The music of Archie Pelago (the trio of Hirshi, Kroba and Cosmo D) suggests many reference points that are beyond the usual boyed-up remit, straying into musical territory inhabited by seriously gifted live instrumentalists. This, however, would be of no particular note to us if it wasn’t channeled through a love for a contemporary bass-driven electronic music. The trio hail from Brooklyn, NYC and bring a strong heritage of their hometown to their music, referencing the deep jazz of classic recordings by John Coltrane, abstract dance forms of Arthur Russell and the unfettered experimentation of Moondog. This is accompanied by a deep appreciation of the evolution of the UK’s dubstep sound. Archie Pelago know all the classic early material and have honed in on the best creative potential that sound had to offer. They accomplish this synthesis as both a live and production unit. Meticulous, adventurous arrangement concepts flow and challenge the listener equally, meeting a healthy degree of on-the-fly processing and live improvisation that might threaten to undermine the balance if it weren’t so damn NATURAL. ‘Subway Gothic’ became a fast favourite with us. The opening piano chords drip with pretty melancholy while the rhythm and bass propel the track forward. The vulnerable vocals, string sweeps and soulful sax enhance the mood to the point of exquisite joy. Soon after, the composition drops way down to rise and surprise again in a mid-section constructed from shadows, jolts, scrapes and odd shapes. The sudden re-appearance of our heroic piano heralds a resolution. Based on a repeated rhodes-loop, ‘Ladymarkers’ features some frankly delightful fingered-bass, flute, sax and cello over a beat that has an Afrobeat undercurrent. These instruments are treated to sublime fx and processing, adding psychedelic swells. A key change half-way through pivots the mood towards inquiry, self-examining the song?s melodic and modal possibilities.