Tag Archives: Ninja Tune

Switched On – Nabihah Iqbal: DREAMER (Ninja Tune)

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by Ben Hogwood

What’s the story?

DREAMER, Nabihah Iqbal’s follow-up album to her debut Weighing Of The Heart, stands as a story of resolve in the face of considerable hardship.

In early 2020, just as the pandemic was beginning to take hold, Iqbal’s studio was burgled and all her work lost – including the album on which she was working. By this time she was suffering from extreme fatigue and had sustained a broken hand, but worse was to come as her grandfather suffered a brain haemorrhage, and she had to travel to Pakistan to be with the family.

The relocation was unexpectedly beneficial for her music, as she returned to basics away from the electronic trappings, using an acoustic guitar and harmonium to make much of her music. Although the genesis of DREAMER was changed with her experiences, Iqbal found inner strength and power for her music, adding new colours and shades to her sound.

What’s the music like?

Having read the story behind the music you might expect a morose, navel-gazing album – but nothing could be further from the truth. Instead what we have here is music full of rich colours, resolve and positivity, finding an inner strength and power.

The shimmering textures of In Light set the scene, brighly coloured and soaked in heat. This is a theme continued by the sweet melancholy of Dreamer, but which reaches a peak on Sunflower, a heady rush akin to being in the middle of a dancefloor breakdown in the mid 90s. “Count the steps of the sun, comfort me sweet golden one”, speaks Iqbal poetically.

As the album progresses so more acoustic themes are revealed. The descriptive Lilac Twilight presents a rich acoustic picture, while the final three tracks, of a more thoughtful persuasion, offer an aside to self over largely non-digital sound pictures. By contrast, Gentle Heart presents a sumptuous deep house landscape, while Aky River reaches even more vividly for the light, with a strong beat in tow.

Does it all work?

It does. Iqbal’s music casts an unusual light, in a good way – and the lyrical content, while relatively sparse on occasion, is always meaningful. The balance of instrumental and vocal is just right too,

Is it recommended?

It is – this is a rather special album, and responds well to being played at volume!

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On Record – Young Fathers: Heavy Heavy (Ninja Tune)

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by Ben Hogwood

What’s the story?

This is the fourth album from Edinburgh-based trio Young Fathers, and their first since 2018. It fulfils their pledge to go back to first principles, to make music in their basement studio with just equipment and microphones.

The back to basics approach extends to the music, with ten tracks despatched with very little fuss. As the band say, “The weigh that we’ve been carrying is now yours. Do what you want with it.”

What’s the music like?

There is something very elemental and primal about the Young Fathers these days. Part of that would seem to be down to the African percussion that comes to the fore in a lot of the tracks on this album, but the vocals also communicate with remarkable strength.

The 1-2 punch of opening duo Rice and I Saw make a striking impact, establishing the tone of an album that feels on one hand a celebration of the human spirit, and on the other a protest against the ways of the world.

Tracks such as Ululation strip everything back to basics, with extraordinary vocals that hit the heights against an undulating backing track. Here the music feels new, bringing together influences as diverse as Leftfield, Animal Collective, Mos Def and Afrobeat. The latter influence takes thrilling command of both this song and Sink Or Swim, the band operating with an urgency rarely heard in new music.

Does it all work?

Very much so. This is a lean album, its ten tracks lasting just over half an hour – and there is no sign at all of any padding. Its emotions feel wholly authentic, running from triumph to sorrow and back often in the space of just one song.

Is it recommended?

It is. Young Fathers’ first two albums were compelling, but this chapter contains their deepest revelations yet – along with the feeling there is much more to come with their development as a band.

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Switched On – Romare: Fantasy (You See)

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Reviewed by Ben Hogwood

What’s the story?

After a number of album releases for Ninja Tune (Projections, Love Songs: Part Two and Home), Romare sets sail on his own label You See. Here he delivers a new 8-track album, bringing more of his own instrumentation and vocals to the fore alongside previously honed sampling techniques. On Fantasy, Romare (real name Archie Fairhurst) is able to also bring in audio clips from 1970s fantasy cinema, which proved a lasting inspiration during lockdown.

Fairhurst also cites a love of the band Gryphon and the influence of Medieval music on the album.

What’s the music like?

Playful and affectionate, though not afraid to get down and dirty when it wants to. The influence of Medieval music is most evident in its touching simplicity, while on other occasions Romare’s music is a lot more layered, with plenty going on.

Priestless chugs along with displaced voices, brassy undertones and fun riffing, its direction never easy to trace. Dungeon and the excellent Seventh Seal are more beat driven too, the latter exploring suspended synths which are initially hazy but then let loose in thrilling fashion. Sunset is energetic and quite playful, too.

At the other end of the beat spectrum sits the blissful Walking In The Rain, an easy and effortless stroll where the rhythm track and vocal – perfect for this month’s British weather! – go hand in hand. Closing track The Fool taps into a similar vibe, showing how easily Romare can switch between intense sample-based workouts and pieces of music that take us outside for a breather.

Does it all work?

It does. There are no particular rules to Fantasy, which make the resultant music all the more winsome. Fairhurst’s blend of carefree structure and more careful, studied looping works really well.

Is it recommended?

It is. Previous albums showed Romare to be imaginative and creative in rhythm and sound – Fantasy builds on that and shows he is progressing to be a producer of some repute.

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Switched On – Bonobo: Fragments (Ninja Tune)

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reviewed by Ben Hogwood

What’s the story?

Perhaps surprisingly, this is the first album from Bonobo in five years. Simon Green – whose pseudonym this is – describes his new record as the most emotionally intense record that he has ever had to make. As with previous releases he takes a number of guest vocalists with him on the journey, dovetailing those tracks with instrumentals.

What’s the music like?

Familiar. If you have heard Bonobo’s music before, the manner of its construction on Fragments will tick a number of boxes. Beautifully orchestrated, the instrumentals work well with the broken beats that Green employs, which have more power and depth this time.

The vocal guests complement his sensitive work with some meaningful lyrics. There are strong contributions from Joji, Kadhja Bonet, Jamila Woods and O’Flynn, but pick of the turns is from Jordan Rakei, who lends a powerful tug to the heartstrings on Shadows.

The thicker set grooves may be welcome, but does the familiarity of Bonobo’s sound breed contempt? Certainly the chopped up vocals on Age Of Phase feel familiar, very much a continuation of what Bonobo does best. Rosewood is also a characteristically moody instrumental with vocal snippets, though Otomo is more acidic, dropping a heavy set beat. On the calmer side the shuffling beats of the comforting Closer work well, while the silvery strings to close out Tides are reminiscent of Ravel. Elysian also has alluring strings, especially when teamed with a harp.

Does it all work?

It does, but the feeling persists that this is music we have heard before – and possibly in more meaningful colours. In spite of the emotion invested by Green the music does feel grey at times. That may seem harsh on Bonobo, for the music is beautifully constructed and executed, but it is more than a little downbeat in a way we have experienced before.

Is it recommended?

It is for Bonobo devotees, as there are some good moments here – and especially the Jordan Rakei contribution – but for those new to his sound an album from earlier in his output, such as Black Sands, is arguably the best place to start.

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Switched On – Park Hye Jin: Before I Die (Ninja Tune)

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reviewed by Ben Hogwood

What’s the story?

Park Hye Jin releases her first album on Ninja Tune, the culmination of a whirlwind couple of years for the South Korean. Now based in Los Angeles, she has built up a strong reputation for original electronic music through collaborations with Blood Orange, Nosaj Thing and Clams Casino & Take A Daytrip – their track Y Don’t U being especially successful.

Perhaps her biggest calling card yet however is the track Like this, caught by BBC Radio 1 and 6 Music and chosen for the soundtrack of FIFA 2021. It is one of the many reasons Before I Die is so highly anticipated.

What’s the music like?

Extremely varied. Pigeon holes don’t exist with Park Hye Jin around, for she can effortlessly turn her hand to so many styles, reflecting the human condition through a wide range of moods. While that might sound like a lazy observation, few artists can rise to this challenge with such infectious confidence.

She moves from the deadpan rap of Never Give Up to the direct come-on of Can I Get Your Number, from down tempo R&B numbers like the slightly warped Sunday ASAP to big dancefloor gunners such as Hey, Hey, Hey. Sometimes the lyrics involve straight-to-camera honesty, like I Need You, which is dressed with an old-style piano and briefly drenched in nostalgia.

This direct approach runs through the album, which is highly entertaining, often funny, sometimes tender – but almost always hitting the mark with its sharp riffing and clever beatmaking.

Does it all work?

It does. Before I Die is over in a flash, with many of the tracks well under three minutes – showing Hye Jin’s ‘all killer and no filler’ approach, which works really well. In the course of the 15 episodes you really feel like you get to know her as a person, what makes her tick and what pisses her off, and to end with the level-headed i jus wanna be happy is right on the money.

Is it recommended?

It is. Park Hye Jin’s original approach takes dance music back to its first principles, working through an often thrilling range of beats and emotions. She is without question an artist to watch.

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