With their third album Fluid Motion, Melbourne’s 30/70 are set to soar into higher territory as the face of Australia’s newest wave of soul-influenced brilliance. From the swirling opening pads of Brunswick Hustle all the way through to the sax-laden shimmer of Flowers at its close, Fluid Motion is an instant classic, effortlessly shifting between neo-soul and languid, astralfacing jazz textures and authentic vignettes of UK club music history.
London in particular has openly embraced the soulful sounds of Melbourne, as evidenced by Gilles’ latest Brownswood compilation Sunny Side Up which features three tracks from 30/70 members: Ziggy Zeitgeist, Horatio Luna and Allysha Joy. The record is a follow up to his era-defining survey of the UK Jazz scene We Out Here, the compilation that kickstarted a whole generation of London’s under-the-radar Jazz kids to global headlining heights. It would appear we’re about to witness this same effect take place for the Melbourne contingent, of which 30/70 lead the charge. The city’s invasion is well and truly upon us.
While London is undoubtedly in love with what’s happening in Melbourne right now, this is no one way love affair. The 30/70 collective have had their ears to the ground and plugged into the sound of the UK underground. This new album takes inspiration from the syncopation of Broken-Beat, the immediacy of Grime’s and Dub’s sonic aesthetic to create something that is a truly global amalgamation of local sounds, finessed by Allysha Joy’s instantly recognisable vocals; the rawest and realest of voices.