James Teej - Evening Harvest

The LP format for many an electronic music artist has often proven to be a bit of a nemesis, a final hurdle where ideas may run thin, where the eager anticipation of fans is often met with a sigh and shrug of the shoulders. ‘It’s all right, I suppose’ is a common reaction of an LP littered with promise but equally scattered with mediocrity. However, it seems Canadian James Teej has embraced the longer format as a space in which to fully explore his sound. This is a beautifully sculpted LP, full of delicate soundscapes, sexy vocals and detailed, warm soulful grooves. From beginning to end it is a genuine pleasure of a listen.
Teej sets his thesis out early, B4 Spring’s twinkling euphoric beauty, guitars and all, could be transported from a Trentmoller record, yet the lovely percussion in its final chapter gives a little signpost that there will always be one eye on the dance floor here. Monaco Villa is a jacking stompy house jem, the soothing vocal of ‘I ain’t got nothing to hide’ perhaps reflective of the confidence that flows from the Canadian’s work throughout this LP. Late Blooming is a slow burner, deep and funky, again built around a dOP like vocal. It’s warm, meaty bassline and sharp percussion proves a welcome juxtaposition from the drunken, moany vocal. Indeed this formula continues with the aformentioned Parisien trio featuring on Greenback. It’s a superb effort, their layered, warm chorus works exquisitely with the long organ chords underneath. It’s goddamn sexy stuff and Teej’s soulful, restrained deepness and dOP’s innate coolness seem to be a match made in heaven.

We Collide takes things back to the dance floor with a meaty kick, deep synth stabs and lovely bongo layers, while Left Believing uses a haunting vocal to build a wonderfully unique, emotional and evocative slice of deep house. It’s beautiful stuff – these are true ‘songs’ in every way. Seven Day Mend is a funk fuelled effort which I’m sure will find its way into the boxes of the likes of Jamie Jones and Lee Foss in their Hot Natured guises. Again Teej picks a sublime vocal, and his favoured long drawn out organ chords and intermittent driving percussion elevate it into dance floor territory. Sicken’s minimalism is countered with those organs again with subtle yet effective drum layers and the electronica of All We Have is Time seems an almost smug final bow for a producer who knows he has delivered something that feels truly individual. A gem of an LP that couldn’t have come at a better time as we laze away on these warm summer nights.