The Pop Group – For How Much Longer Do We Tolerate Mass Murder? (Freaks R Us)

LP / CD / DL

19 February 2016

9 / 10

English post-punk band re-release their second album. Louder Than War’s Paul Scott-Bates reviews.

Whether you are aware of The Pop Group or not, it cannot be denied the influence that they undoubtedly had on British punk and street culture. Mark Stewart and his band of not-so merry men have seen fit to crowdfund the re-release of their pivotal album For How Much Longer Do We Tolerate Mass Murder? on cd for the first time. We salute you.

The album is a classic make no mistake. Call it avant garde, call it post-punk, thirty-five years after its original release it is still as relevant and angry as it was then. Often put into the bracket of punk it really isn’t, being more akin to the sound of Ian Dury and his jazz induced punk-pop – The Pop Group present their version in an anti-pop fashion.

Built on screeching saxophones, frenetic bass lines and Stewarts irreverent screaming, the overall sound is often off-key. Indeed, the lack of uniformity and conformity adds to the charm of the songs and the manic nature is a humbling refreshment.
Album opener, Forces Of Oppression is near anthemic as it announces the arrival of the nine tracks with gusto and the now trademark shout of Stewart is given a severe airing. Feed The Hungry is near hypnotic and Blind Faith cascades with noise and near hostility.

One Out Of Many featuring The Last Poets is replaced by the bands second single We Are All Prostitutes for the first time, a song as famous for its political commentary as it is for its imagery of Maggie Thatcher waving a two-fingered salute. Nick Cave stated that “It had everything that I thought rock and roll should have. It was violent, paranoid music for a violent, paranoid time”, and a young punk in the BBC series Ashes To Ashes was seen sporting a t-shirt with the song title emblazoned over his chest.

Even reggae gets a tickle with the brilliant There Are No Spectators as it fades away into a glorious reverb towards the end before Communicate provides what can only be described as improvised jazz-punk.

Closing with the dark humour of Rob A Bank as it parodies the original theme from Robin Hood you can’t help but feel that you have just invested thirty-seven minutes of your life into something completely marvellous.

~

The Pop Group have a website here: thepopgroup.net. They can be followed on Twitter as @ThePopGroup and liked on Facebook.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

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Misled Convoy – Translations (Dubmission Records)

DL

Out Now

8.5 / 10

New Zealand producer releases a new remix album. Louder Than War’s Paul Scott-Bates reviews.

For many people the name of Michael Hodgson may not be an instantly recognisable name, but in his homeland of New Zealand he has made over 20 albums in the last four decades as part of Tinnitus, The Projector Mix and Pitch Black.

‘Translations’ presents eight very different tracks from the genres of ambience to electro by eight different artists all remixed in a very distinctive style. Some tracks are so far removed from the original that they take on their own persona and become new tracks in their own right.

A version of last year’s ‘Neurotrash’ single by Louder Than War favourites Feral Five kicks off proceedings with a mellowed version of their critically acclaimed single. Hodgson adds reverb and the drumbeat is slowed somewhat to allow the track to weave itself into your daily earworm. A stunning centre section sees the track employ dub over dub at Kat Five’s voice echoes in and out between slurred guitar and added synth effects.

The dub theme is one that prevails throughout the album, and the way in which it is used is often subtle but incredibly effective. Holotrinica (aka Stuart from Hexstatic) have an ambient treatment applied to ‘You Are Supernova’ as early voiceovers smear themselves over a lazy percussion and instrumentation that sneakily enters and leaves the mix.

Reason guests on ‘Do You Know Where You Are Going’ by Super Cozi adding vocals to an almost trance track which glides along in a gorgeous dreamscape of filtered echoes and wisps. Frontman from The Adults, Jon Toogood is represented by a minimalist ‘Please Wake Up’ which gains pace and percussion in the closing two minutes but still retains an air of relaxation.

‘London’s Flies + Flies’ add a more post punk feel to the running order with guitars that are brought to the fore in front of voices. Described as ‘making the apocalypse sound fun’ the band’s sound is dark with Numanesque vocals and drawn out screeching guitars. Additional delay from Hodgson once more gives the track and added slant.

With the beautiful sounds of ‘Lost In The Valley Of The Scintilla Strings’ by Animat comes a calm and wonder which is formed around some brilliant dub effects and drone/ambient feel, and the curiously entitled ‘Wimble Toot’ by Banco de Gaia once more offers an otherworldly texture in a composed and unruffled Pastscape Remix.

Closing with a Misled Convoy track, ‘Leap Beneath’ from last year’s ‘Tickling The Dragon’s Tail’ album is a track with an underlying reggae feel and beat. The dub effects are nothing short of stunning and as an end to the album couldn’t really be improved.

If you like your dub and/or a bit of ambient then ‘Translations’ is a great way to kick off any day. Varied and skilfully assembled, it is an often stunning album.

Misled Convoy is on Soundcloud here: soundcloud.com/misledconvoy

They can be followed on Twitter as @misledconvoy and liked on Facebook.

~

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

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Ceiling Demons – Belly Of The Hopeless

(Frux Tapes)

Cassette / DL

Out Now

9 / 10

Yorkshire hip-hop act release their new EP. Louder Than War’s Paul Scott-Bates reviews.

When Louder Than War featured Ceiling Demons back in March 2013 (see here), we certainly weren’t the first to sit up and start taking notice of their very individual style. We also won’t be the last as a plethora of radio stations and presenters have since taken them under their wing and made them their new darlings of British hip-hop.

With Belly Of The Hopeless come six new tracks on probably their finest collection yet. Moving into a far more experimental area than they have ever done before, the tracks are haunting and daunting yet often offer a hope for better times.

Lead track Stones is dark and full of a terrific bass sound as twins Psy and Dan Demon unravel their characteristic monosyllabic rap over a disturbing soundscape. Produced by Jonathan Swift (Outside Your House) and mastered by Faithful Johannes who like his namesake in the Grimm fairy-tale becomes one of the heroes of the day, adding wonderful touches to the tracks.

The track adds some timely reverb effects which lift the track beyond and above any normal hip-hop tune. It’s sparse and empty beauty walks ‘the fine line between torment and delight’ and pieces together several styles and tempos over another throbbing bass backing.

Will Love Return marks a first for the Demons as the vocals are sung rather than spoken. The words are heart-breaking and presented in a truly scary way creating an almost horrifying backdrop as a midway point through the EP. Lyrically it is classic stuff and a perfect vehicle for the band to show a skulking and evocative side to their repertoire.

Missed The Train unsurprisingly, given the lineage of Swift, has nods in the direction of Bristol’s finest in Tricky as it steams along in uncompromising fashion with dark, apocalyptic tones and staggering effects, and Open Eyes has a superb bass ending paired with a loose reggae backdrop.

EP closer, Sundays borrows from Sarah Vaughan’s 1961 version of the classic Gloomy Sunday where the opening line – ‘Sunday is gloomy; my hours are slumberless’ – couldn’t fit more perfectly into the tone and feel of the track. Probably the strongest track in a fine EP, it is sheer quality personified – superb jazz excerpts, another lazy reggae feel and very very accomplished song-building.

Ceiling Demons have produced their finest work yet and continue to mature into a true British uniquity.

More from Ceiling Demons on Bandcamp here: ceilingdemons.bandcamp.com. They can be followed on Twitter as @ceilingdemons and Liked on Facebook.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

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Sherwood At The Controls Volume 2: 1985 – 1990

(On-U Sound Records)

LP / CD / DL

Out Now

9 / 10

Second instalment of legendary Adrian Sherwood productions and remixes. Louder Than War’s Paul Scott-Bates reviews.

For many fans of On-U Sound, the period covered in this latest collection is absolutely indispensable. It marks the emergence of Sherwood as a key producer and remixer who became hot property and sought out by the likes of Nine Inch Nails, Cabaret Voltaire and Einstürzende Neubauten.

His soon-to-be trademark sound of beats and samples which have often been copied but never bettered, came after a meeting in 1984 with Doug Wimbush, Keith LeBlanc and Skip McDonald of Sugarhill Gang who would soon join forces as Tackhead (and Fats Comet) with Bernard Fowler. Both Tackhead and Fats Comet are represented on this superb collection in the form of Mind At The End Of The Tether (1987) and the highly infectious Don’t Forget That Beat (1985), and form an integral part of On-U history.

This second episode in the Sherwood At The Controls series features his early forays into electro, hip-hop, industrial and general noise all accompanied by his wonderful dub touches. The sound he created remain – crashing and clinical drum sounds, distortion and reverb are the general order of the day.

The scene is well and truly set with album opener, the 12” mix of Mark Stewart’s Hypnotised. A journey through incredible drum patterns and high pitched screeches it is as much a Stewart milestone as the classic Jerusalem as he shouts and wails through guitar throbs and seemingly random effects. Often borrowing from Fat Comet’s Deejays Dream (or is it vice versa?), it fuses the unlikely combination of punk, electro and hip-hop over seven easy minutes and also references the On-U compilation series Pay It All Back several times.

Where Sherwood came into his own is with his forays into dub and World music, and the endless chant on Masimbabele (The Unknown Cases) provides one of his many facets. A relationship with Lee ‘Scratch’ Perry which started in 1986 has helped revive the Jamaicans career and he now stands as one of the most pivotal and well-known reggae/dub artists in the World. Represented here by Music & Science Madness, Perry forms part of a five track end to the collection with unreleased material (side d of the vinyl set).

Keith LeBlanc and Dub Syndicate make appearances with tracks at less than one minute each which seem to serve as interludes to following tracks, the former to a Dance Mix of the classic Television by The Beatnigs and the later to the aforementioned Perry. Dub Syndicate also close the collection with Early Mafia, a lazy dub reggae jaunt which is nothing short of amazing.

In the wake of the sad loss of Prince, Pankow are here with their version of Girls & Boys. Originally from the Purple One’s Under The Cherry Moon, the Germans manage to mix punk with funk with Kraftwerk and create a lovable monster which has to be heard to be believed.

The swelling vaults of On-U Sound have once more been raided to provide an incredible insight into the man now in his fifth decade of music production and mixing. There seems to be no let-up in his popularity, but most of all the respect that so many artists have for him. Roll on Volume 3!

The On-U Sound website is here: on-usound.com They can be followed on Twitter as @onusound and Liked on Facebook.
The Adrian Sherwood website is here: adriansherwood.com. He can be followed on Twitter as @onusherwood and Liked on Facebook.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

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Louder Than War’s Paul Scott-Bates trawls through the albums that are too good to be forgotten and urges you to listen to some more fine music from Gioumourtzina, Monkoora and Afro Cluster

Gioumourtzina – Blakk Metall (Inner Ear Records)

LP / CD / DL

8.5 / 10

Out Now

Don’t be misled by the title of this album or the inverted crucifix on the sleeve – it’s probably akin to Adele calling her new album ‘Grunge’ as she vomits green puss into a mouldy bucket. Instead,  Gioumourtzina, the Greek duo of Anestis Neiros and John Tselikas, are a largely instrumental synth based act.

Unable to find suitable band members they formed as a duo with the initial premise of electronica and shoegaze. Their sound has developed into something more complicated and whilst they remain a D.I.Y. outfit they have a very professional and accomplished feel.

Think Depeche Mode in their Black Celebration/Violator/Music For The Masses eras and you won’t be far wrong. In fact Palaces in the Terror has several moments not dissimilar to Stripped at times, and Lobby Raver contains a wicked bass line very reminiscent of The Cure.

Several tracks feature muffled voices and bytes which almost become a trademark for the duo and all eight tracks are thoroughly entertaining as drum patterns and bass gargles combine.

Gioumourtzina are online here: gioumourtzinagrafikdizine.tumblr.com

You can follow them on Twitter as @Gioumourtzina and also on Facebook.

~

Monkoora – Pale Slopes (Hot Gem Tunes)

DL

8 / 10

Out Now

If you like ‘weird’ then you’re in the right place with the new mini album by singer and visual artist Julie Crawford (aka Monkoora). It’s all very raw but incredibly addictive and very much in the same area as the stunning Coco Rosie album Heartache City from late last year – adventurous and redefining unique, it moves skilfully between ambient psychedelia and hip-hop.

Featuring detuned instruments and untuned vocals it wanders through varying genres carefully weaving them together in a quite brilliant soundscape. To Run thrives on a tribal beat with chanting and whistles and incoherent vocals. It all sounds like a recipe for a disaster but far from it.

Crawford has the potential to make quite a name for herself and with Pale Slopes she’s well on the way from opening track Hiding Behind Horizons – layered vocals and ethereal tones provide an alternative to Alternative as she proves there are no boundaries to her sound.

At the delicate age of 22 she already has an incredibly experienced head on her shoulders and creates melodies that will linger for quite some time. Certainly one to watch.

More Monkoora on Soundcloud here: soundcloud.com/monkoora.

She can be followed on Twitter as @monkoora and  also on Facebook.

~

Afro Cluster – We Don Land EP

CD / DL

8 / 10

Out Now

Cardiff may not be top of your list for the source of a fine jazz/soul/afro-beat combo but, now is the time to think again. War, corruption and greed are all tackled over five tracks of startling quality. Brass sections are highly polished, basslines throb, guitar lines are funky and vocals are delivered with power and precision.

It’s all brilliant stuff and as catchy as a Nora virus, though far more pleasant. Hip-hop beats and scratching also make appearances and Love Thing in particular is a fine fine tune the like of which is simply hard to come by.

There are clear influences by the Godfathers of afro-beat, Fela Kute, and soul, James Brown, and both would be proud to be associated with the band who would fill any stage with their multitude of members. In fact, an appearance at Glastonbury this year will only serve to extend their credentials further.

We Don Land roughly translate via Nigerian Pidgin English as ‘we have arrived/we have landed’ and that is certainly the case for Afro Cluster. Remember the name, this won’t be the last you hear of them.

The Afro Cluster website is here: afrocluster.co.uk.

They can be followed on Twitter as @afrocluster and  on Facebook.

~

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here.

The post Albums we missed: Part 3 – Gioumourtzina | Monkoora | Afro Cluster appeared first on Louder Than War.

The Stella Grundy Band

Punky Reggae Festival

Burnage Cricket Club, Manchester

27th August

Stella Grundy brings her Magickal album to life with the help of a full backing band, giving it sparkle, depth and of course beats. Nigel Carr is on hand from Louder Than War and reports back below with photos by Jelly Universe Productions.

It’s taken a while to pull together but Stella has finally assembled the kind of band she can be proud of to bring her ambitious Rise and Fall Of A Northern Star project to life. The tracks which were released as an album appear in the play of the same name, which has been growing in reputation around the UK. I get the chance to chat to Stella before the show:

“I felt the songs were visual and had lot of dynamics to be live, people expect a natural chord progression but I don’t do it like that so it’s been a bit tricky – I’m using professional rock and roll musicians and making them play dance music, that’s why”

I’m in a field in Burnage a small suburb on the outskirts of Manchester and the heavens look as though they are about to open as the band hit the stage. From the opener, High you can see the effort that has gone in to the production of these numbers. This isn’t any old band, they are phenomenally gifted musicians and really know how to play. Karen Leatham bass guitar, Martin Bolt: lead guitar, Ben Knott: keyboards and electronics and Ian Budgie Jones on drums have all been frantically rehearsing and it shows. They made their debut at last month’s Blackthorn Music Festival in Stockport, their tight performance going down a storm.

They are here tonight to play just a short set of the highlights from the album and a couple of new tracks. As we get in to Escape Hatch which was originally recorded in the studio with Jah Wobble’s basslines, I realise just how much heavy dub and reggae underpins these tracks. It’s a deep throbbing, brooding number with Stella’s half spoken, half sung lyrics floating over the top. Ever the professional, she dominates front of stage, glitter faced, dancing with abandon at the mic.

Goodbye sounds oddly out of place in a live performance as the following track, I half expect to see her waving us off, but it’s just brilliant; with it’s upbeat French vibe, it’s soaked in heavy dub which suits this ‘punky reggae’ audience down to the ground. Heavyweight is introduced as a song about ‘being pregnant’ and I get it now! ‘It’s a heavy weight I’m carrying’ with its funky keyboard backing.

Star gives her the opportuntity to introduce some thumping beats with its tale of touring in the ‘back of a van’ and she closes with the remixed, remodelled Intastella track Skyscraper. With the darkness closing in and the rain keeping off we slide on in to the night, with sparkling lights and a deep groove that has the audience dancing away in front of the stage.

Stella has been back in the studio remixing some of these tracks as full-on DJ dance numbers, some of which I’ve heard – I look forward to the full remix album!

~

Upcoming:

Headline show at Hebden Bridge Trades Club on Friday September 30th  http://thetradesclub.com/events/stella-grundy-band

October 12th Supporting Lene Lovich at Manchesters Fac 251 http://glasswerk.co.uk/concerts/gig/13133/Lene+Lovich+Band-FAC+251,+Manchester/

You can read more about Stella and buy the album online here: theriseandfallofanorthernstar.com

The show ‘s Facebook Page is here, while Stella is on Facebook too and she tweets as @StellaProduct.

All words by Nigel Carr. More writing by Nigel on Louder Than War can be found at his Author’s archive

Photos by Nigel and Jelly Universe Productions

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Maxi Jazz And The E-Type Boys – Simple.. Not Easy

(Man In The Moon Records)

CD / DL

9 September 2016

8.75 / 10

Buddhist rapper and former Faithless member releases a new album. Louder Than War’s Paul Scott-Bates reviews.

After twenty years fronting Faithless, arguably one of the most successful and influential electro dance acts of modern times, Maxi Jazz has marked his return with sounds from his roots. Gone are the pulsating hooks once occasioned by Sister Bliss and gone are the masterful multi rhymes that accompanied them. Instead Maxi immerses himself in a superb blend of blues, soul and jazz (no pun intended) with the occasional nod towards reggae and authentic R&B along the way.

With Simple… Not Easy the brilliant E-Type Boys breeze through ten tracks all sounding like classic covers and all executed with a clinical professionalism that really needs to be heard to be believed. The treatment pf Faithless favourite Mass Destruction for instance is a master stroke with a gorgeous reggae beat and horns which add a while new angle to the track, will appeal to older fans as well as prompting a wry smile from the new.

Album opener Change Our Destiny sets out the intention immediately. Its dramatic bass, piano and horns act as a monumental prelude to a track which sounds like one of those classic film or TV themes. It shows not only that Jazz is a songwriter of quite unequivocal quality but also has a strong ear for an infectious tune.

Known for his clever rhyming couplets lie after line after line with Faithless, he now constructs more regular verses and choruses as though it’s something that he has done for a lifetime. Simple… Not Easy is slick in the extreme. Back To The Bottle is a gritty sounding rock standard that you’re sure you’ve heard before and recent single Bitter Love with its deep bass in a country rock style works brilliantly with the occasional reverb. Guitars whine and drums roll against a chorus which is hard to forget.

A surprising direction for Maxi Jazz perhaps, but one in which he seems very comfortable and is entirely successful.

The Maxi Jazz & The E-Type Boys website is here maxijazz-etypeboys.com. You can follow on Twitter as @etypeboys and Like on Facebook.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here.

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Baba Zula – XX

(Glitterbeat Records)

LP / CD / DL

27 January 2017

8 / 10

Turkish psychedelic rockers release a best of with ‘a difference’. Louder Than War’s Paul Scott-Bates reviews.

You might not have heard of Baba Zula before, but that could all be about to change as to celebrate their twentieth anniversary they release a very special ‘best of’ compilation. Not your standard compilation mind, this doesn’t include the regular clutch of singles, XX comprises of unreleased material and alternative mixes with an impressive list of collaborators.

Influenced by 60s psychedelia, Ertel and Levent Akman formed Baba Zula back in 1996 and have since encompassed several styles in the music – Anatolian folk, Krautrock, reggae, psych-rock and unbelievable amounts of dub (of which a full second disc accompanies). It is perhaps the dub element that is most prevalent and with further assistance from Sly & Robbie, Jaki Liebezeit (Can) and Turkish opera singer Semiha Berksoy makes for an interesting journey.

The work of Baba Zula has won them much recognition in their homeland including the Turkish Billboard, film and TV soundtracks. To be fair, looking at the band they maybe don’t seem as inviting as their music obviously is, and whilst in today’s fickle music world that may seem important, with Bab Zula it’s clearly a case of letting the music speak for itself.

Within the first few tracks of XX we are treated to dub, drum n bass, reggae and marvellous episodes of electric saz and varying recording techniques via digital, analogue and tape which they have used over the years prior to the prevalence of mp3. Nothing here appears in its original form, choosing instead alterative options – their biggest hit Bir Sana Bir De Bana (One For You And One For Me) is one featuring a French woman and an Armenian man rather than their own interpretation.

Closing disc one are two live tracks covering almost twenty-six minutes between them. Col Aslanlari (Desert Lions) is mixed by Alexander Hacke of Einsturzende Neubauten and displays an experimental side to the band.

The accompanying disc of dub mixes is nothing short of impressive as Dirtmusic (Hopche Dub) and Mad Professor (Adultress, BSAO, Divan and Erotik Adab) star with another major role going to Dr Das of Asian Dub Foundation for his treatment of Iki Alem. The scene is set as early as the first few seconds of Alem which echoes and reverbs almost straight away. The Dub disc alone would be worth the purchase price for XX but as a compliment to the initial collection of thirteen tracks (making twenty-eight in total), this may be one of the best things you hear this year.

The Baba Zula website is here: babazula.com. They can be followed on Twitter as @Baba_Zula_ENG or @BabaZula and Liked on Facebook.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

The post Baba Zula: XX – album review appeared first on Louder Than War.

Neville Staple – Return Of Judge Roughneck (Cleopatra Records / Practical Records)
LP / CD / DL
17 February 2017

8/10

Jay Stansfield of All Hail Hyena reviews the new album by original Rude Boy Neville Staple

Let’s not get fussy here just because it’s the 21st Century because this album is straight out of the ’80’s with a time travelling bang and the opener Return Of Judge Roughneck is a serious dancehall classic. The horns, the dub delay, the toasting, it all flows together in such a familiar way it instantly makes you want to skank. “Ruffer than ruff, tuffer than tuff” is so catchy you’ll go to bed singing it. Bangarang is gorgeous and there is no escaping tapping the feet and singing along like you’re lounging around at the side of a crystal clear pool sipping a cocktail. Down My Street is strangely reminiscent of some kind of ’60’s pop classic from the likes of The Monkees mixed with Madness which feels weird but works really well and each track flows into the next nicely and it never loses its beat.

The Lunatics could have been written by The Specials but it also reminds me of Space with a strong political edg. With nice trumpet solos abound and spooky moogy theramin leads the lunatics are definitely taking over the asylum.

This whole album from start to finish is varied, fun, has a great groove and the production is very tasty. It doesn’t sound current but that’s no bad thing because it gives it a timeless feel which a lot of modern music struggles with. It’s well worth buying and putting on when you want to lift the mood, dance about, smile and generally feel good. It definitely lifts the blues from any day and the dub tracks are sweet with some nice twists in there. They sound much more current than the actual songs in the production which is expected and at times it feels like the dub mixes could be a little bit too stop/start for a classic dub fan’s tastes but times change and so does technology so it’s nice to hear new effects being used in a dub mix.

All in all old Nev has given us an album of feelgood music worthy of any reggae fan’s collection and even if you don’t listen to this style, it’s definitely worth your time (and feet!).

The Neville Staple website is here: originalrudeboy.co.uk You can follow him on Twitter as @NevilleStaple and Like on Facebook.

All words by Jay Stansfield via Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here.

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Dreadzone – Dread Times (Dubwiser Records)
LP / CD / DL
Out Now

6/10

Dub/reggae/trip house/electronica group Dreadzone release their eighth album. Jay Stansfield of All Hail Hyena writes a guest review.

Formed back in 1993 by Greg Roberts (Big Audio Dynamite) and Tim Bran (Julian Cope), Dreadzone were soon joined by Leo Williams and Dan Donovan also of B.A.D. fame to create their own brand of several genres wrapped into one.

Various personnel change over the years and a certain John Peel citing the bands second album, Second Light as one of his favourite of all time, have seen the group gain underground recognition and support over time.

Don Letts appears with additional lyrics and dance, sublime guitar riffs, folk roots sentiments and breakbeat bass styles all combine over twelve lengthy tracks catapulting Dreadzone into the UK Top 40 albums since 1995.

Let’s get straight to the point. Rootsman opens into a dubby, deep bass with driving, old skool jungle drums. Some nice Reggae vocals pop in and out over the top and synthesisers twinkle around it all. There could even be a bit of Augusto Pablo in there somewhere.

Mountain has a real ’90’s dub feel to it, almost ambient in places and throbs along nicely with a smooth groove and some good breakdowns and key changes, as does Battle with its deep dubby bass lines. From Escape right through to Keep It Blazing this is an album which doesn’t stray too far from its roots and doesn’t have a tremendous amount of variation but that doesn’t matter because this is an album to chill to, dance to, have sex to and ultimately just enjoy.

Never Going Back throws a nice curveball with quite a modern sound, a good fast rhythm and could be a single if it was put out there. It has some nice female vocals over it all pushing it along and then dropping down into the smooth and sensual Where Is My Friend which is like pure lover’s reggae.

The album ends with quite an ethereal, ambient soundscape instrumental of percussion and little blippy synths all backed up with a punchy dub line and some spacey piano. It’s a nice end to a free-flowing album. Dread Times isn’t breaking new ground by any means and it does feel very familiar however it is an enjoyable listen and would sit well at a nice late night gathering.

~

The Dreadzone website is here: dreadzone.com. They can be followed on Twitter as @dreadzonemusic and Liked on Facebook.

All words by Jay Stansfield via Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here.

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Jeb Loy Nichols – Country Hustle (City Country City Records)

LP / CD /DL

17th March 2017

8.5 / 10

Steadily rising troubadour Jeb Loy Nichols presents his classic-in-the-making new album. Louder Than War’s Paul Scott-Bates reviews.

Is it Soul? Is it Country? Is it Hip-hop? No, it’s Jeb Loy Nichols with his new album Country Hustle combining genres of music that you never thought could be gelled together. Blues, jazz, funky backbeats are all here and somehow, just somehow Jeb manages to make it sound sublime.

His voice is subtle, gentle and enticing – go as far as to say he’s the closest we’ve ever come to the smooth angelic tones of Nat ‘King’ Cole, and that’s quite some statement. Interwoven with the simplest of melodies and the most addictive of choruses, he is the perfect songwriter.

There are hints of dub and club riffs too and his friendship with Adrian Sherwood is described by the On-U Sound main-man as brotherly. So what makes Nichols such a well-guarded secret? Who knows? Maybe the tag of ‘Country’ is off-putting but, it’s so far removed that you really wouldn’t notice.

Take album opener Come See Me, a blues tinged slip of a track with gorgeous guitar riff and ‘that’ voice as smooth as organic chicken soup and twice as tasty, it’s hard not to fall in love from the beginning.

A stripped back cover of the 1981 Luther Vandross dance delight Never Too Much leaves the listener with a hanging bottom jaw as the Wales based Missourian stamps his mark all over the song making it sound like one of his own. And that, is the secret of Jeb Loy Nicholls, he sounds like no-one else and no-one sound like him. He has an elegance like no other and he often exudes pure class.

That’s How We’re Living draws comparisons to Curtis Mayfield and even Marvin Gaye with its unavoidable toe-tapping rhythm and earworm chorus and, Regret has a James Brown riff subtly tucked away and a delicate funky drummer percussive line.

Album closer, Long Live The Loser starts with some absolutely gorgeous dub effects and continues to introduce reverb moments right through to the end. Till The Teardrops Stop has more of the same with added repeats of the infectiously catchy title.

Country Hustle is a gem of an album and a must listen for any fan of hip-hop, soul, funk, country – you get the message. Enjoy.

The Jeb Loy Nichols website is here: jebloynichols.co.uk. Ian can be followed on Twitter as @jebloynichols and liked on Facebook.

~

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here.

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King Ayisoba – 1000 Can Die (Glitterbeat Records)

LP / CD / DL

7.5 / 10

Out Now

Ghanaian traditional musician and king of kologo releases his new album. Louder Than War’s Paul Scott-Bates reviews.

King Ayisoba may not be a household name in the UK but in his homeland of Ghana he almost is. On his debut album for Glitterbeat he enlists the help of the likes of Lee ‘Scratch’ Perry and has been produced by Arnold de Boer of The EX, the legendary Dutch post-punk band.

It’s an album that is hard to label. Opening track Africa Needs Africa is an angry, energetic track which steamrolls the album into being from the opening bars. There is shouting (and probably profanity) and an undeniable lineage to traditional music which is given a completely modern overhaul to create one of those tracks which is difficult not to hum afterwards. A heavy bass and frenetic percussion accompany King Ayisoba’s playing of the kologo, a traditional lute, with added rap from guests Wantov da Kubolor and Big Gad. Wekana continues the feel and sound and kicks the album of to a tremendous start.

On the title track, Perry appears. His unmistakable voice making an charge well into the track around the three minute mark, but it is wondrous as the backing begins to reverb around him which also features Ghanaian rapper M3nsa. To compare to anyone else would maybe be unfair but imagine Tricky meets Keith LeBlanc meets Fela Kuti and it will give you some idea of what to expect.

Repetitive rhythms blend with infectious beats and voices, and the several guest appearances add depth and variance to the proceedings. It’s an album which doesn’t tire, particularly on tracks like Dapagara (featuring Nigerian saxophonist Orlando Julius) and Wine Lange which are raw to say the least. The later has looped or repeated melodies which bring about an almost mystical quality.

Anka Yen Tu Kwai again brings forward an eclectic range of sounds and melodies in a cacophony of noise which somehow just falls into place. Once more, given that the vocals are foreign tongue to most of us, the chorus and verses are incredibly infectious.

It’s a varied and unusual album and one which marks a turn in the career of King Ayisoba blending traditional with modern and even hints of the future.

The King Ayisoba website is here: kingayisoba.net. He an be followed on Twitter as @kingayisoba and Liked on Facebook.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here.

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Vieux Farka Toure – Samba (Six Degrees Records)

CD / DL

12 May 2017

7.5 / 10

Malian songwriter and bandleader release his new album. Louder Than War’ Paul Scott-Bates reviews.

Beginning an album with a near six minute instrumental is adventurous by anyone’s standards, even more impressive is to carry it off successfully, and Vieux Farka Toure does just that as Bonheur grips the listener from the opening bars. Often referred to as the ‘Hendrix of the Sahara’ Vieux returns with is first album since his collaboration with Julia Easterlin on 2015s Touristes and is in blinding form.

Recorded as part of the Woodstock Sessions, the unique opportunity for fans to be seated in front of the artist as they both play live and studio record, Samba is a refreshing mix of blues, funk, reggae and rock as Toure knows only too well. An audience of around fifty people are briefed that they are to witness the recording of a studio album with a truly live feel. It’s an interesting concept and one that, on the evidence of this album alone, works incredibly well.

The son of legendary Malian artist Ali Farka Toure, Vieux was the second born to his parents which in the Songhai language is called the ‘Samba’. It represents the head position in the family and bestows great honour and power. Ironically, his guitar playing does very much the same. Often exceptional and hypnotic the solos alone are something to behold.

Highlighted track, Homafau Wawa is nothing short of brilliant as Toure’s voice glides over incredible guitars and a backing vocals provided by the audience in a track that has been described as almost Church like. Maya features friend and regular collaborator Idan Raichel who plays some wondrous keyboards on a track that sees a Muslim and a Jew working together and endorsing tolerance and understanding.

A more indigenous feel can be heard on Nature, the shortest track on the album at little under four minutes, it conveys a feel of the griot tradition and expresses concern over conservation and the abuse of wild animals.
Samba is an album of immense feeling, of power and of commitment with an unrivaled live feel.

Ten new tracks from a man in his ascendancy and an album well worth taking the trouble to listen to.

The Vieux Farka Toure website is here: vieuxfarkatoure.com. He can be followed on Twitter as @Vieuxfarkatoure and liked on Facebook.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here.

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Kioko – Let’s Be Frank (Avant Garde Music)
CD/DL
Out Now

Kioko are a multiracial reggae/ska/pop band from Birmingham, United Kingdom. Although the music on this EP (their second) is not directly political, the band have been hailed as heroes of the post-Brexit fall out Britain has been experiencing recently. The result of the EU referendum last year has widely been credited with increasing incidents of racism up and down the country, with many people of black, Asian and east European descent saying they no longer feel as safe here as they did previously. One particularly shocking story involved the soul singer David McAlmont (of McAlmont & Butler fame) recalling an incident on his Facebook account last year in which he was called a “fucking black twat” after apologising for accidentally stepping in front of a woman in a queue in his hometown of London, a sickening act of prejudice the like of which he said he hadn’t experienced there for many years, blaming the incident firmly on Brexit. It’s an ugly, highly concerning situation which, along with the possible financial meltdown the country has the potential to sink into (particularly with the present government slashing public services left and right) appears to be dragging the UK into a medieval quagmire, with public hangings, witch trials and the reintroduction of torture instruments such as the iron chair lurching menacingly on the not-too-distant horizon. As Great British fuck ups go, this is right near the top of the fuckometer.

It’s part of the reason why, in the midst of such anger, uncertainty and turmoil, bands like Kioko seem so fucking essential. Produced by Dubwiser drummer (and sometime bandleader for Lee ‘Scratch Perry) Spider Johnson, this skanking septet certainly delivers. Kioko Skank kicks thing off, a Scientist meets Skatalites swamp of door-rattling dub bass, frantic ska horns and ghostly roots style vocal passages. Although blessed with summery hooks, blissed out Wailers vocals and a beat you can lean against, single Tired of Lying is cut with deceptively bittersweet lyrics seemingly concerned with a relationship breakdown. The band’s guitarist Jon Brown has said that the EP deals with the personal problems the band experienced as an up and coming outfit in the music industry, so perhaps it’s an analogical examination of the machinations of the record business. Either way, it’s a damn fine tune.

The title track (a dub of which closes the recording) appears to cover similar ground, world-weary words set to catchy melodies and effortlessly upbeat instrumentation, while Kiss Away is a riot of dancehall riddims and soulful roots reggae. It’s an inventive, highly original release guaranteed to keep your mind racing and your toes tapping throughout. As Pauline Black said during The Selecter’s set at Liverpool’s Positive Vibration reggae festival this year, “multiculturalism is the way forward.” Bands like Kioko should be worshipped as Gods in dangerous times like these, especially when their music’s as good as this!

~

For more info on Kioko please head to their facebook page https://en-gb.facebook.com/kiokomusicuk/

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Mista Savona: Mista Savona Presents Havana Meets Kingston

Baco Records

LP / CD / DL

Available Now!

Billed as the first album collaboration between Jamaican and Cuban musicians and also the first album sung simultaneously in Spanish, English and Jamaican Patois, Havan Meets Kingston sees a varied cast of characters come together to celebrate cultural similarities. Simon Tucker reviews. 

It comes as a slight surprise that this is the first time a collaborative album between Cuban and Jamaican musicians has been created. The islands share so much similar heritage where migration, cultural diversity and a rebel spirit are at their very core. Created by Australian producer Jake Savona aka Mista Savona who was inspired by Juan de Marcos González and Ry Cooder’s ‘Buena Vista Social Club’ project and featuring a feast of highly regarded musicians (Sly & Robbie, Bongo Herman, ‘Bopee’ Anderson, Ernest Ranglin, Rolando Luna and Barbarito Torres from Buena Vista Social Club and Los Van Van) Havana Meets Kingston is a glorious celebration of the islands rich cultural heritage which manages to meld tradition with new fusions in impeccable style.

Havana Meets Kingston works due to the obvious respect each participant has for their co-creators. Never once does one style dominate the other making a perfect blend of light pop sensibilities with deep sociopolitical commentary. The flamboyance of Cuban music meshes perfectly with the deeper end of traditional Jamaican rhythms and the way the vocals blend between English, Jamaican patois and Spanish helps emphasise the universal language of music.

Highlights of Havana Meets Kingston includes Heart of A Lion (featuring Lutan Fyah, I-Maali, Brenda Navarrete and France Nooks) the sensual pop of La Sitiera and ultimate hybrid Carnival.

Mista Savona has managed to pull together an album that not only celebrates two titans of cultural history but one which also celebrates the entire history of roots music whilst never resting on his laurels and falling into cliched tropes. An album that manages to take historical forms and mesh them with the here and now. Havana Meets Kingston is a vital shot of celebratory joy and a testament to the power of human collaboration.

~

Baco Records can be found via their website   Facebook   or Twitter where they tweet as @bacorecords

Mista Savona can be found via his website or Twitter where he tweets as @MistaSavona

All words by Simon Tucker. More writing by Simon on Louder Than War can be found at his author’s archive. You can also find Simon on twitter as @simontucker1979

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Dub Syndicate – Ambience In Dub 1982-1985 (On-U Sound)

LP / CD / DL

Out Now

8.5 / 10

Early 80s re-releases from studio-based dub band. Louder Than War’s Paul Scott-Bates reviews.

The latest in the extensive, and surely definitive re-releases from Adrian Sherwood’s label sees Dub Syndicate re-release and re-issue their first four albums on heavyweight vinyl together with an album of unreleased versions. All five albums are also available as a 5 cd boxset.

Over thirty years ago On-U Sound Records were releasing material that was far ahead of its time. In many respects, and quite unbelievably the same albums still are. It can be questioned whether the World will ever be ready for the labels early output. It fused dub with electro, hip-hop, funk and punk in a sound crash that has never been, and maybe never will be, repeated. Its sound was genre defying, and unable to be defined it has simply become ‘On-U’, to the labels barmy army of fans it has become almost a way of life.

Recorded quickly, due to On-U allegedly running out of money, Dub Syndicate’s first offering The Pounding System was an album of instrumental dub with wicked reggae rhythms and mutilated effects which would become a trademark of the label. Several of the tracks titles famously making light of The Scientist whose own had become almost laughable themselves. The title track and album opener sets out the stall quickly with both a lazy reggae feel and some sumptuous reverb by the studio based project made up of Sherwood and a collective of musicians. Humourless Journalists Work To Rules contains a quite incredible bassline intertwined with various electro effects and serves as one of those experimental tracks you either hated or loved but tracks like Crucial Tony Tries To rescue The Space Invaders (With Only 10p) surely the later had to be the case.

One Way System followed on quickly, still a collective of musicians built around Sherwood and drummer Style Scott (Creation Rebel, Roots Radis) and was originally released on the ROIR label allegedly due to lack of funds at On-U. Much of the album contains versions of tracks from other On-U releases with an opener by Bim Sherman, Socca, from the Singers and Players album Staggering Heights. An experimental album, not unusual for On-U(!) which had deep roots tracks shoulder to shoulder with pieces like heavy bass Drilling Equipment, a riotous throb of sound with an upbeat percussion making it turn the album on its head.

Dr Pablo and his melodica playing (not to be confused with Augustus Pablo) joined Dub Syndicate for North Of The River Thames in 1984, again a member of Creation Rebel on their live shows he contributed to the album that saw his previous band become what was recognised as his new one. The album title was in direct response to Augustus’ album East Of The River Nile and featured the brilliant version of the Dr Who(?) theme, dubbed and redubbed along with slow reggae beat and space-age effects and, Tribute which had sneaky excerpts of Get Up Stand Up tucked away in its tune.

By the time Jah Wobble, Keith Levene, Bim Sherman and Steve Beresford joined Dub Syndicate for Tunes From The Missing Channel, things had moved on significantly. Sherwood has discovered the emulator and the ability to ‘sample’ voices and instruments to create brand new effects being arguably one of the first people to do so and starting a whole new episode in popular music paving the way for the likes of Coldcut, Double D & Steinski and DJ Shadow. Ravi Shankar Part 1 later evolved into the theme tune for Radio Lancashire’s On The Wire featuring the legendary Steve Barker who became very much an unnamed member of On-U and who provides sleeve notes for several of their releases. Heavy on reverb and new technology, the album stands as a classic not only from the labels perspective but also in the general development of dub music.

The final album in the wonderful set is Displaced Masters, a collection of outtakes and unreleased archive tracks heard for the first time. Tracks which are highly stripped back and displays early sounds of Dub Syndicate perhaps unknowingly setting the path which On-U would later follow. The superb Mind Boggles opens the album and the late Sherman’s dulcet tones feature on Money Dealers, Haunted Ground and Keep You Rocking.

Ambience In Dub is classic stuff in the same vain as the recent re-releasing of the African Head Charge back catalogue, and is an essential not only for On-U and dub fans but also for any discerning alternative music lovers. Trail blazing, barrier breaking and often, sheer genius.

The Dub Syndicate website is here: dubsyndicate.com and they can be Liked on Facebook here.

An incredible fan tribute to On-U can be found here: skysaw.org

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter as @hiapop, and on Facebook here.

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Kuenta i Tambu

Rais

Buchi Records

LP/DL

Out Now

BOOM! Unsuspectingly, you reach for a promo disc sent to you by a pr company with the intention of skimming through, just to see if there’s anything to take your fancy, any nice little tunes to tap your toes to, and then…… WHAM!

The disc’s opening track, Sangura, whacks you repeatedly in the face with its intense, hard as nails dancehall rhythms, terrifyingly in-yer-face hardcore mcing, wall rattling bass and mindfuckingly shrill electronic squelching, the disarmingly chilled ambient opening  not even beginning to prepare you for the demented assault on the ears which follows. Just when you think you can’t possibly take any more, it’s over in just under three minutes; a mere precursor to the aural ear bashing set to unfold. Welcome to Rais, a no holds barred 40 minute fairground ride of terror, beauty and beats.

Formed in 2005, Kuenta i Tambu describe themselves as “Like a caribbean punk band. No particular philosophy. We go harder and harder, louder and louder!”. Based in Amsterdam, their latest album, Rais, is a celebration of the culture of the band’s founder member Roel Calister’s hometown of Curacao, a caribbean island in the Dutch Antilies. The album’s title means ‘roots’ in Papiamentu, Curacao’s native language (the band’s name means ‘Tales and Drums’). Half the album was recorded on the island, in an attempt to get as close to the roots of Curacao’s traditional music as possible.

Describing the album’s sound is difficult, but I’ll have a go. Imagine the short, sharp shock formula wagered by extreme metal acts such as Napalm Death and Anal Cunt filtered through the big beat comic book shenanigans of Bentley Rhythm Ace by way of a psychedelically painted armoured tank blaring out gabba on a 24 hour basis outside a village fete and you’re almost there. Sort of. Seven tracks in and the pace slows down momentarily by way of lead single Dutch Major Leaguer. It’s a deliciously dark, dub-heavy dancehall stunner of a track with a surreal, delightfully sleazy video that’s sure to raise the ire of prudes and ultra-conservatives to borderline colostomy bag levels of pissed offness, a gleefully prickly song of devilish intent. Would have been the song of the summer had it not come out in November.

A brilliantly breakneck, fantastically futuristic carnival of light, listening to Rais is akin to hurtling around a Thai island on a moped at 100mph. Probably. By the time the infectious ragga-punk chant of closing track Naughty comes along you’re grinning like a cheshire cat, completely immersed in the tidal wave of joy, madness and laughter washed up by this lunatic sound. Once you’re in, surrender is the only option.

For more information on Kuenta i Tambu please head to their official site 

~

All words by Sean Diamond. More writing by Sean can be found at his author’s archive. http://louderthanwar.com/author/sean-diamond/ Sean is also on twitter as @theseandiamond.

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Bob Marley And The Wailers – Kaya 40 (Tuff Gong/Island Def Jam/UMe)

LP / CD / DL

24 August 2018

Special Anniversary edition of Bob Marley’s historic release. Louder Than War’s Paul Scott-Bates reviews.

There’s always something exciting about a new Bob Marley release, maybe because his family are usually behind it. There is an important, undisturbable legacy with Marley that is protected by his loved ones, nothing is released without their full support and involvement and, with someone as pivotal as Bob in the world of music, that is paramount. Kaya 40 is one such album.

Forty years since its original release, Kaya has been carefully and tenderly updated by son Stephen and the results, whilst sometimes subtle, are quite brilliant. The objective was to heavily use the original versions of the songs from demos and session recordings to create something as authentic as possible. Synching the vocals with alternative instrumental arrangements and mixing on the analog ideas from the 70s, he has produced a modern day version sympathetic to the original but with enough updating to make it sound fresh and bright.

Recorded with what was a new version of The Wailers including wife Rita and, Carlton and Aston Barrett the album was first released just before the legendary One Love Peace Concert in Kingston, Jamaica in June 1978 following his return from London exile after a failed assassination attempt in 1976. The album was recorded at the same time as songs which would appear on the classic Exodus album and contained new versions of Kaya and Sun Is Shining from 1971s Soul Revolution.

So, to the purist how does the album differ? The changes will be instantly recognisable – different vocals in place and an overall more modern, almost clinical feel. The tracks are sparser, less cluttered and you get the impression that maybe this version would have been more preferably to Bob. There are some absolutely exquisite dubs scattered throughout (check out Sun Is Shining) which often send goosebumps down the spine as they reverb away into the background. It’s easy, joyous and, to be frank sounds like a brand new recording – hats off to Stephen for such a great piece of affectionate work.

To the newcomer, Kaya 40 could very well open the doors to a world of Bob Marley and maybe even a wider glimpse of reggae in general. Kaya is an underrated album often overshadowed by Exodus and the obvious Legend, the compilation that lit up the world in 1984, but it deserves to be right up there. If you can’t feel the vibe and beauty of Is This Love then there is no hope for you and if Satisfy Your Soul doesn’t then it’s possible you don’t have one.

There is often a certain amount wariness to be appropriated with new or remixed versions of old albums but Kaya 40 is an exception to the rule. Bob Marley’s legacy continues and this release is something he would surely approve of.

The Bob Marley website is here: bobmarley.com. The Twitter account is here @bobmarley and Facebook here.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here.

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Fofoulah – Daega Rek (Glitterbeat Records)

LP / CD / DL

Out Now

London based afro-dub ensemble release their new album. Mikey Bailey reviews for Louder Than War.

Fofoulah. It’s there. Daega Rek. The truth.

It’s here.

This is one of the most progressive and innovative albums of this year.

As soon as the needle hits Nyari Garong we are transported to the outskirts of what we were led to believe was the real World. Say goodbye to your old self, you are never going to be the same again.

Electronica glitches through frightening and beautiful shamanic chants, quickfire sabar beats punch holes in your daily lives and fill them with futuristic melodies and Wolof tales. Everything shifts with such fluidity and shockingly raw power that any other music that you might care to listen to afterwards will seem limp and bland.

They explore many avenues of what is to be human. With deft and dynamic drumbeats pulsing through their music, there is no time to settle back in an easy chair. Seye (Marriage) is a shapeshifting and hypnotic track. The title track, Daega Rek, is subtle and smooth, focusing on reality and the truth.

The combined talents of Kaw Secka (Sabar/vocals), Tom Challenger (Sax/synths), Batch Gueye (Vocals/dance), Phil Stevenson (Guitar), John Brierley (Bass) and Dave Smith (Drums) creates a fusion that is mesmerising and intricate.
Hip-hop dances with wild West African trance, jazz trips with electro lightning strikes and they come together in a sweeping embrace of different cultures. They are creating Worlds within Worlds.

The band are set and ready, not just for the release of Daega Rek, but also for a tour of the U.K. which will unleash this fierce and stunning collective on audiences from the South West to Glasgow, with two Danish gigs in between. Are the people of The World ready for the genre busting Fofoulah and their astonishing Afro-Dub explosions? Maybe not. But they will definitely leave those venues with their minds firmly blown and their hands clutching treasured new albums.

The Fofoulah website is here: fofoulah.com. They can be followed on Twitter as @fofoulah and Liked on Facebook.

All words via Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here.

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The Stella Grundy Band

Punky Reggae Festival

Burnage Cricket Club, Manchester

27th August

Stella Grundy brings her Magickal album to life with the help of a full backing band, giving it sparkle, depth and of course beats. Nigel Carr is on hand from Louder Than War and reports back below with photos by Jelly Universe Productions.

It’s taken a while to pull together but Stella has finally assembled the kind of band she can be proud of to bring her ambitious Rise and Fall Of A Northern Star project to life. The tracks which were released as an album appear in the play of the same name, which has been growing in reputation around the UK. I get the chance to chat to Stella before the show:

“I felt the songs were visual and had lot of dynamics to be live, people expect a natural chord progression but I don’t do it like that so it’s been a bit tricky – I’m using professional rock and roll musicians and making them play dance music, that’s why”

I’m in a field in Burnage a small suburb on the outskirts of Manchester and the heavens look as though they are about to open as the band hit the stage. From the opener, High you can see the effort that has gone in to the production of these numbers. This isn’t any old band, they are phenomenally gifted musicians and really know how to play. Karen Leatham bass guitar, Martin Bolt: lead guitar, Ben Knott: keyboards and electronics and Ian Budgie Jones on drums have all been frantically rehearsing and it shows. They made their debut at last month’s Blackthorn Music Festival in Stockport, their tight performance going down a storm.

They are here tonight to play just a short set of the highlights from the album and a couple of new tracks. As we get in to Escape Hatch which was originally recorded in the studio with Jah Wobble’s basslines, I realise just how much heavy dub and reggae underpins these tracks. It’s a deep throbbing, brooding number with Stella’s half spoken, half sung lyrics floating over the top. Ever the professional, she dominates front of stage, glitter faced, dancing with abandon at the mic.

Goodbye sounds oddly out of place in a live performance as the following track, I half expect to see her waving us off, but it’s just brilliant; with it’s upbeat French vibe, it’s soaked in heavy dub which suits this ‘punky reggae’ audience down to the ground. Heavyweight is introduced as a song about ‘being pregnant’ and I get it now! ‘It’s a heavy weight I’m carrying’ with its funky keyboard backing.

Star gives her the opportuntity to introduce some thumping beats with its tale of touring in the ‘back of a van’ and she closes with the remixed, remodelled Intastella track Skyscraper. With the darkness closing in and the rain keeping off we slide on in to the night, with sparkling lights and a deep groove that has the audience dancing away in front of the stage.

Stella has been back in the studio remixing some of these tracks as full-on DJ dance numbers, some of which I’ve heard – I look forward to the full remix album!

~

Upcoming:

Headline show at Hebden Bridge Trades Club on Friday September 30th  http://thetradesclub.com/events/stella-grundy-band

October 12th Supporting Lene Lovich at Manchesters Fac 251 http://glasswerk.co.uk/concerts/gig/13133/Lene+Lovich+Band-FAC+251,+Manchester/

You can read more about Stella and buy the album online here: theriseandfallofanorthernstar.com

The show ‘s Facebook Page is here, while Stella is on Facebook too and she tweets as @StellaProduct.

All words by Nigel Carr. More writing by Nigel on Louder Than War can be found at his Author’s archive

Photos by Nigel and Jelly Universe Productions

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