Moses Boyd – Absolute Zero \\ EP review

There’s no question that Moses Boyd is making an impact on the shape of the London Jazz scene. Last year’s Rye Lane Shuffle marked a departure from his earliest work, as he began to arrange Jazz instrumentation with a producer’s mentality. Continuing in the electronic vein, his latest EP, Absolute Zero, journeys further towards electronic experimentation.


The influence of grime artists like Wiley and Dot Rotten is clear in the sparse heaviness of Boyd’s beats—especially in Square Up. His experimentation with synths also suggest inspirations from prog rock—unsurprising given his latest collaborative release with Binker Golding, Journey to the Mountain of Forever

As you’d expect from Boyd, the music is grounded in its drum rhythms but its texture is thickened with synth loops, crystallising melodies and dirty bass lines; there are smatterings of space-dust throughout.

Interview: Binker and Moses let loose \\ “There’s nothing worse than a bad sounding Jazz album” 

Boyd’s attitude for taking on new challenges is evident in Absolute Zero. Being a largely self-taught producer, he’s also built a stronger relationship with effects pedals and analogue gear. Not one to be pinned down, the album’s title track contains another noticeable change of groove, channeling dub and reggae bass lines.

The South London blend of styles and influences displayed on Absolute Zero is in itself the record’s signature. In its arrangement lies Boyd’s strength.  

Tweet @jazz_standard @mosesboydexodus

Absolute Zero on Bandcamp

JS | Jelly Cleaver

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