Customer Reviews

Days to Come

5 star:		(16)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Shortlisted as top 5 of 2006 by Gilles Peterson then chosen as the 2006 Worldwide All Winners Album of the Year by the audience, Bonobo's Days to Come album is easily the finest fusion of jazz and electro styles to hit the decks in the last year. But, credentials aside, let us now move on to particulars:
INTRO - This intentionally brief interlude makes a bold announcement of the intense soundscapes we are soon to visit. Basically, this album enters without subtlety, it's on and it wants everyone to know it.
DAYS ... - Having just thrilled us (albeit prematurely), we now transition into the groove that will set the mood for most of the album. Further, the newest development in the Bonobo sound-evolution springs itself on us: VOCALS and good ones at that. The inherently rythmic, molasses-sweet voice of Bajka (Poets of Rhythm) harkens us back to the days of Nina Simone while the playfully bouncing beat sweeps us along assuring us with brass and soothing our beast throughout with chimes seemingly being played by the wind itself.
BETWEEN ... - A sharp contrast to the previous track (and the rest of the album), this track is darker focusing its instrumental on enhancing the narrative vocals while the flute, gong, and creaking door-hinge type sound lend themselves to visions of ancient rituals. While there are movements in this track, the general motion seems to be an evolution towards an anticlimactic end.
THE FEVER - Back to the groove and damn is it kickin this time! Notice that the subtler sounds are starting to gain prominence. This arrangement is both beautiful and delicious in its delicate intricacies, layering simple piano-chord progressions over a complex beat before moving into the next movement during which we cannot fight the feeling that this is all starting to get very serious.
KETTO - Did someone say serious? Try mixing a deep, driving bass slam with a jewelry box before adding in some angelbaby-talk and a Brazilian cuckoo just in case. This is the second track to feature hand claps and in this instance they are vital to the timing/beat.
NIGHTLITE - Here it is, the track we've all been waiting for (some of us longer than others but hey " ... come, let's bring light to the night of day."). Such strings! Jazz organ! Guitar! Meaningful pauses, breaks!!! It's all about the burst of musical energy in the final movement " ... have they got problems of they own?"
TRANSMISSION94 1 & 2 - If Nightlite is to be the lyrically inspired crescendo of the album then Transmissions is it's instrumental counterpart. I love nothing more than to try and convince myself that the song is over half-way through, right before the second movement is heralded by the sax, then I realize I've forgotten all about the imminent cyclical breakdown which proceeds to shatter the sound-space continuum with it's brilliant sonic verbosity. As the horns chase spiraling flutes through the cosmos amidst the cymbals' crash I know what it is to return, to forever.
ON YOUR ... - What else are you going to put after Transmission? The throw-away track!
IF YOU ... - This track is a brilliant addition to the rare sub-genre started by (in my mind) Air's "Playground Love" off the Virgin Suicides soundtrack. This sub-genre is the antithesis of the unfortunately overpopulated high-school pop love song niche. A droning, subversive nocturne which exclaims the perverse implications common to all trysts. But what is this at the end? Redemption by reprise!
WALK IN ... - The "parkour theme". Vaguely reminiscent of Days to Come, this narrative acts as something of a bookend before the encore. Notice the cyclical theme that starts to develop/announce itself in this track only to be fully exploited in the next. As with several of the other tracks on this album, the arrangement is such that it only fully develops in the second major movement.
RECURRING - Q: What is recurring? A: Everything! The perfect end to a perfect day, progressively building upon itself to create an undeniable sense of movement, this piece is overflowing with nostalgia and the promise of, what else, Days to Come.

General notes: Instrument use and themes develop throughout the album track by track. Repeated listenings help us to make more sense of this well arranged progression. This album achieves something else worth noting: a sound that is both new and ancient all at the same time. These are the rhythms of something much greater than ourselves.

The second disc is undoubtedly a nod to the purists and those who didn't get enough instrumental lovin' on Bonobo's previous "Dial M ..." effort. What shouldn't be so surprising is how well these tracks work without vocals as the sounds have plenty to say on their own.

"Days to Come" begins with a brief idyllic intro to get you into the mood of the music. Sweet flute mingles with nature sounds to hint at an outdoor location with tropical appeal. It sounds like someone is swimming in water and is talking in a cave near a beach. Bajka's soulful presence really starts this album off with her smooth silky vocals on the second track and by then you are in the mood of this sultry journey into imaginative lyrics and earthy elegance.

"Between the Lines" has a hopeful message of love and peace with an earth shattering style beat that keeps the rhythm moving right along into your day. It is such a fun energetic song, you might almost be sorry when it ends. Fortunately "The Fever" steps right up onto the stage and provides heavier urban rhythms with a tribal appeal. This vast expansive track melts into a fizzy bliss that then opens up immediately into "Ketto's" angelic strings that mix with a toy chest of sounds to bring about a sweeping ambience with fascinating hypnotic elements and sweet vocals layered with playful bouncy beats. This is a gorgeous heady track that ends with water dropping into a brass bowl.

This album keeps taking off into new worlds and "Nightlite" has a 70s tambourine style mixed with a slipping into the night gypsy ambience. "Transmission 94" is a party all on its own with saxophone and relentless percussion mingling with faint remembrances of ancient chants and a dash of electronic chaos. The music goes right through you and then turns silky with delicate strains of saxophone. Listening to "On Your Marks" on headphones makes the floor feel like it is vibrating.

"Sun slips into the island
Moon reaches for the stars
Music is the healer
no matter who you are"
~ Walk in the Sky

"Recurring" has exciting vibratory elements that send this track spinning into a musical ecstasy with deep reverberations and chimes blended effortlessly together into warm ancient and urban coalescence.

The second disc takes all the vocal tracks and turns them instrumental (except for "Nightlite" with a male vocal instead of Bajka) for your varied listening pleasure. In the end, you come away feeling like you have experienced an exotic electronica art form with a highly creative appeal. "Hatoa" concludes the adventure with a warm soothing downtempo dream. I think in the end, I love the first CD the most because of Bajka's vocals.

~The Rebecca Review

This album will definitely fall through the cracks even though it's easily one of 2006's best releases. While DJ Shadow is running around out churning out hyphy garbage, Bonobo weighs in with this masterpiece, full of lush orchestrations, dope beats and excellent vocals. Days to Come gives you that late 90s trip-hop feel but with its own original twist and vibe - it's got more funk and less darkness. I'd say it's sort of like a combo between Quantic and classic DJ Shadow, with a little bit of Amon Tobin spookiness.

Shortlisted as top 5 of 2006 by Gilles Peterson then chosen as the 2006 Worldwide All Winners Album of the Year by the audience, Bonobo's Days to Come album is easily the finest fusion of jazz and electro styles to hit the decks in the last year. But, credentials aside, let us now move on to particulars:
INTRO - This intentionally brief interlude makes a bold announcement of the intense soundscapes we are soon to visit. Basically, this album enters without subtlety, it's on and it wants everyone to know it.
DAYS ... - Having just thrilled us (albeit prematurely), we now transition into the groove that will set the mood for most of the album. Further, the newest development in the Bonobo sound-evolution springs itself on us: VOCALS and good ones at that. The inherently rythmic, molasses-sweet voice of Bajka (Poets of Rhythm) harkens us back to the days of Nina Simone while the playfully bouncing beat sweeps us along assuring us with brass and soothing our beast throughout with chimes seemingly being played by the wind itself.
BETWEEN ... - A sharp contrast to the previous track (and the rest of the album), this track is darker focusing its instrumental on enhancing the narrative vocals while the flute, gong, and creaking door-hinge type sound lend themselves to visions of ancient rituals. While there are movements in this track, the general motion seems to be an evolution towards an anticlimactic end.
THE FEVER - Back to the groove and damn is it kickin this time! Notice that the subtler sounds are starting to gain prominence. This arrangement is both beautiful and delicious in its delicate intricacies, layering simple piano-chord progressions over a complex beat before moving into the next movement during which we cannot fight the feeling that this is all starting to get very serious.
KETTO - Did someone say serious? Try mixing a deep, driving bass slam with a jewelry box before adding in some angelbaby-talk and a Brazilian cuckoo just in case. This is the second track to feature hand claps and in this instance they are vital to the timing/beat.
NIGHTLITE - Here it is, the track we've all been waiting for (some of us longer than others but hey " ... come, let's bring light to the night of day."). Such strings! Jazz organ! Guitar! Meaningful pauses, breaks!!! It's all about the burst of musical energy in the final movement " ... have they got problems of they own?"
TRANSMISSION94 1 & 2 - If Nightlite is to be the lyrically inspired crescendo of the album then Transmissions is it's instrumental counterpart. I love nothing more than to try and convince myself that the song is over half-way through, right before the second movement is heralded by the sax, then I realize I've forgotten all about the imminent cyclical breakdown which proceeds to shatter the sound-space continuum with it's brilliant sonic verbosity. As the horns chase spiraling flutes through the cosmos amidst the cymbals' crash I know what it is to return, to forever.
ON YOUR ... - What else are you going to put after Transmission? The throw-away track!
IF YOU ... - This track is a brilliant addition to the rare sub-genre started by (in my mind) Air's "Playground Love" off the Virgin Suicides soundtrack. This sub-genre is the antithesis of the unfortunately overpopulated high-school pop love song niche. A droning, subversive nocturne which exclaims the perverse implications common to all trysts. But what is this at the end? Redemption by reprise!
WALK IN ... - The "parkour theme". Vaguely reminiscent of Days to Come, this narrative acts as something of a bookend before the encore. Notice the cyclical theme that starts to develop/announce itself in this track only to be fully exploited in the next. As with several of the other tracks on this album, the arrangement is such that it only fully develops in the second major movement.
RECURRING - Q: What is recurring? A: Everything! The perfect end to a perfect day, progressively building upon itself to create an undeniable sense of movement, this piece is overflowing with nostalgia and the promise of, what else, Days to Come.

General notes: Instrument use and themes develop throughout the album track by track. Repeated listenings help us to make more sense of this well arranged progression. This album achieves something else worth noting: a sound that is both new and ancient all at the same time. These are the rhythms of something much greater than ourselves.

The second disc is undoubtedly a nod to the purists and those who didn't get enough instrumental lovin' on Bonobo's previous "Dial M ..." effort. What shouldn't be so surprising is how well these tracks work without vocals as the sounds have plenty to say on their own.

Bonobo is a master of the auditory realm. I've been hooked ever since Animal Magic, and his skills and ingenuity just seem to continue blossoming. This album is very eclectic, drawing from a variety of musical genres and utilizing many unique instrumental pallets from track to track. His sense of rhythm, melody and harmony are, in my opinion, unmatched in world of downtempo/triphop/however you'd like to categorize. Wonderful vocals too. I dream of someday seeing Bonobo live. Do yourself a favor and check this album out!!

This album combines some of the classic instrumental/sample sounds of Bonobo that I have come to love with some new vocal tracks that take this album to a different direction. Days To Come marks a change for him as he has combined the use of samples, live musicians, and now vocals to construct his most unique album yet. Personally I have been drawn to his instrumental stuff and will probably continue to do so in the future. I feel the vocals, although beautiful, take the spotlight away from his ability to weave melodies and other sounds together. You can hear it behind the vocals, but I'd prefer them to be front and center.

But, he does come through with some nice instrumental songs. One fantastic example of this is "Recurring" which is an awesome song, but has now appeared in its 3rd album. I was shocked when I saw it added onto the end. Another is "Transmission94" which is a great tune but seems to be a little too long as it drags for the last couple minutes. Other high points include "Walk In The Sky" and "Ketto." Overall, if you are a fan of Bonobo its surely not to be missed but if you are new to his work I'd suggest "Dial M for Monkey" and pick up his shorter "Live Sessions" LP which shows a wonderful transition from studio to stage. Also you MUST get "One Off Remixes and B-Sides" Some of his best work appears on there as well as some nice remixes. Enjoy

Just received this album from Ninjatunes label in the UK about a week ago, and have been listening constantly to this album! Have been a fan of Bonobo's previous stuff, but I must say Bajka's vocals have contributed considerably to this new album. Stand-out track has to be, "If You Stayed Over" featuring Fink. Perfect atmospheric mix of dark moods and instrumentals. And when you hit the 3:50 mark of "If You Stayed Over", be prepared for an utterly gorgeous instrumental segment.

If possible, try getting the copy of Days To Come that includes the bonus instrumentals disc that includes a great demo version of "Nitelite" and reprise version of "If You Stayed Over".

The first Bonobo album I heard Was Dial M For Monkey which I really dug. I was hesitant to get Days To Come because I knew nothing about it but I was pleasantly surprised. I love it. I like it better than the Monkey album!!! I would get it if you like Bonobo!!

On _Days to Come_, Bonobo moves away from his mellow downtempo and more into jazz, aided amply by Bajka. His melodic sensibility hasn't weakened any; if any, the vocals add a fascinating texture to his compositions. The title track, for instance, has some syncopation that Bajka accentuates ably, while "Between the Lines" has some tribal-tinged percussion that powers forth with Bajka's bent notes. "Ketto" has a finger-snapping rhythm to go with the harpsicord melody, but it's "Nightlife" that really get things popping. "Transmission 94" has a Cinematic Orchestra-like clarinet, but the rhythms are pure Bonobo. Fink lends a more folksy vibe to "If You Stayed Over," but it's Bajka who again steals the show with "Walk in the Sky." But for those who prefer Bonobo's instrumentals, this special edition includes a disc of vocal-less versions. But to my ear, the vocal version have more to offer.

I heard part of one song from this CD on the radio (Days to Come) and ordered it without even bothering to listen to the rest of the tracks - and I'm not disappointed. I only wish I had found this when it first came out, because of the years I've missed not listening to it. This CD has great flow and mood.