IV

The Artist

BADBADNOTGOOD is a Toronto-based instrumental group that emerged in the early 2010s out of Humber College's jazz program, initially gaining attention for their loose, hip-hop-inflected reinterpretations of tracks by artists like Odd Future and MF DOOM. Founded by keyboardist Matthew Tavares, bassist Chester Hansen, and drummer Alexander Sowinski, the band expanded to include saxophonist Leland Whitty by the time of this record. Their sound sits at the intersection of jazz, hip-hop, soul, and psychedelia, built on tight rhythmic pockets and cinematic mood. After collaborating extensively with Ghostface Killah on Sour Soul, they returned to their own name for this fourth studio album, marking a significant step toward fully realized songcraft with vocal features.

The Album

IV was released in July 2016 on Innovative Leisure, recorded largely at the band's own studio in Toronto. It represents a shift from their earlier instrumental-only approach, incorporating a wide roster of guest vocalists and collaborators including Sam Herring of Future Islands, Charlotte Day Wilson, Mick Jenkins, Kaytranada, and Colin Stetson. The production leans into vintage warmth, with analog textures, live-room drums, and a dusty cinematic feel reminiscent of soundtrack work and classic soul records. Thematically, the record explores intimacy, longing, and the passage of time, framing its instrumental passages as emotional scenes rather than jam sessions. It's widely considered their most ambitious and accessible statement to that point.

Listen For

An unexpected vocal centerpiece. "Time Moves Slow" features a raw, weathered vocal turn from a guest singer better known for a very different band. Notice how his delivery cracks against the smooth backing.

Saxophone as lead voice. Across tracks like "Confessions Pt. II" and "Hyssop of Love," the saxophone takes on melodic roles usually reserved for vocalists, weaving through the arrangements with a mournful, songlike phrasing.

Vintage production warmth. Listen for the analog tape character, room ambience, and slightly hazy mix that make the record feel like a lost soundtrack from another era.

Rhythm section chemistry. On "IV" and "Structure No. 3," the bass and drums lock into pockets that lean toward hip-hop swing rather than straight jazz timing.

Mood shifts across the sequence. Track how the album moves between intimate ballads, tense grooves, and cinematic instrumentals, with "Cashmere" closing things on a smoky, late-night note.