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<\/p>\nThe band\u2019s name suggests a sound that draws from the complex and intricate rhythms of the African musical tradition. But while Seattle-based Polyrhythmics began with Afrobeat as a musical starting point, the group has since expanded upon that framework to craft a sound all its own. The group \u2013 perhaps better described as a collective \u2013 released its debut album, Labrador<\/i>, in 2011. Today, Polyrhythmics\u2019 catalog features six albums, a pair of EPs and a half dozen singles. And the style and sound found therein is one that will confound those intent on pigeonholing the group into one or another genre.<\/p>\n
Polyrhythmics saxophonist\/flautist Art Brown laughs when that conundrum is pointed out. \u201cThe whole \u2018labeling\u2019 discussion confounds us as band members, too,\u201d he says. Noting that the original concept came from founders Ben Bloom (guitar) and drummer Grant Schroff, Brown says that Polyrhythmics did begin with musical touchstones that included Fela Kuti and Antibalas. \u201cThat\u2019s how it was pitched to me,\u201d he says. But as the vision \u2013 and the group \u2013 expanded, a horn section became an integral part of the group\u2019s character. \u201cAnd I think we\u2019ve branched out significantly,\u201d Brown says.<\/p>\n
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The sonic realignment wasn\u2019t intentional; it was more a factor of exploring the unique collective character that the seven-man lineup brought to the music. And constant touring meant that the group\u2019s style, strength, cohesion and versatility only grew.<\/p>\n
Polyrhythmics\u2019 first three albums were released by a small, Canada-based label specializing in vinyl releases of instrumental funk and Afrobeat. By 2017 the group had shifted to self-releasing its music, but a fortuitous meeting helped bring the band to a wider audience. \u201cBen had been a fan of The New Mastersounds for several years,\u201d Brown recalls. And when Bloom turned his band mates on to the deep-groove boogaloo funk of the foursome from Leeds, England, they were impressed as well. \u201cI thought they were just incredible,\u201d Brown says.<\/p>\n
A mutual respect and friendship grew between members of the two bands, and when New Mastersounds guitarist Eddie Roberts launched his own label, Color Red, Polyrhythmics arranged for a pair of releases on the new imprint. 2020\u2019s Man From the Future<\/i> (reviewed here<\/a>) has a sound that will appeal to fans of Roberts\u2019 group, but the addition of those complex rhythms \u2013 shades of James Brown, Maceo Parker and George Clinton \u2013 asserts the group\u2019s unique musical identity.<\/p>\n