dreadpirateroberts Dramatic, (eclectically) all over the place, funky, surprising, yeah, all of those things and more. True to his ability to write and produce music in an astounding array of styles, Janko Nilovic returns to material with some relationship to the masterful ‘Rythmes Contemporains’ from the year before. While ‘Funky Tramway’ doesn’t deliver the same level of exciting pieces, or the same depth of exploration, it’s still one of his best records.

The pieces here are generally longer than most of his releases, giving the musicians more time to explore some interesting themes. The songs range across funk, jazz, pop, psyche, rock and novelty genres, with funk being the approximate overreaching banner. Perhaps the most distinctive feature of this album is the introduction (or intrusion?) of the synths, a sound that I at first didn’t think suited Nilovic’s take on exotica, but then, somehow the spacey sounds work well enough. They contrast if not compliment the horns and funk approach common to a lot of the songs. What it does match is the airy, female wordless vocals that feature in so many of his recordings, and so here Nilovic continues to explore and meld at least.

That dreamy atmosphere he creates so well with such use of vocals is typified by ‘Flemish Suite’ where they lurk beyond a jaunty piano intro, and slow everything down to a Pink Floyd-esque tempo in the best example of how the synthesisers are effective. Elsewhere his knack for writing material that would suit any number of cop shows has not waned, as parts of ‘Underground Party’ evoke this, despite the big-sounding choruses. In fact, if anything pulls this particular release down for me, it’s the use of vocals throughout. They aren’t terrible at all, and they always fit what the music is doing, I just don’t always enjoy them. ‘Manneken-Pis Rock’ is a prime example, though it’s got some good counterpoint going at times…I don’t know. Maybe it’s too chipper?

Where Janko jumps into a funky ones with both feet is where this album succeeds most, such as the Shaft-like title track, ‘Disconnected Song’ or ‘Gipsy Funk’ each which have some nice beats and soloing from the keys. ‘Atomium 82’ is reminiscent of the dramatic vocal chorus he’s often employed, and it alternates between quieter moments and what might be a synth freak-out. ‘Little Butcher’s Street’ is worth mentioning too, it satisfies my need for some longer soloing and ‘build’ in a song, though I could use a few guitar or horn solos too.

In fact, the more I write about this album, the more I realise the synth is the real star here. So if you aren’t a big fan of that sound but you’re looking to add another Janko album to your collection, have a listen to a few tracks first. It’s still got that familiar music-library exotica style, and definitely remains one of his better records, but with a distinct change in the sound of lead voices. So I can't go as high as 'excellent' here, but for a fan, I recommend seeking it out.

dreadpirateroberts This is catchy Exotica, with Nilovic's deft touch for both composition and arrangement.

It includes what I've come to think of (after hearing half a dozen releases from him) as his (and much Exotica's) fearless genre-mixing approach to an album. In part, this obviously reflects the nature of recording for library labels - shorter, snapshot-like pieces that sketch an idea (vividly) but don't stick around to develop it too far. But at the same time, as evidenced by some of his other release, Nilovic knows how to write something just as snappy or memorable with or without constraints.

Drawing from a diverse instrumental palette that shoots for 'funk' but is light and rocky too, 'Soul Impressions' flits across a dozen genres. Using acoustic and electric guitars, horns, flute, drums, percussion and organs, it is only missing the strings and wordless vocals from his other releases.

Opener 'Hippocampus' is a great funk rock track, with a feel that is echoed at other times, like in the car-chase 'Crazy Enterprise' and 'Man of Genius.' Elsewhere there is just a breath of menace in 'Push Push' and a Curtis-esque moment in 'Drug Song.' Nilovic also slows things down occasionally, with the sweet 'Open Country' and ballad 'Lady Day.'

At times it's not hard to feel frustrated that the band isn't able to stretch out like they did in the previous year's fantastic 'Rythmes Contemporains' but that is the nature of the recording. This is a great album but may not appeal to Jazz fans who prefer their pieces to stretch out and explore.

dreadpirateroberts Wow, cinematic indeed. I'd been waiting to buy this album for a while and finally got a hold of it almost by accident, running into a friend who lent me their copy on the condition that I protect it well.

Safe to say I liked it enough that I've ordered my own.

Nilovic gathered 45 musicians for this monster session and its fruits are impressive - in fact, the term 'library music,' (when used in a derogatory sense) is unfair to Janko's 'Rythmes Contemporain.' Rather, the record is a seething set of exotica that stretches from lush pop to big band, fusion and beyond, as well any album that is part of the exotica genre should.

Horns and a funk-influenced rhythm section are supported by strings, flute, electric guitar, piano and a (wordless) choir among other instruments. They create, at times, a wonderful restlessness to much of the music, while at the same time, the pieces effortlessly incorporate harmony and melody, along with unexpected twists in mood or direction that kept me hitting the play button. In fact, it's probably the composition and arrangement that are the stars of 'Rythmes Contemporain' - not that I mean to fault the players or the sound quality, both of which are top notch.

With a funk undertone to many pieces, leaving the brass to either flesh things out or to solo, the album has a good share of driving beats and rave-party-like percussion, such as in opener 'Black on A White Ground.' Soon enough it eases into a more measured section that really brings a film score to mind, in the way that the melody parts work more like motifs rather than the head of a hard bop tune. (And take your pick as to which film - it could fit quite a many and do them all justice.)

Of the six songs (totaling under forty minutes) no piece overstays its welcome. 'Mouvements Aquatiles' is brief but beautiful and 'Underground Session' brings some menace in addition to its dueling sax and guitar solos, stretching out nicely. The multi-part opener and follow up 'Giant Locomotion' are also extended pieces but the highlight of the album, 'Xenos Cosmos' manages to go everywhere in half the time. And it's great to catch a trace of laughter early on in the track (Nilovic maybe?) as it sounds like the players are having a blast.

If you've any interest in the exotica genre or want something that brings jazz crashing into the world of film scores (though not in an equally satisfying Duke Ellington 'Anatomy of a Murder' way) then seek out 'Rythmes Contemporain' and see for yourself how enjoyable it can be. Even with the heady-rush of an album I've only had for a month, four stars.