Drenched in the spirit of Black American soul, jazz and funk, Duct Tape is a project surprisingly born on the mean streets of Berlin... then again, perhaps not so surprisingly, as that city has lately been a conduit for many of the most creative musical energies flowing through Europe, and the participants, Batsauce and Wynton Kelly Stevenson, characterize themselves as intergalactic travellers in the manner of Sun Ra ... Born one Britt Traynham in Jacksonville, Florida, multi-instrumentalist, DJ and producer Batsauce has been one of the most hyped arrivals on the hip-hop scene in recent times, garnering props all round for his solo productions, mixtapes and collaborations with the likes of Qwazaar, Lady Daisey, Dillon, Mr.Lif and Jedi Mind Tricks, and with enough kudos to attract the likes of Bahamadia and even the legendary George Clinton to appear on his tracks. Wynton Kelly Stevenson grew up as the son of Berlin-based guitarist and songwriter Rudy Stevenson, who had a long musical association with Nina Simone. Named after the great jazz pianist of Kind of Blue fame, Wynton grew up surrounded by musicians, records and old keyboards, all associations that heavily influenced his own music. The pair met in Berlin some seven years ago and immediately recognized each other as kindred spirits, fellow scions of Hyperion, one of Saturn's many moons. Sharing a love of old soul music, they began collaborating and Duct Tape is the result, culled from more than a hundred jams, and utilizing cheap keyboards from the 1980's, guitar pedals, a beat machine, a bass guitar, and a tattered microphone. Sample-heavy, but only sampling themselves on their instruments, it nonetheless points at new directions for hip-hop, evoking a tripped out psychedelic soul sound (think The Temptations and The Fifth Dimension), Daisy Age/Native Tongues era rap, but with a very urban twenty-first century sensibility, and without the macho posturing of G-Funk. The title Less We Can really encapsulates what this duo is all about -alluding to a famous break from the past, but suggesting that the spare, blissed-out soundscapes they create are the future. Wynton provides the vocals (reminiscent at times of The Ohio Players, D'Angelo and Frank Ocean) on a set which includes two songs (It's Bad and I Don't Care) written by his late father, and a bunch of songs that evolved naturally out of the collaborative process and the seamless merging of beats and hooks.