Album Review : Forest Law –‘Zero’ : Bossa beats, international grooves and so much more on this globetrotting musician’s debut.

Sonic explorer, creative adventurer, soundscape navigator are all phrases you could apply to Alexander Burke a.k.a Forest Law. Romford born, now London based he’s taken a globetrotting route to the release of his debut album ‘Zero’, available now courtesy of a Bongo Joe/ Total Refreshment Centre collaboration. Coming through Giles Peterson’s ‘Future Bubblers ‘unsigned artists’ programme, earning a Brownswood EP release in 2020, touring the world with Esa Williams Afro-Synth Band then taking up an extended residency at LungA art school in the remote fringes of East Iceland, these have all been key moments in his journey so far. Even as far back as 2017 he de-camped to Porto to learn the language and engage with Portuguese music close up. So one thing that can be said for Forest Law he’s never been intent on shaping his music entirely within Zone 6.

‘Zero’ as an album represents a point where all these strands are gathered together and the sonic identity of Forest Law emerges. His foundational bossa influences remain the stanchions which support this free-flowing music, standing out most strongly on the album’s entry and exit points. Difficulties is a fluttering, spacious slice of acoustic funkiness, an opening song that stretches out from succulent Nascimento moments to the woozy contemporary reflections of Sessa. There’s a spiritual jazz current running through the track, stoked by the harmonising scat of the album’s vocalist combo, the Venus Choir and refreshed by Greg Foat’s subtle Rhodes sprinkles. As a bossa counterbalance ‘Zero’ rounds off with the tranquil simplicity of Balm, all shimmering harps, birdsong and acoustic plucking with those slightly angular melodic swerves in place.

Elsewhere the Tropicalia spirit of integrity and innovation feels naturally embedded in this set of tunes. Why You Lied finds a samba shuffle smooching with a slinky bass bump, as this smooth let-down love song glides towards nimble Brothers Johnson soul territory. That late-eighties resonance also tingles within the samba funk propulsion of Niceties. There’s a simmering tension here, neatly captured in the steely guitar chops and heavy bass locomotion, a sort of authentic Martin Fry despair in Forest Law’s sharp vocal and frisky lyrical twists. “If magic doesn’t come my way, we’ll stay in touch with the niceties” he deadpans. Perhaps most thrilling though is feisty experimental samba of Parece. Sung in Portuguese with the zing of Jobim and the flare of Tom Ze fizzing through broken beat meets dub-step grooves. Surprising in its pirouetting form and quirky instrumentation, the song bristles with the same creative energy that the Meridean Brothers bring to their cumbia abstractions.

Yes, in direct opposition to its album name, ‘Zero’ comes packed full and sometimes bursting with ideas. As Forest Law explains “There’s a zero point where all ideas and inspiration come from, and if I can get to the zero point, it opens up the gates to music, so that ideas naturally flow out of you.” In some ways you can feel that he’s been holding back this tide of inspiration for some time now, such is the richness of the arrangements. The story goes that on his return to Romford following his extended travels he retreated to his shed-based studio to gather the accumulated years of musical reflections into a coherent album. Perhaps this is where Forest Law’s decision to co-produce the album with Arthur Sajas (of HaHa Sound Collective and Vanishing Twin associations) came in, to provide an additional filter and focus.

Clearly the partnership worked because ‘Zero’ is a collection that has little room for rambling or faff. This is one production team that aren’t afraid to use the faders when the moment is right. They also have the acuity to keep their eye on the ball with the more expansive songs like the scuttling skeletal funk of Service which hurtles from 23 Skidoo-ness to a lush orchestral close. Even on the album version of Ooo, I, which began its life during Burke’s remote sabbatical in Iceland, the studio embellishments serve the song’s psychedelic disco-funk purpose.

Ooo, I also highlights the development in Forest Law’s vocal offering on ‘Zero’ .This time around his range has extended beyond the bright Alexis Taylor falsetto heard on his debut EP to something more personalised and expressive. In fact the vocal component as a whole is key to the impact of ‘Zero’ whether through the soulful tones of his exquisite backing group, the Venus Choir, or paired with deftly chosen guests. On the swirling nu-soul ballad Timbre it’s Alabaster DePlume /Matthew Herbert collaborator Momoko Gill’s smoky tones which add the necessary emotive edge to this story of letting go and moving on. Similarly significant the quirky, angular indie-electro vamp of Till The… is elevated by the fine detail of a Japanese commentary amongst the bell loops, squelchy bass synth and Ami Koda’s swooping flute. “Never watch from the high horse” Forest Law sooth-says in a song that sparkles with ‘why not’ eccentricity.

It’s such care free invention that gives ‘Zero’ its own particular glow. Yes it’s arch and knowing in an Animal Collective kind of way but the collection also throbs with genuine heart and soul. An album which delivers much more than upbeat vibes then, that’s full of enough surprises to keep you on your toes with every spin.