The Polyrhythmics have put out an outstanding album with Life From Below. Each tune is distinctive in its color and theme while still recognizable as a Polyrhythmics song. The group has become a personal favorite over the last few years, based on their dynamic live sets and consistently high-quality studio releases.
As usual, there is a prominent role for the stellar horn section and the album is peppered with tight riffs and several spectacular solo sojourns, which I’ll cover in detail. The dazzling guitar-bass-drum of Ben Bloom, Jason Gray, and Grant Schroff alway keep the energy at a high level. Nathan Spicer on keys takes flight often and to far-off spaces. A foundation of the band has always been Afrobeat, and that’s still present on Life From Below but there are many more branches off that root that consistently spark synapses in new ways.
The guest slots with Adryon de León (ex-Orgone) on vocals on Smoke & Mirrors and Kate Olson on bass clarinet on Ivy are fantastic addition to punch up an already heavyweight album.
Let’s get right to it with my track-by-track coverage and if you like what you read and hear, support the band on Bandcamp and all streaming platforms!
This year’s Life from Below marks an exciting new chapter for Polyrhythmics, delivering a fresh collection of grooves infused with the bold creativity and signature tight-knit musicianship that fans have come to expect. As they celebrate their 15th anniversary, the band reflects on a decade-and-a-half of musical evolution, countless miles on the road, and a loyal community of listeners that continues to grow.
Over the years, Polyrhythmics have graced stages at major festivals and renowned venues across the United States and internationally, sharing bills with legendary artists while carving out a distinct space in the global funk and soul scene. Their music—equal parts danceable, thoughtful, and immersive—offers a rich listening experience that draws from the roots of American funk and soul while incorporating global influences.
With Life from Below, Polyrhythmics look forward to the next chapter of their journey—pushing boundaries, creating new grooves, and bringing their celebrated live energy to audiences around the world.
Track-By-Track
Life From Below has one of the most cinematic openings ever, with the synth sounding like a helicopter and the horns dynamically bouncing side to side like the sweeping searchlights and iconic fanfare of the 20th Century Fox Films (see second video). It settles into a fine low-end theme with Gray on bass playing off the horns and Art Brown offsetting the lows with some beautiful flute. Scott Morning takes a full trumpet solo with a sustained note taking us out nearly to the end.
Chophouse has a classic funk feel with jaunty organ and jangly guitar from Ben Bloom. The horn section is rolling front and center with some choice bass notes, followed by additional full-circle horn riffs. Nathan Spicer lays down some swooping organ that segues into a funky ‘bone solo from Elijah Clark. Spicer comes back to lead the horns before the main theme resumes up to the close-out.
Mayo Con Yayo is the ‘go-go’ tune on the album with popping percussion and an uber funky bass. The horns, bass, and keys all parry with each other. The spacing is excellent, as each has a clear voice. Art Brown has a slinky solo at the midpoint. The go-go effect peaks in the second half with various cowbells, triangles, and chimes. Chuck Brown would approve.
Serpentine is the spookiest of the set, starting with some eerie synth and tiptoeing in guitar. The horn line is quavering, and the flitting flute signals spirits in the air. It’s the most seasonally appropriate tune on the album, coming up on October. Art Brown alights with a cool flute solo, and Scott Morning and Elijah Clark back him up on trumpet and trombone with some processional horn lines. The guitar and flute’s main dirge-like theme is the through line up to the chilling end.
Smoke & Mirrors has a “thrilling” opening — think Michael Jackson — but with a little train whistle to perk it up. It’s the only vocal tune on the album, and Adryon de León puts her beautiful voice to great use here. The horns set the tone for Adryon’s sultry entrance and the lyrics warn of lovers’ scorn.
Interlube is a laid back tune highlighting Art Brown on flute, with the trumpet-trombone combo bookending his lead. Ben Bloom then plays some call and response with both Brown and the horns. It’s sort of a mini-Kool & the Gang, ‘Summer Madness,” right up to the keys-flute ending.
Cake Lady kicks off with a kickin’ bass line from Jason Gray and in that respect may be the most traditional Polyrhythmics song on the album. It’s got a lush Afrobeat base with Nathan Spicer on the lead on keys engaging with the horns and the rest of the band in a call and response sequence. Art Brown has a tasty tenor solo sounding distant and enticing. The band repeats, replete with a triangle-tingling coda, until Spicer comes back in to lead the main theme to the finish.
Ivy is a midtempo tune with a tinge of primal, jungle undertones. The second section drops an octave or so, with some deep bass and horn lines. After a return to the head, Kate Olson drops a full-fledged bass clarinet stick of dynamite into the melee for good measure. It’s the whipped cream on this very tasty treat.
The Band:
Ben Bloom, Guitars
Grant Schroff, Drums
Nathan Spicer, Keys
Jason Gray, Bass
Scott Morning, Trumpet
Elijah Clark, Trombone
Art Brown, Sax and Flute
Adryon de León, Vocals on Smoke & Mirrors
Kate Olson, Bass Clarinet on Ivy
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