In 2006 Benjamin Walsh had composed for a New Orleans style brass ensemble he called the “Crusty Suitcase Band” and over 4 years made three albums of his own compositions. It awoke an Idea.. to compose his own sound he needed to build an Orchestra..one that was made differently of sounds around the globe, electronic and jazz elements. In 2009 he achieved his goal, and called it the “Orkestra Of The Underground”. After many successful tours and releases, the realities of touring such large ensembles had reached new obstacles with world wide travel restrictions. Australia seemed quite far from every international festival

4 years ago He began writing for his first quartet.

This music is hard to describe- a blend of Funk, Afrobeat, Cumbia, Peruvian Chica, Romanian strings and Bebop horns (Think Mingus, Monk, Miles).
Drums lead the charge, synths and keys then Heavy Brass and woodwinds Violas and violins guitars . But it's the rhythm that is cutting edge. Its funk and jazz but not as you know it
An exploration in complex meters 13, 7, 9,11 and bizarre phrases, making the music unique.
But the key is the dancefloor appeal finding an equilibrium of cerebral jazz parts and backbeat.
The sound of this music comes from his love of instrumental jazz, and worldly traditional music. Brought to life in an electronic environment.

Off the back of the Hydrofunk album REMIX EXPERIMENT, Ben has been reinventing the possibilities of his musical ideas with electronics.
Heavy FX and technological integration takes the traditional instrument approach and flips it on its head. Over the last decade he has developed a way of singing that triggers synth basslines so he can single headedly be drummer and bass player.
This is a very tight rhythm section.
In his quartet…
Jazz elements trigger other harmonic content simulating horn sections out of individual players. The project is focused on human effort but uses technology to create a huge sound out of 4 players. It also makes it sound like a jazz record of today.
The music is written to be expanded upon and avoid any hurdles. Grabbing players in any country. Expanding the sound wherever it travels.

The ensemble work was recorded by Matt Ottignon (Sax/Woodwind), Shenzo Greggorio (strings) and Peter Hunt (trumpet)
Long time friends and incredible Australian musicians.
Being a producer and engineer Ben recorded most of the music himself as he was composing it.
But when it came to the drum sound he reunited with the legendary Chris Townend. A world class studio had just been built, featuring the abbey road REDD 17 console as its centrepiece.
Frying Pan Studios lives inside world class MONA (museum of Old and new art) in Tasmania, and was designed by Chris.

"It was time to get the best drum sound possible to put the icing on the cake for these compositions"

Ben made the pilgrimage down there over 2 sessions to record the drums and mix the album. Its being released on wax 2 singles at a time.
This is the first instalment.
Benjamin talks on his release in Japan and his music connection there:

“Japan is a perfect melting ground of ancient tradition and modern day ingenuity. The high tech world meeting the artisan application that is the true Japan for me..
where the intention behind a thing is at the forefront of the culture itself.. That’s why they get my music there I think, because they listen deeply into the story within the sound.
Jazz and Funk music is woven into Japan’s modern life and ancient Japanese music is woven into mine. We get each other that way” -

Released through Hydrofunk Japan
The first pressing 2 track 7 inch single
"Return Of The Wolf" & "High Peru" are out now in Japan.
link to vinyl.
ultra-shibuya.com/search?type=product&q=benjamin+walsh