I’m listening to Quantum Funkanics by PHex, I’ve just noticed my head is moving.
You know that slow head shake thing people do when they are following the beat with the only unoccupied part of their body they have. I’m doing that.
You can’t really say more about a piece of music. If it can do this to you it has succeeded.
The headphones are on, I’m typing away at some nonsense, my legs are crossed and my toes are toasty in my DMs so they aren’t going anywhere but the funk got in and my head started nodding.
The poignant story of how this album came about is told well by Steve Gordon elsewhere in NQ.
The impossibility of trying to put into words the feeling the music gives you happens here.
If funk was an Instagram filter it would be called Big Happy Juice and that’s what Quantum Funkanics is like: Northampton through the Big Happy Juice filter.
It’s irreverent, adult, profane, touching and surreal but above all shamelessly groovy like it’s not even a dirty word any more.
Lindsay Spence and Katie Paton on vocals are a heady mix of estuary English grit and soulful cream but the soundscape that envelopes you is an alliance of influences that feels more off planet than on.
This is comsospolitan Northampton at its filthy best: mixing the jazzy organic output of the musical collective with lightning strikes of electro-funk.
I’m not listing the tracks because they are NSFA (not safe for anywhere). Fortunately the one I’ve replayed most so far is Ramp Wid Mi T’ings. Oh and the sleeve notes are by one Alan Moore, so even they are a superior piece of work.