The Whitefield Brothers is one of the many pseudonyms under which brothers Jan and Max Weissenfeldt (the core members of German, afro-funk band, Poets Of Rhythm) have released records over the last eighteen years. “Earthology” is a project that attempts to combine musical influences from every corner of the globe, all infused with late 60’s funk inspired beats, that has been over fifteen years in the making. During the course of researching this album, Jan and Max travelled the world studying culture and music, learning to play a wide variety of instruments and incorporating influences from as far away as Africa, Asia and Central America into a record that is their first release since “In The Raw” became a cult classic in 2001.

Throughout their career, Jan and Max have released numerous projects under a whole host of alias’ including The Neo-Hip-Hop-Kiddies Community, Soul sliders, Unknown Artist and Soul-Saint Orchestra to name a few. They appear to constantly want to bamboozle any potential fan base by recording and releasing records under these various guises, however it seems that the re-release of “In The Raw” by new label Stone’s Throw has generated enough of a reaction from fans that the Munich based brothers finally committed to finishing and releasing “Earthology” in an album format.

What lies in store for listeners is a psyche-funk base upon which all sorts of influences are scattered. African polyrhythms, percussion from Indonesia and Central America, Asian flutes and Arabic scales, are all seasoned with a throwback funk style. ‘The idea behind the Earthology is multiplicity, a patchwork of sounds and ideas’ say the brothers, which gives me the impression I’ll have rather a lot to listen to over the next fifty minutes.

First track ‘Joyful Exaltation’ features jazz-inspired, spoken word poet/singer Bajka. It’s beefy, raw-soul bass line and frenetic drums combine with an eccentric organ solo over which Bajka offers her unique take on lyrical exploration. ‘Joyous joyful exaltation, to those who liberate themselves’ a final line that is expressed over a composition that clearly demonstrates how enjoyable music can be when all the constraints are lifted and rules ignored. It’s a great opening song, and made me hungry to hear what other pleasingly uncongenial musical combinations were to come.

The hip hop influence in The Whitefield Bothers music is obvious and a couple of collaborations with Mcs seemed unavoidable. The third track ‘Reverse’ features Percee P and MED rapping over clattering breaks and a deep, engaging bass. Despite the verses being archetypal examples of MCing, I can’t help but feel they seem a little unnecessary on this tune, almost as if they were added as an afterthought.

‘The Gift’ is a much better collaboration, featuring hip-hop heavyweights Edan and Mr.Lif. An achingly catchy horn section over a break beat and bassline that would get your nan moving. Edan announces ’The tactics of a true technician are touched on totally by a talented musician, listen’ introducing a remarkable flute solo, just one of the numerous examples of the Whitfield Brothers diverse instrumental abilities. With Mr. Lif’s typically competent wordplay making up the second verse, this song (the first single to be released from “Earthology”) is easily my favourite on the album.

Parts of this record do feel a little disjointed. With so many cultural and musical influences culminated over so many years I guess it’s unavoidable for it to be a little fragmented in parts. Whereas some tracks like ‘Taisho’ seem to flawlessly combine numerous ethnic sounds with intense psyche-funk, songs like ‘Pamukkale’ and ‘NTU’ which is two minutes of rhythmic bamboo banging (not as much fun to listen to as it may read) seem a little forced and unnecessary in what is an otherwise inspired musical experiment.