Thirty years ago, he was the founder, songwriter and frontman of cult post-punks Josef K. Today, he’s releasing an album that veers from extra-terrestrial glitch to instrumental hip-hop and electroswing. Paul Haig has never been a conformist, so it’s unsurprising that he continues to stretch himself while his contemporaries dwell on former glories. Kube, his eleventh solo LP, amply showcases his extreme versatility, covering everything from plastic funk to minimal techno with the kind of unashamed chameleoning worthy of Bowie.
Thematically, regardless of specific genres and influences, Kube is dominated by the sounds of space, and above all, of aliens. On the excellent ‘Cool Pig’, incomprehensible robotic vocals unite a ringing piano intro, an old school hip-hop beat, and a rising synth chorus that has more than a touch of happy hardcore lurking in its DNA. All this, backed by the kind of sound effects that Nineties plastic spaceships used to emit. Ridiculous as it sounds, it works. Equally bizarre are the echoing, liquid beats of ‘Dialog’ – a chaotic soundscape with vocals that seem to sample Ian McKellen reading The Prisoner scripts from within a Martian sandstorm.
From those descriptions you might not think that Haig is a man who believes that less is more. The Martian beats are intense. But there’s another, completely different, side to Kube that’s less space-techno... more space-jazz! This is intergalactic music, still spacey, but with 'world music' influences replacing the electronic beats. ‘Four Dark Traps’ brings tribal tom-toms and didgeridoos, while ‘It’s In’ is all waves of keys and jazz cymbals with little stabs of funk bass and intercuts of taking off planes. The unfamiliar end result is hypnotic, a weird marmite-and-cheese mixture that shouldn’t work but somehow does. Strangest of all is ‘All of the Time’, a weird combination of the album’s internal weird combinations. Lounge music, almost Richard Cheese-like vocals ooze over minimal glitch and a robotic choir. The whole ludicrous affair is topped off with some funky slap bass. It sounds like something that the Star Wars cantina band would play.
To close, Haig offers us two lengthy instrumental pieces that once again manage to both contrast with, and yet entirely compliment, everything that has come before them. The slow, dubby ‘Torn’ is like a lunar take on ‘The Pills Can’t Help You Now’, while ‘Pack’ collects yawing, seasick synths and micro-percussion to forge interstellar trip-hop.
Find yourself some Air Jordans, kick back, and trip out to these odd and utterly original space jams.
7Kat Waplington's Score