This 5-track 12” vinyl EP comes courtesy of Netherlands band Independent Intavenshan, based in Utrecht. This is the second release by the nine-piece band and is a fine reggae release in the vintage tradition of powerful roots music. Recorded in Utrecht, and pressed through a crowdfunding initiative, it brings us a brass-flavoured reggae sound along with some angry lyrics.
Opening with the title track, the defiant mood is set with a homage to reggae music itself, followed up with ‘Johnny Too Bad’ – not the familiar Slickers’ song, but another track entirely which seems critical of the idea of being ‘too bad’: ‘…sentenced as of birth, never got a chance’. The set closes with ‘Babylon’, gradually building to its ska-speed conclusion. Starting out as a ‘reggae studio project’, the band now has an established structure of nine members: the tight sound of a band playing together, rather than just a collection of individuals, comes over clearly on this EP.
The tone of this fine and timely release fits the political convulsions engulfing many parts of the world at the moment, not least in the UK, the US or in the Netherlands itself. Maybe music by itself can’t change all that but it can at least show where it stands – as Marley demonstrated all those years ago and bands like Independent Intavenshan confirm today.
Independent Intavenshan: Rub a Dub Emergency, released 2016
Here is the new album from dub/reggae purveyors Dreadzone, with twelve tracks recorded at the Bunker Studios of Mick Jones with the lyrical involvement of Don Letts. Their 23-year history is reflected in the diverse wealth of the songs included here. This is the band’s 8th studio album and 3rd on their own Dubwiser label, going back to the roots, dub and reggae sound that initially inspired them. Alongside core members Greg Dread, who produced the album, together with Leo Williams, Chris Compton, reggae vocalist Earl 16 and MC Spee, ‘Dread Times’ introduces younger members with newest contributor Bazil bringing an edge to the music and Greg’s son Marlon expanding the musical range further, with Lena Cullen on vocals for one track and 1990s’ ragga duo Louchie Lou and Michie One guesting on another.
The album kicks off with ‘Rootsman’, with its powerful bass sound driving the sound along and an African feel to the percussive sound, before we get to ‘Mountain’, a slow and brooding track about personal redemption which, despite its tone, is optimistic in its message and is the album’s current single release.
Initially giving the impression that the band are steeped in the received tradition of dub/reggae, which on one level is true enough, as the album develops the sound becomes wider in its scope and influences. ‘Black Deus’ for instance employs a range of beats, a largely instrumental track apart from the soul refrain, essentially political in tone. ‘Area Code’ moves along forcefully and the album finishes strongly with ‘After the Storm’, beginning with electronic sounds and with multicultural influences that make it highly interesting musically.
An excellent album, worthy of wide attention, and through its various styles driven by the always-assertive bass sound. Dreadzone are touring the UK until the end of April so there’s still the chance to catch them live while all this is still fresh.
Dreadzone: ‘Dread Times’ released February 2017 on Dubwiser
London-based Shanty are back with this track from their forthcoming EP. A soul-leaning and slow-tempo track with some hip-hop interventions toward the end from MC Levi Gordon, the song features vocalist Ben Willis and the rest of the seven-piece band with a new sound inspired by their roots origins.
It is now two years since the band’s first release and they have been favourably reviewed on these pages before (see reggaemusic.org.uk 24th September 2015). Shanty has featured at festivals in the UK and elsewhere in Europe, including Glastonbury, Outlook, Bestival, the Secret Garden Party, Rototom Reggae Sunsplash and Kendal Calling, sharing the stage with, amongst others, Sticky Fingers, Kevin Parker, Mark Ronson, Bastille and Madness. This month they are playing a sixteen-date UK tour, some of which will be in support of the Wailers.
‘Happy to be Sad’ is a personal and emotional song and a fine hint of what will be to follow on their new EP release.
Shanty: single ‘Happy to be Sad’ from forthcoming EP ‘Strange Little Human’, released March 2017
Here is the debut album from US reggae band Common Kings who already have previous EP and single releases to their name. For the most part they originate from the South Pacific but were brought up in Orange County, California, and this legacy has no doubt influenced their generally easy laid-back style of reggae, evident in the album’s title track. The pantheon of US and UK rock greats has also made their mark on the Common Kings’ sound as well as the effect of Marley and the masters of reggae. They also seem keen on intriguing wordplays such as tracks entitled “Mary Wanna”, “Everybody Wants to Fool The World” from the album. Fronted by lead singer Sasualei “Jr King” Maliga, they successfully convey the impression of just having a good time, recently touring the world and currently in the middle of a major US tour: future big names.