“KARNEVAL” by Busty and the Bass and STS: EP Review
THE MONTREAL GENRE-BENDERS’ LATEST IS YET ANOTHER ENDEAVOR INTO UNCHARTED SONIC CUISINE
Busty and the Bass and STS performing in NYC. Photography by Max Schoenfeld
The Montreal-based group Busty and the Bass walks genre lines with grace—from soulful grooves (“Out of Love”) to pop-disco energy (“Up Top”) and smooth hip-hop vibrations (“Go So Far”). The group converged while studying music at McGill University, and their humble jam-session genesis quickly materialized into something more. With their 2015 debut album and two subsequent LPs, Busty and the Bass have refined a multi-hyphenate sound and ability to innovate while championing a learned jazz prowess.
Their May 2022 EP KARNEVAL is yet another endeavor into uncharted sonic cuisine. The group describes KARNEVAL as “a collection of soulful late night hip-hop centered around the theme of an abandoned fairground, evoking memories of relationships, desire, and nostalgia.” The EP welcomes rapper STS (aka Sugar Tongue Slim) into the fold, a Questlove and DJ Jazzy Jeff-cosigned Philadelphia transplant who cut his teeth in the city’s slam poetry scene. His talent especially shines through on the EP’s first and final tracks, with a slippery cadence and vivid, tongue-in-cheek diction that bounces along the dynamic instrumentation.
“All my peers sip beers brewed especially for the season / With cute artsy chicks, mostly leather-wearing vegans”
– STS, “LumberJack Beards (Intro)”
KARNEVAL sees the band in strong form as they venture into new territory. The pseudo-synth vocal harmonies at the beginning of “Merry Go Round’’ beautifully melt together with an atmospheric guitar melody, and the thwack of the snare drum firmly solidifies the foundation for the hook—not to mention the distinct vocal timbre yielded in the mix. “Everything Comes in Waves” is the EP’s best dance tune with a forward-thinking keys solo complemented by punchy trombone and trumpet hits. An additional highlight is “My Parade,” an eloquently-written piano ballad featuring the silky-smooth vocals of guest artist Jordan Brown.
Busty and the Bass’ talent is as prevalent on stage as it is in the studio; I had the pleasure of attending and photographing their NYC stop on the KARNEVAL tour last summer, where their animated grooves made quick work of the crowd. The group was just as amiable and welcoming when I met them backstage in the green room (shout-out to their trombonist Chris, in particular, who hooked me up with an ice-cold Modelo). I thought about picking their brains on influences and inspirations, but a choice encore song (“Everybody Loves The Sunshine” by Roy Ayers Ubiquity) told me all I needed to know.
“Jack Daniels, baby—we gon’ drink the whole bottle!”
– STS, “time bomb (Devil’s Eyes)”
Busty and the Bass continues to push the boundaries of live-instrumentation R&B and hip-hop, and I expect great things from them in the future. I encourage you all to take a few minutes and listen in, perhaps with some whiskey in hand.
