but it’s already very apparent that BBNG have grown and honed their craft so much over the years. This track almost has an almost whimisical, soaring rhythm, as Whitty’s woodwinds and brass float in and out not losing any momentum. “Chompy’s Paradise” much later in the album is the most haunting thing I’ve heard on the album so far. While there’s no vocal guest on this track, there isn’t a vocal guest they could have gotten that could sound more hurt than Whitty’s horn does here. BBNG always take their instruments and give them such personality, and it’s quite the spectacle. As the track continues on, it contains some of the most smooth moments we’ve heard from the band so far. Sowinski here produces an almost tropical sounding drums, and Whitty’s horns and such float in, it’s pure magic. No, it’s not as exciting and spontaneous as their earlier recordings, but you have to give BBNG so much credit, the band’s original material has gown by leaps and bounds. Then we have the album’s title track “IV”, which doesn’t waste a single second. Instantly, “IV” is the most straightforward Jazz track that they’ve ever touched, as most of the time over the years they’ve been classified as almost “Post-Jazz”. “IV” though literally sounds like some of the big boys of the Jazz world, not a bunch of guys in their 20’s trying to make Jazz cool While the more straightforward sound doesn’t do way too much for me, the energy here speaks volumes, and every members performance is absolutely stunning. Whitty sounds like he has about 10 cups of coffee and he is just letting it all out, and Matt Tavares’s keyboards haven't sounded this interesting the entire album. Now I usually like the band’s left field approach to jazz and some of BBNG’s tracks with heavier atmosphere, so this one overall isn’t my favorite. But if you want to see an excellent display of what each band brings to the table, this is a must listen, and it’s easily the most epic track here.
https://www.youtube.com/watch?v=4WAQ9Gi-wuM
Now, BBNG have had collaborators in the past, but they really went all out on here. Sometimes it works wonderfully, other times not so much. First we have “Time Moves Slow”, featuring Sam Herring from Future Islands on vocals. This track is one of the smoothest hear, with Herring’s almost soulful vocals, giving this track almost a smooth R&B sound. And honestly, BBNG pull it off amazingly. This is easily the warmest thing I’ve heard from them in years, and Herring, who I’ve always thought was such a unique vocalist works so great here. He usually has such a commanding, completely dominating performance. Here is no different, but man does it ever sound brilliant up against these smooth Jazz rhythms. As far as the instrumentals go here, there isn’t anything too wild happening, but BBNG are taking things slow and being unbelievable support to Herring, and they pull it off flawlessly. “Time Moves Slow” even goes as far as sounding like an old vintage pop song in a way, and it’s really something special. Then we have “Confessions Pt. II” featuring the Arcade Fire’s Colin Stetson, another home run. Right off the bat the tone of that Saxophone is absolutely ear grabbing, and that beat is completely undeniable. As far as a funky tone goes, this track has the strongest one here. It may be an out of control, chaotic funk, but it’s absolutely entrancing. If those horns didn’t already sound personified earlier in the tracklist, “Confessions Pt. II” is the next level. This one almost comes off as a jam, but it’s absolutely brilliant and completely eye-opening. The chaos just continues on, as every instrumental just keeps getting more fierce, to the point where they sound like they’re just gonna start ripping one another apart. This may be one of the longest tracks here, but I don’t mind one bit. Everything is so epic, so grand, I wouldn’t mind if it went on even longer. Not to mention, Colin Stetson on this track adds plenty. In the last few years he’s been working more with ambient music, which isn’t terrible, but this was a very interesting change of pace, and his tenor sax really sounded wonderful here. Than we have some sort of underwhelming collaborations. For one, we have “Lavender”, featuring KAYTRANADA. Just from the opening notes alone you can tell this is easily the spaciest track here by far, and we’re back to a much more electronic sound. Some of the early sound effects used are genuinely unsettling, and honestly sound like something right out of “Alien”. While it works overall, this one for me is a little too electronic and spacey. There are some great moments here don’t get me wrong, but the atmosphere to me just seems so forced. Not to mention these are some of the tamest instrumentals on the entire album. KAYTRANADA’s extra percussion playing here is barely noticeable, and usually I dig his stuff, this just seems so average to me. Then we have “Hyssop of Love” featuring Mick Jenkins. From the start it’s pretty solid, we’re back to this sort of lurking heavier Jazz that I’ve come to know and love from BBNG. This sound to me is always going to be my favorite from BBNG, cause honestly I just love the way you never know whats coming next. Now I’m not really familiar with Mick Jenkins, and for the most part he sounds alright. His slow, hazy delivery works a whole lot better than a more aggressive rapper. During his verses, BBNG do some really fantastic stuff behind him, giving off this really mysterious vibe straight out of The X Files or Twin Peaks. On the other hand they sound almost hopeful and sweet during the chorus, but what really brings this one down is Mick Jenkins lyrics. For the most part they’re fine, but then he starts rapping about drugs and I just don’t think it’s necessary here. Still, it’s ok, just a little underwhelming.
https://www.youtube.com/watch?v=UWIIPX_5rbM
BBNG aren’t done just yet, “Structure No. 3” grabs your attention right away with this creeping, mysterious vibe thats so hypnotic. Now I know that some people listening to this really aren’t going to have the patience for this atmosphere, it does take a bit to sink in. But, if you’re a fan of old school BBNG there’s no reason you wont dig this. The synth’s here are completely unexpected, almost goofy, but they work unbelievable up against this slow-paced bop. Then out of nowhere everything picks up and “Structure No. 3” becomes the most exciting track we’ve heard in quite a while. This is just a great, old school BBNG jam, hell I would have even dug an extra minute of this. Then we have “In Your Eyes” featuring Charlotte Day Wilson. The intro here is absolutely stunning, no words can even describe it. “In Your Eyes” is totally something different for the band, and I don’t have enough good things I can say about it to be honest. This is easily the classiest sound they’ve ever produced, one that can be much more widely appreciated. It’s one of the lighter tracks here, almost whimsical, and when Charlotte Day Wilson comes in it just gets incredibly soulful. This might just be the track that gets BBNG a bigger audience, but you know what, I’m ok with that. It has a vintage sound, while remaining surprisingly hip, and as it goes on it just keeps getting better and better. It’s the furthest thing from what I was expecting, but I can’t say enough good things about it. Finally we have “Cashmere”, the albums finale. This is one intro here that isn’t giving away too much at all, but it’s great to hear the instrumentals come in slowly one by one. The pianos here are sweet, the cymbal taps are on point, and once again this track has almost a jam feel to it. That is until the string sections come in. Man oh man, how far these guys have come since their debut. They went from being three teenagers covering hip hop tracks with jazz instrumentals, to this. There’s some really fascinating percussion on this one, and when the strings come in they are simply incredible. Just hearing those trumpets float in amongst everything else already happening just makes me so damn happy. At first I really didn’t know what to think of this album. But it’s clear that BBNG are growing up right before our very eyes, transitioning from their early recordings to becoming young Jazz masters.
https://www.youtube.com/watch?v=Cs4qZ9SBubc
Rating: 8.4/10
Give A Listen To: "In Your Eyes", "Time Moves Slow", "Cashmere", "Confessions Pt.II"
Overall Thoughts: You know I really didn't know what to think of this album going into it. I don't mind when BBNG tangles with electronics, but I feel like they need to focus on evolving their craft. At the end of the day, that's really what they do here. Sometimes it's sweet and soulful with a vintage flair, while other times it's as exciting and chaotic as the band's early recordings. Every member sounds like they've grown immensely, and compliment eachother wonderfully. As for the collaborations, more often I feel like they've chosen solid collaborators, to the point where they often sound so natural. However, the real star here is maturation. BBNG show here that they've grown from being three teenagers with an undying love for Jazz and Hip Hop, to young men who are true Jazz masters.
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