Stasia Irons and
Catherine Harris-White switch it up a bit for
EarthEE, their second proper album for Sub Pop. While
AwE NaturalE involved only one guest appearance, the duo here get input from fellow Seattle native
Erik Blood, who co-produces everything with them and adds some instrumentation. Additionally, a handful of musicians contribute sparingly, and
Shabazz Palaces'
Ishmael Butler and new labelmate
Porter Ray float through in a supplemental vocal capacity.
Irons and
Harris-White leave sampling behind, stretch out, and space out. They maintain their place in the Afro-futurist continuum -- combining hand drums and synthesizers, receiving inspiration from authors and musicians alike, sounding simultaneously of the soil and of the stars -- with their most organic work yet. These tracks breathe more, average three minutes in length instead of two, and allow for
Irons and
Harris-White to deliver detailed statements that are more observational than the relatively fragmentary lines of the debut. None of the changes lead to aimless indulgence. Through an unassuming, early three-track sequence of "No GMO," "Planet for Sale," and "Blandland," they emit squirming synthesizers, radiantly bumping funk, and subdued grooves to underscore sharp scrutinies of prescription drugs, earth rot, and cultural co-optation. The album's second half is even better, with back-to-back tracks enhanced by
Meshell Ndegeocello's deep bass throb followed by a pair laced with
Tendai Maraire's entrancing percussion. "Recognition," the latter of the two, is a gem that affirms the group's standing in the evolution of jazz and soul. It's like they conceived a modern-day analog to a mid-'70s
George Duke/
James Mtume super session, drew power from
Jean Carn and
Tawatha Agee, added their own touch, and executed it to assuring perfection.
EarthEE may not have the direct, off-the-cuff quality of
AwE NaturalE, but its all-around richness is incontestable.