After attending college and getting deeper into computer music - Sam Obey began releasing music as Obey City. The project quickly took off with EPs for LuckyMe, forming the Astro Nautico label with his best friends, multiple tours, collaborating with Kelela and Flatbush Zombies. Now, as Sam O.B., he returns to what his oldest confidants know he's always had up his sleeve: his voice and his bass guitar. Positive Noise, the debut album by Sam O.B., is not a "journey of a record," but it's also not Party Time USA. It's nuance: cloud patterns: like good progressive jazz. Like the refinement of refinement, the elegance of elegance. Sound propelled by its own smoothness. A coolness that isn't cold. The earnestness of an old friend. Expanse. Experimentation. Actual warmth.
Sam O.B. is (and has always been) a man of classics. When you hear the sax on "Salt Water," you will understand this ambition with precision. Arpeggiated horn delay and female oohs fall like geodesic rain. The blasting synth leads on "Midnight Blue" and "Nearness" waver and find their way ("Always on time"). The sing-and-play harmonies of "Sirens" refer to the stunning bliss of smooth jazz, which has been in Sam's arsenal of interests for longer than anyone can remember. Positive Noise also has a strong anchoring in the thick pulsing rhythmic stylings of '70s and '80s disco and funk grooves. Sam is a dedicated vinyl collector, having curated DJ residencies around NYC (Hot Sounds Island, Astro Nautico, The Lot) that practically worshipped smooth jams.