Root Valdez, a group out of New York City, comprising Fred 'Valdez' Gerantabee, Christopher 'Root' Heinz and Leslie Graves, throws up an intriguing combination of downtempo-influenced pop. Unfortunately, there isn't a lot on the internet about them, beyond bits and pieces regarding the respective members' previous projects. This shouldn't stop you from giving this album a whirl though. The word 'mycelia', by the by, is apparently (being no mycologist myself) the plural for 'mycelium', the vegetative part of fungus that absorbs nutrients from the ground. Not entirely sure about its relevance here, except to say that this album really is a mixture of 'absorbed' styles and influences that come together to form a very listenable whole. Admittedly, that last sentence is a wee bit contrived, so without further ado, let us pass onto the important part of the review, the music...
'Deeper Heart' gets things started. An introduction of sorts, it has a mystical, far-eastern sound, haunting sitar notes floating through and a sweet, mournful female voice. There is no real structure, as is to be expected from an introduction-esque track, but it is a pleasant opening salvo, and serves as a very nice warm-up to the main event.
The second track, 'Through The Fields' is the closest on the album to single-material: it's poppy, delightfully upbeat and has a swinging drum rhythm that nevertheless retains a hard edge that breaks with a satisfyingly crisp snap. It feels relaxed, smooth, lovingly produced and is peppered with blippy electronic surges, contributing to its trip-hop air. Leslie Graves' beautifully sweet vocals float high above the mix, occasionally layered on top of each other, occasionally modulated electronically, but always lovely.
'Love You More' with its breakbeat drums, ringing guitar chords echoing in the background and programmed percussive blips is the closest that the album gets to the Bristol trip-hop scene. Even Graves' vocals have a hint of Beth Gibbons to them, at times whispered, at times soaring, always heartfelt. Indeed, the chilled-out vibe to 'Love You More' is rather in keeping with the Portishead references, although Root Valdez refrains from plunging too deeply into the overly electronic world of down-beat trip-hop. Voices sound like voices, jazzy guitar work never feels too processed and the drums are never too high in the mix. Fred Valdez fiddles away on his guitar, sliding up and down the fret-board, seemingly without a care in the world and saxophones parp away. This is lounge(-ing about) music, but in a good way, without the worryingly insignificant, throwaway feel often associated with such a term.
'Take Me Down', whilst feeling like nothing particularly special, has a wonderfully luscious refrain of 'Take me down/let's feel this on the ground'. The track then breaks off half-way through into an instrumental coda that ambles like a walk with a loved one on an early Spring day, coaxing the listener into a happy bliss. Little nuances, like a sitar that emerges only to disappear almost instantly, and electronic pulses that show their head but for an instant, punctuate this very airy, but not lightweight track.
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'Strange Days' is all itchy, scrabbly, slightly hyperactive beat, jazz flute solo and talk of penguins taking over. Strange days indeed. Waves of synths bubble under the surface, but the song really is all about Nick Giani's flute solo. A much underused instrument in popular music, but employed to perfection here. This track also demonstrates the more drum 'n' base leanings of Root Valdez's previous release, 'The Autumn Sessions EP' and 'The Form Of Space', by QB3, Fred Valdez's and Christopher Heinz's previous group. It never becomes overpowering though. QB3, an acid-jazz group, indicates perhaps where Valdez and Heinz are coming from. The drumming, although certainly more restrained and lower in the mix, shows the tight, rhythmic understanding that allows the big-game players to go out and cut loose. Valdez's guitar is also more restrained than the often meandering, improvisational style associated with the acid-jazz genre, but his relaxed delivery and clearly impressive technical mastery of the instrument are indicative of these roots.
The last two tracks of the album see Root Valdez take a step back from the electronica-tinged feel of the album thus far. 'From Far Away' delivers acoustic, delicately finger-picked guitar, swooning (and at times aggressive) strings, and the merest smattering of twinkling keys. A generally delicate high-hat beat (which mutates into a slightly more driving snarebeat) underpins the whole shebang, and it remains light, yet resolutely dynamic, and very, very pleasant. 'No Words', the final track of the album, begins as a stripped-back, folk-tinged, beautifully delivered duet between Valdez on acoustic guitar and Leslie Grave's voice. This blossoms around the four-minute mark, as the two performers are joined by a shimmering electric guitar and atmospheric drums that rumble and simmer before rolling to a halt. It's an interesting, almost anti-climactic finish to the album, but one that is entirely in keeping with its extremely mellow feel.
A musical hybrid of chilled-out beats, atmospheric vocals that do their ethereal, soaring thing and jazzy guitar, this album feels significant enough without ever being too demanding. It is the sort of music that could easily soundtrack a Sunday morning, or a pleasant drive through the country, but in actual fact it is pleasant listening, whatever the situation.
(http://www.myspace.com/rootvaldez)
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