French Cuisine is an intriguing album drawing from many diverse influences, spanning Blues, Soul, Jazz, Hip Hop, House, and Ambient, all the while maintaining the same lush moodiness throughout. Although it is filed under Electronic, likely because of the production and compositional techniques employed, it is a difficult album to categorize as it is a mysterious and furtive album that slips in and out of genres like they are so many costumes. Suffice to say, French Cuisine drew me in during the opening strains only to have me reluctant to let go when the last notes faded away.

The last track “Mélismes Extatiques” is exemplary in demonstrating the breadth of the album as it is the one that diverges the furthest from the traditional structures yet manages to remain closely integrated to the prior songs. It is a delicate gamelan influenced piece that builds complex rhythms and melodies upon a series of bells. The sound imparts a hypnotic effect that is greatly enhanced by the quiet synth programming, approximating the main melody that bubbles below the surface. While the length of the track might be intimidating to some, finishing just shy of fifteen minutes, it passes by so gently that time feels less pressing than it often is.

“Rain River” finds a strong influence in the work of McCoy Tyner, Matthew Shipp, and even Erik Satie with its relaxed approach with regards to the interplay between rhythm and melody. The piano sketches out ideas, fragments of thoughts, occasionally having them picked up again or to see them drawn upon by members of the ensemble evolving them further. It is a sophisticated piece that draws strongly from Soul music but keeps a hand on the compositional techniques of the small Jazz ensemble but also serves as a bridge between the more Trip-Hop oriented work and the experimental Ambient numbers.

Rounding out the collection is “L’Amor Nunca Muere”, a simmering track that could be what a B-Side collaboration between Portishead and Gotan Project would sound like with its gummy beats, stiff and slightly ragged guitar line, and sensual vocals that weave throughout. The track furthers the feeling of Continental sophistication that infuses the album and while some might call it World music it is more that elements are combined carefully and reduced to their most meaningful textures.

French Cuisine is rich, dense, and cosmopolitan affair and is easily a contender for one of my favorite albums of this year. Not being satisfied with composing Alif Tree also is an accomplished cook and offers a sample menu in his site. While the menu looks enticing French Cuisine is very highly recommended.

The album can be purchased at either eMusic or Amazon.

I’ll admit that I had some serious reservations about this album after sampling the single “Manifest” as I found the inclusion of lackluster rhyming to be a tad off-putting and it did not help my impressions of the album much on first listen that this track is the opener. That being said, the rest of the tracks on the album quickly changed my bias and even warmed my slightly to the single I had maligned. Broken English is Kale’s super star album featuring cameos from many of his labelmates at Six Degrees Records and possessing a decidedly radio friendly slant though maintaining the Bollywood influenced worldliness that his work is known for, though it is interesting to note that as cultures continue to cross pollinate music such as this sounds less exotic each day which isn’t to say that it is mundane, just more familiar. From the Kale’s page at Six Degrees Records:

Recently, Karsh Kale has been increasingly adamant that words like “exotic” don’t really apply to his music. “This music comes from New York,” he told one writer. “It really shouldn’t be treated differently from any other music that comes from New York.” And he’s right: it’s the Bhangra and Bollywood of Jackson Heights, the hip hop of Brooklyn and the South Bronx, the electronica of the Chelsea nightclubs, and the rock-n-roll of the Lower East Side.

Broken English spans multiple genres and often in the span of a single song. “Free Fall” is a dance track that spins wildly about with a catchy pop hook with Trixie Reiss offering a vocal performance that locks tightly to the bump and grind of the drum programming. Layered on top of it is a lush flute arrangement that cools the tempo slightly and provides a nice backdrop for Sabiha Khan’s Indian vocals. It is a piece infectious confectionery possessing actual substance and is by far one of my favorite tracks on the album as well as from Kale’s catalog.

“City Lights” finds Kale mining completely new material as the track is a straight ahead power ballad, though not in the traditional 80’s definition of the genre. Rather it is more of a blend of Rock and Electronica, similar in feel to what was popularized by bands like Garbage in the mid 90’s, but still maintaining a contemporary feel. Todd Michaelsen provides the vocals and while on earlier tracks he sounds like he is channeling Thom Yorke, “Dancing at Sunset” being the prime example, here he sounds as if he is projecting his personality and his voice fits well with the crunching guitars and reverb drenched piano and string swells. The commercial feel of the track is tempered by the inclusion of Indian style arrangements that flesh out the performance. On another ballad Dierdre of Ekova fame lends her talent to “Innocence and Power” which seems tailor made for her ethereal voice with soft string pads, flutes, and hushed piano line all supported by a glitchy drum and bass rhythms and serves to remind the listener at Kale’s talent of composing for and around artists.

By the last track Broken English had won me over. It is a testament to Kale’s strength as a composer and a producer to create an album that sounds at once familiar and new by blending so many varied musical traditions into one appealing Pop construct. Very highly recommended.

You can pick it up at either eMusic or Amazon.