Archive

Monthly Archives: May 2015

Sim-Simma-5393

[Originally published on GoldenPlec]

Sim Simma is, ostensibly, just a club night. A club night which narrowly escaped the fate of being called “Rice and Peas”, but a club night nonetheless. This is perhaps why, when describing the development of the colourful Sunday evening celebration, there is an abashed hesitancy to founding member Tadhg Byrne’s claim that, It feels like something more now… like a way of life?”

Starting out last year as a fun venture just intended to last the summer, Sim Simma allowed a group of friends – initially consisting of Byrne, Tim Nairn, Johnny Carroll and Frankie Grimes – to come together every week in the Twisted Pepper loft to play the Reggae, Dancehall and Afrobeat records they loved. Now coming up to its first birthday though, Byrne – also known as “Byrna Boi” – isn’t wrong to suggest that Sim Simma has indeed become so much more.

Read More

downtothebone

[Originally published on GoldenPlec]

From the very first track there is an arresting beauty to Anna Mitchell’s debut album. Released earlier this year, Down to the Bone is noteworthy in its subdued nature; the way it sways unassumingly, all blue and yearning. Indeed, said opening song – ‘Paradise’ – sets the tone for what at times can be a quite majestic listen.

Despite hailing from Cork, Mitchell showcases an echoing Americana sound that swells almost ominously around tracks like debut single ‘Let’s Run Away’ and ‘Long Time Gone’There is a rustic sense of world-weariness to her tone, which belies the singer’s age – indeed, the 24-year-old’s voice is at once tremulous and unfaltering, whilst retaining a pronounced soulfulness throughout the album – notably on slower, achingly evocative numbers like ‘Songs of Love’.

For all that is impressive about the record, however, there are times where a bit more variety might have been welcome, as the pace in the second half begins to feel a bit repetitive (if never quite listless).

The poppier stylings displayed on ‘When My Ship Comes In’ sound somewhat disingenuous with its cloying country twang, particularly when compared with the stark honesty of the folk-tinged songs otherwise in evidence on the LP.

At her best moments, though, there is no denying Mitchell’s talent. ‘Tennessee’ is all affirming, gorgeous piano and melancholy, and rich vocals longing for elsewhere. “Let’s go to Tennessee / there’s nothing left for us here anymore”, the singer laments.

And perhaps that is what is striking and, at times, seemingly incongruous about Down to the Bone. Mitchell’s passion for that roots-y Americana sound is so encompassing that, in her music, she is reaching out for a sweetly idealised notion of the Deep South. While the swathes of country might seem ill-fitting to the humble folk stylings of this Irish artist, one might concede that, overall, Mitchell’s dream of escaping to her hallowed America is sonically realised here.

What’s more, it is realised with an impressive passion that makes us intrigued to hear more.

wayne-J-Dancehallstarz.com_

Do you remember being 12? Let me rephrase, in fact: do you remember being in any way genuinely cool aged 12? I for one am pretty sure I was significantly lamer than I am now (hard to imagine, I’m sure), but I have always liked to think that this was something of a universal – awkward preteen years aren’t kind to anyone. And yet, there are guys like Wayne J who, at 12-years-old, is releasing some astounding jams on the Kingston dancehall scene.

In ‘Any day now (Ben10)’ the child prodigy references Scooby Doo and Ben10 as though he is some normal kid, but – if Aaliyah taught us anything – age ain’t nothing but a number, and his lyrics run deeper than you’d think. As he explained to Dazed, he wants to be a role model to his peers, singing about “positive stuff. Like, staying in school. No underage smoking and drinking.” And his vocals are as wonderfully sweet as that aim might suggest, at times recalling the smooth and chill voice of Billy Boyo; and yet there is a striking presence and command to his style that goes beyond said sweetness, underpinned nicely by the fiery passion of the instrumentals on vehemently charged tracks like ‘Slacky Mouth’.

His father Wayne Senior, himself a DJ and singer, was the 12-year-old’s inspiration, and the two of them have been writing tracks together for the past couple years. Since his first release, the intensely uplifting number ‘Stay Ina School’, Wayne J has turned local hero, rightly making waves on the dancehall circuit with his assured delivery, catchy, danceable songs and his generally good vibes. I’ll forgive him for highlighting my ineptitudes aged 23, let alone at 12, because this guy is ridiculously exciting and a welcome addition to an increasingly impressive scene.

Pay close attention: the future is looking bright, and Wayne J might well be next in line to the dancehall throne.

femikuti

In continuing with the theme of rehashing pieces I’ve already written and posting them here as though they are new and exciting, here’s a longer, improved version of a column I wrote a couple years ago on the link between Lagos and the development of my beloved Afrobeat. Having spent this pleasantly sunny afternoon half-heartedly attempting to pack a suitcase whilst blasting out the Fela, it seemed pertinent to post this edited tn2 piece up:

Though its founding fathers can be linked with many cities, it is only right to trace the development of Afrobeat back to Lagos, Nigeria. In 1963, after several years in London studying music whilst playing jazz and highlife, Fela Kuti returned to his native Nigeria seeking to form a band. Kuti asked drummer Tony Allen to join his new band Koola Lobitos, having previously played with him around the Lagos gig circuit. Allen was an unusually talented percussionist, effortlessly playing an eclectic blend of traditional Nigerian yoruba rhythms and Western jazz – it is no coincidence that Damon Albarn famously sings “Tony Allen got me dancing” in Blur track ‘Music Is My Radar’.  Allen’s was an unprecedented mix of rhythms which, along with Kuti’s fantastic musical fusions of soulful Western funk and African grooves (topped characteristically with pidgin English), would form Afrobeat.

Read More

krystalklear

Exciting Irish DJ/Producer Krystal Klear — named thus because “once I thought of it I didn’t want to think of anything else” — brought his wonderfully house meets disco meets that-amazing-time-he-remixed-Justin Timberlake sound to Dublin’s Trinity Ball last month. I had a quick chat with the man behind that Sky Ferreira remix.

Read More