If I had to choose one of the main characteristics of the history of music, I believe I would have no doubts and would unhesitatingly opt for the word "evolution".

The concept of evolution is quite complex: applied to a "biological population" (cit. Wikipedia), it consists of the change in hereditary traits passed on from parents to offspring; in a broader and philosophical sense, scholars call "evolution" any transformation involving development or advancement. We could recall other areas (natural history, volcanology, etc...), however, what the various definitions have in common is this process of slow differentiation, caused by factors which, depending on the instance, can be "structural or random, internal or external" (cit. Treccani).

The digression is not intended to evade the subject of the review, but rather, it allows us to understand how the musical organism changes over the years, that is, through the passing of the torch to subsequent generations. The latter, in some cases, do not merely reproduce the same recipe but enrich it with new ingredients that lead to an advancement of the state of the art: hence the evolution we were talking about.

By narrowing the scope, we can say that one of the merits of The Cinematic Orchestra is precisely what has been illustrated so far. The London ensemble, in fact, connects to the tradition of American jazz, yet at the same time immerses it in a contemporaneity made of samplers, turntables, and strange electronic gadgets. What is the most obvious consequence? Simple: this mix of styles leads to the transformation we discussed earlier.

The idea of progression is also present in the titles of the group's first two albums, released by the English label Ninja Tune: Motion and Every Day. The first work is influenced by sounds close to contemporary jazz, while the second stands out for more personal and innovative arrangements, in which hip-hop, downtempo, and drum and bass blend with live instrumentation, with surprising results. And on this, we will focus our attention.

The album consists of six tracks, all of medium length (ranging from six minutes of "All That You Give" to over eleven of "All Things to All Men") and lasts a little over an hour. The material assembled for the occasion allows The Cinematic Orchestra to reach artistic maturity, and this aspect can be highlighted without fear of contradiction.

A discussion of personal tastes would therefore be excessive: it is enough to listen to the orchestrations of the opening "All That You Give", combined with the painful singing of Fontella Bass ("I'm grieving from my hat down to my shoes"), to understand the excellent quality of the compositions. The Sixties soul singer (famous for hits like "Rescue Me") appears again in "Evolution", an anthem to change that masterfully blends tradition and innovation, among heavy drums, scratches, and electric piano solos. The singer's performance is superlative, marked by minimal and evocative songwriting.

It is not only Fontella Bass who enhances the instrumental plots of Every Day. In "All Things to All Men", we find the English rapper Roots Manuva, ready to "drop" some verses with enigmatic content ("How many years before we practice what we preach?/How many tears before we truly clinch the peak?/Only to find that there is no honey on the moon/Official goon with the unofficial croon"). The arrangement is wonderful, balancing the serious tones of the first part and the lightness of the second, dominated by harps and wind instruments.

Continuing along the path, we encounter rhythmically complex tracks with an intricate structure characterized by the fusion of various musical universes. Among these, we include "Flite" and especially "Man with the Movie Camera", where the cinematic inspiration is evident from the title, taken from the eponymous masterpiece of Dziga Vertov. The starting point is a sample stolen from the soundtrack of The 7th Voyage of Sinbad; following this, we find a series of rhythmic variations and changes of register that transform the piece into a fascinating journey, to be repeated on multiple occasions.

The highest point is reached by "Burn Out" and the concluding "Everyday", both hypnotic and rich in ethnic nuances. The closing track draws attention, an example of world music woven with percussion, string instruments, and African choirs, ending in an outro where the word "future" is repeated mantra-like. Spine-tingling.

As if that weren't enough, the Japanese edition features two excellent additions, the suspended "Oregon" and "Horizon", similar to some productions by Jazzanova (notable is the singing by Niara Scarlett). Although they deviate from the album's sound, they represent a more than pleasant appendix.

It really seems superfluous to add more since the greatness of Every Day emerges from what has been written before. The album by The Cinematic Orchestra, in addition to marking a significant growth, has the merit of fusing past, present, and future, and does so with a contamination that reflects a globalized world, which does not renounce tradition but respects, honors, and renews it.

In short, to quote the single "Evolution": the stars continue to illuminate the path of Every Day, even two decades later, and they will continue to illuminate it for a long time to come.

The stars light up my life
So bright
Everlasting

Tracklist Lyrics Samples and Videos

01   All That You Give (feat. Fontella Bass) (06:10)

All that you are
all that you are,
all that you have,
all that you give

mmmm

You hear me ravin'
you hear me ravin'
ravin', ravin'

you see me cryin'
I'm grieving from my hat down to my shoes

mmmm-hmm

All that you are
all that you are,
all that you have,
all that you give

all that you give

02   Burn Out (10:13)

But when the money's gone...
They don't come around...

But when the money's gone...
They don't come around...

03   Flite (06:35)

04   Evolution (feat. Fontella Bass) (06:38)

05   Man With The Movie Camera (09:09)

06   All Things to All Men (feat. Roots Manuva) (11:04)

07   Everyday (10:22)

08   Oregon (03:54)

09   Horizon (feat. Niara Scarlett) (04:44)

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Other reviews

By slint

 Anyone reading this must absolutely listen to this group: it has everything! Jazz-electronic-dreamy atmospheres...

 I’ve never seen a live show like it... AND I’D SEE IT AGAIN!


By ZiOn

 "Every Day remains an excellent album and undoubtedly the best by the Cinematic Orchestra."

 "A music that, no matter what people say, remains unique and fascinating."