Bonobo: jazz for people who hate jazz.

It is relatively hard to dislike bonobo. A versatile artist from Britain that put out a couple albums at the dawn of 2000, this monkey did not actually become visibly recognized too much until Black Sands, a 2010 album that finally put Bonobo on the map of electronic artists that mattered. While I would not argue that Bonobo is in the class of electronic music, it would not be devastatingly wrong to say that Bonobo creates his own category, one whose primary ambition seems to be in creating ambiance, one with jazz undercurrents, partnering trip-hop with beautifully executed industrial and classical fragments, reflecting the height of trip hop influence.

Bonobo is a hard artist to place in any distinct category on its own but wavers somewhere in the realm between electronic; 

nobody wants to admit that they hate jazz, but jazz is surprisingly unpopular. Even if people won't admit it, they will be willing to say its "not their favorite."

Maybe its all the confusion and chaos, maybe the lack of repetitive expectation the more robotic limb of our subconscious hungers for. Bonobo allows for none of that. Bonobo takes sugary echoes of jazz and dissolves it in industrial beats the average post post post modern loser can resonate with.

Black Sands and North Borders, the two most recent albums, undeniably remain his most popular works. In MY opinion, however, his masterpieces truly lie in his early sketches; before vocals were even a thought, Bonobo was penetrating the air with haunting ambience that had just enough lightness of being, mass, and density to complement the atmosphere, many miles away from his so called "evolved" (No pun intended) slatherings of complexity in sound and texture that feature contemporary established artists.  I recall when his single, Cirrus, came out; it was a hint at his new direction with the albums to come and was really quite the tease. He moved away from artist and closer to simply a producer. And this is not to say that his later work is not good, in fact, musically speaking, his albums are fantastic pieces of electronic music. But they'll never have the subtle stirring of those primary works of anomalous individuality that transcend the cruel, dirty prison walls of genre.