Jay-Z’s The Volume series, Kanye’s College series and Lil Wayne’s The Carter series. Some of the most iconic album series in hip-hop history and today’s song comes from the latter. Lil Wayne has dropped some huge tunes in his five albums under the Carter moniker, including A Milli, 6 Foot 7 Foot and Go DJ, but today’s comes from Wayne’s latest release in the series, 2018s The Carter V.
Last New Music Friday of March, which I think means it’s basically summer right? Right??? Either way, a third of the way through the year and we’ve had some amazing new music. New Tame Impala for the first time since 2015, J. Cole, Ariana and Khalid all teasing new projects since January 1st, and of course the utterly insane debut album by Billie Eilish that dropped today. I’ve already covered Billie on New Music Friday with her February single bury a friend, so didn’t want to revisit her work so soon. But please, for the love of god, listen to her album, when we all fall asleep, where do we go?. It is emotive in ways I didn’t think music could be and will solidify her as a global megastar. At 17 years old.
Today’s song is a different flavour altogether. Col3trane is a half American half Egyptian RnB/soul artist from North London (I know, great combination), and he has joined forces with GoldLink for Superpowers. A simple guitar riff, that sounds weirdly like TLC’s No Scrubs, leads into some catchy, modern rapping from Col3trane, with trap drums taking over and adding the spark. I actually think it would make for an amazing acoustic version, but I don’t think that’s what rappers do nowadays.
GoldLink delivers a short but sweet verse that switches vibe completely, but in a good way. The original sound is doused in a trap beat that washes off when Col3trane comes back and battles with his relationship with women.
A good, good day for new music. Get listening folks, there’s a world of tracks waiting for you out there.
Spotify Playlist Link: https://spoti.fi/2CKuVex
An absolute classic on the cards for you today, with arguably Basement Jaxx’s best song. Romeo is a funky blend of sirens and carnival vocals, provided by Kele Le Roc, that swirls into a pop elixir that stans the test of time. Personally, I’d erupt in a club if this came on.
Basement Jaxx consist of South Londoners Simon Ratcliffe and Felix Buxton. They met in the 90s, on a riverboat party on the Thames hosted by the latter, and blended their influences from Latin funk and Chicago house to create a truly unique sound that helped drive the growing UK house sound throughout the 90s. After enjoying a great deal of success throughout the 90s, releasing EPs and albums, and enjoying radio plays both sides of the Atlantic, 2001 saw the duo release Rooty, their second studio album. It released on XL Recordings in the UK and on Astralwerks in the USA. Track number one? Romeo.
Basement Jaxx are sonically pioneering, exquisite producers of music, yet their work often gets criticised for its lack of vision. Pitchfork, in particular, had scathing reviews of this album and this song, but I disagree. It’s fun and upbeat, and may also act as an easy segway for young fans to discover electronic music and UK house. The lyrics aren’t groundbreaking, but what house song lyrics are? If it gets you dancing then it’s heading in the right direction, and the blend of carnival soul into their signature house production was a fresh take back in 2001.
Personally, I think music can sometimes be over-analysed. In fact, it is the same for all art forms. If you enjoy something, be that a song, album, painting, building, film or even a cupboard, then that’s all that matters. In the case of Basement Jaxx’s Romeo, the funky sound washes me with nostalgia and I for one am here for some old school UK house. Bring on the weekend
It’s been a long day today, but I’m pleased to end it with yet another banger, as April and 100 days of the blog approaches. “Matrix & Futurebound” is not just a funky name for a solo DJ, they are two juggernauts of the UK drum and bass scene in the 90’s with a rich tapestry of rave culture behind them. The two veterans combined forces in 2005 and they released a full-length project, Universal Truth, two years later. With hints of pop-centric production and songwriting, the collaborative duo decided to lean into a bit more and give the charts an injection of the drum and bass sound that defined an era.
Control came along in late 2013, and it brought with it a wave of credits for the pair. BBC Radio 1 loved it, and it got as high as seven in the UK Top 40. Max Marshall is on vocals duty, and it is quite a task as the track is vocal heavy, especially for two stalwarts of the underground dance club culture. It is anthemic in its grandeur, with an immense drop that seems most at home in a club. However it is more subtle than more pure forms of drum and bass, feeling quite melodic and something that, maybe, even your parents wouldn’t mind if they ventured out of a weekend.
That sounds like I’m diminishing the track, but actually, I am impressed by the fine tuning on the production end that has transformed this record into a delicate balancing act between affording the respect and acknowledgment of the roots of drum and bass whilst pioneering its movement towards the masses. I’m fairly sure no one has ever referred to this song, or in fact any drum and bass, as delicate. First time for anything.
Spotify Playlist Link: https://spoti.fi/2CKuVex
A Song A Day 