Since launching in 2018, the project has garnered international attention, with tracks like "I Hop" finding a home on Germany's Supertunes (Big Mama's House Records) and "You've Got Me Tied Up" being snapped up by the NightOwl Collective in the USA – credentials that speak to both the quality and universal appeal of Garrett's musical vision.
The album's title, derived from old-school slang for relaxing, perfectly encapsulates the record's overarching mood. This isn't music that demands your immediate attention with bombastic gestures or revolutionary statements. Instead, it seduces with the kind of effortless groove that made Brand New Heavies and early Jamiroquai such compelling propositions back when Britpop was still finding its feet.
Garrett's devotion to his craft is immediately apparent in the album's most accomplished moments. The standout tracks "All Day, Every Day" and the title cut "Lampin'" showcase a musician who understands that proper acid jazz isn't simply about throwing together some slap bass and a few synth washes. The intricate three and four-part horn harmonies, featuring contributions from Vasilis Xenopoulos on tenor sax and Jack Birchwood of Blackjack Horns on trumpet, demonstrate genuine compositional sophistication. These aren't mere pastiche exercises but carefully constructed pieces that honour the genre's heritage while maintaining their own distinct character.
The production, handled entirely by Garrett at his home studio, strikes an admirable balance between organic warmth and modern polish. His judicious use of live instrumentation alongside VSTs, real synths, and samples creates a sonic palette that never feels cluttered or overly processed. Particularly effective is his employment of side-chaining on "El Paseo" and the reversed Rhodes textures on "The Quirk" – subtle touches that add depth without drawing attention to themselves.
What's most impressive about Lampin' is how it avoids the pitfalls that often befall contemporary acid jazz recordings. There's no slavish adherence to period-correct sounds, nor any desperate attempts to update the formula with incongruous modern elements. Instead, Garrett has found that sweet spot where reverence meets innovation, creating music that would sit comfortably alongside classics from the Talkin' Loud catalogue while offering something genuinely fresh for today's listeners.
The album benefits enormously from Garrett's choice of collaborators. Valere Speranza's bass work provides the essential rhythmic foundation, while Jeremy Dunning's guitar contributions add the requisite funk quotient without falling into cliché. These aren't merely session player performances but genuine musical conversations that elevate the material beyond what any one musician could achieve alone.
The timing of the album's release, coinciding with Synthonic's performance at the Sidmouth International Jazz & Blues festival supporting Gabrielle, speaks to an artist who understands the importance of context and community. This isn't bedroom noodling but music designed for real audiences and genuine connection.
Lampin' succeeds precisely because it doesn't try to reinvent the wheel. While so much contemporary jazz fusion feels either overly academic or desperately commercial, Garrett has crafted something that simply feels good. It's the kind of record that improves any social gathering, the perfect soundtrack for those moments when you want music that enhances rather than dominates the atmosphere.
For fans of the original acid jazz movement, Lampin' offers the considerable pleasure of hearing those classic sounds filtered through a contemporary sensibility that understands what made them special in the first place. For newcomers to the genre, it provides an ideal entry point – accessible without being simplistic, sophisticated without being intimidating.
Synthonic has created something genuinely worthwhile here: an album that respects its influences while maintaining its own voice, crafted with obvious care and genuine musical understanding. Surrounded by sonic assault and attention-grabbing gestures, sometimes the most radical thing you can do is simply create something beautiful and let it speak for itself.