Written and recorded over the last year, the album served as an alimento for the soul, a motivation to persevere through the pandemic, as Cimafunk spent countless hours studying decades of musical influences to help understand who he is musically and culturally, and thus, where he wanted this album to take him.Īs innovative funk forefather George Clinton (Parliament-Funkadelic), who sings alongside Cimafunk on the opening track "Funk Aspirin," says: “Cimafunk takes it back there while keeping it in the now. The sonically dynamic collection masterfully blends Afro-Cuban sounds and rhythms with global funk, hip hop and soul-resulting in a progressive, head-bopping celebration of black music’s power to eclipse borders and cross-pollinate across cultures. "El Alimento (translation: the nutrient) is the monumental second album from Cimafunk, the Cuban medical-student-turned-Latin-funk-star who crash-landed onto the music scene with his debut album Terapia in 2017 and an electric live show that been compared to that of James Brown. Instead, he’s like a documentarian of trying times of what it feels like to grow a new epidermis instead. Here he examines that self-destructive tenderness, observant of the way he was then but not fraught over it. He was stuck in a cycle, unable to escape, and every time he sat down the self-loathing and demons came out. It was isolating in the usual ways for that time, of course, but he was also juggling a number of relationships that were unhealthy for a myriad of reasons. Stocker wrote these songs from March to November of 2020.
Is that a mode for something true? Even if it’s evil? When you operate without goodness in mind. Instead, Stocker wonders what happens when you die and are reborn as a demon. It’d be easy to say it’s in response to Stocker’s deeply religious upbringing, but that’s too simple – instead, it’s an exercise in “what if’s?,” leaning into the dark side, interested in exploring what it means to be satanic without ever mentioning a devil – or any type of God, or religion – by name.
Even the title vies for blasphemy Stocker’s attempt to divorce his first name from its loaded religious meaning and instead take ownership of it.
The 12 songs collected here are intended to signify a new brotherkenzie era: one embracing sex and heathen ideals. The record is a re-introduction to Stocker’s solo output as brotherkenzie his last release, 2020’s BIG WHAT closed the first chapter of the project, while Nathan explores the afterlife of a creative death. A final look-a-round at the dirt you’ve known your whole life before descending to the eternal what-have-you. It’s an artifact of what happens when you listen to, and obey, your demons. The looming black mass is a physical manifestation of narcissism – and Nathan is an exhaustive exploration of that. It’s like a snapshot of calm caught in a moment before something bad happens, but you don’t know quite what that bad is yet. On the cover of Nathan, Stocker is about to be enveloped by an enormous black box in a deadened Minnesotan sprawl, framed by the eeriness of placid blue skies, the suggestion of a cold wind. Brotherkenzie’s music is a chasm carved from honesty and earnestness, the result teetering between catchiness and pop, but with sharp edges. The Rise and Fall of Ziggy Stardust and the Spiders from Mars: 50th Anniversary Edition īrotherkenzie is the solo output from Minneapolis producer and songwriter Nathan Stocker – and, through the project, lives in the shadows, operating on the outskirts of the music industry, something he’s grown increasingly less interested in as he ages. Working Class Dog: 40th Anniversary Special Live Edition They Live OST īigger Than Life: SB 15 Year Edition Sounds Of Summer: The Very Best Of The Beach Boys Ī Light for Attracting Attention
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