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Review by Bill Binkelman Fans of ambient/EM/spacemusic artist Stephanie Sante, who has been absent from the music scene since 2001's Inner Beauty (not counting her "best of" release in 2004, Lotus), may not know what to make of her re-emergence on Coffee Culture. Much like noted EM artist Gregory Kyryluk's (a.k.a. Alpha Wave Movement) latest foray into ECM-style jazz (the excellent Ephemeral Highways), Sante has literally reinvented her musical persona on this album. In truth, it's probably more of a return to her true roots, as this album features much more overt guitar than the midi-guitar/synth which was present on Inner Beauty, Immaculate Conceptions, and her debut Into Light. One glance at the funky and fun cover art will likewise tip off any but the densest person that Steph is not floating into the cosmos on this recording. So, what's my take on her transformation? I love it! I mean, I really LOVE it. Criss-crossing between jazz fusion, progressive, and subtle world beat, with side trips into electronica and fleeting glimpses of ambient and new age, Sante displays what has seldom been apparent on previous recordings, i.e., this woman has some serious chops on her ax! Many times, songs feature multi-tracked tear-it-up rhythm guitar, churning away on short chords with crisp technique while tasty solos are layered on top of the bed of the rhythm, electro and acoustic beats, and assorted synth textures. It all adds to a smashing comeback effort by the sorely missed Colorado musician. The CD draws inspiration from, what else, coffee, in all its myriad contemporary forms. There's the spicy "Hot Coco" which sounds like something Todd Fletcher (a.k.a. psychetropic) would cook up if he injected some electric guitar into his hyper-kinetic electronica. Placing this first on the CD was a stroke of genius, as it kicks things off in both a relatively safe vein for Sante's long-time fans (the track is the most overt EM thing on the disc) yet also establishes that this is, first and foremost, a GEE-TAR album! After "Hot Coco," "Chai Chai" fires up the same electronica beats but mixes in more sampled hand drums and also mellows things out just a tad, courtesy of delicate electric guitar leads over a bed of billowy synths. I want to interject here that Sante and her longtime partner Anne McGlochlin did a superb job of producing, mixing and mastering this album. It sounds terrific with clear isolation of the various instruments yet without either annoying over-separation or that amorphous "wall of sound" which some artists favor. What other treats does the album hold? "Cappachino" is the first foray into world beat, with laid back bossa nova trap kit rhythms underneath chilled rhythm guitar and sultry leads "Vanilla Steamer" (by the way, details on what all these coffee drinks contain are included in the liner notes...to me, it's all just java - I'm old-fashioned that way!) quiets things down but also dials up just enough funk to inject a dash of libido in the proceedings. "Cup of Joe" is straight ahead adult contemporary instrumental music, lead and rhythm guitar playing an easygoing tune over a bed of both trap kit drums and percussion, in the same vein as artists like Jamie Bonk or Calvin Coolidge II (from his Seconds album). "Macchiato" slinks and shuffles like an ornery alley cat. Sante injects some twinkling keyboards and sensual wordless vocals into the tune early on then veers over into breezy jazz-blues territory later on with some delicious licks. Yummy! On "Frappe" the artist decides it's time to throw a little rock our way, which she does in fine fashion, with some infectious rhythm guitar work over a toe-tapping beat. "Café Au Lait" showcases Sante's ability to operate in that same ECM-influenced vein that Kyryluk mined on Ephemeral Highways as this piece is more minimal and subdued, peppered with assorted hand percussion percolating underneath muted guitars (including some neat backwards-looped work). "Double Espresso" concludes the album with more of those frenetic beats from the first track, this time though the emphasis is less on electronica and more on lead lines either wafting ethereally over the rapid rhythms or doing a slow burn alongside them. I have no idea what fans of Sante's previous recordings will think of Coffee Culture. It's obvious from the press material that this is a highly personal album for the artist, marking a return to making music that she personally favors and that speaks more directly to her muse. Besides being a triumphant return to recording, it's also an emotional triumph, as the artist was unsure if she would ever play guitar again after sustaining some serious injuries. We can all be grateful for the efforts of the Boulder (Colorado) Center for Sports Medicine who guided her through her recovery. Stephanie Sante is back, folks, and making some of the best music I imagine I'll hear this year. It may not be what most folks expected, but that's what makes it such a pleasant surprise! Coffee Culture earns my highest recommendation as well as a "Welcome back" for the artist! |
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