Archive for October, 2021
I know there’re a million new releases dropping today but if you don’t mind I’d like to point you back to last Friday when IJALE dropped his newest project called OTTN (On To The Next). Increasingly I’m finding I don’t like to write about anything until I’ve had more time to digest it whereas young Tommy wanted to bang that shit out pronto because he was an urgent idiot. This my cut of choice from the new Jerry’s new record an album that you need to immerse yourself in for the lyricism, the production (much of which is the product of IJALE’s own hands) and the unexpected hooks. It’s called JUJU and obviously I love it for the afro-swing riddims and the warmth of his vocal but 
the word play and confidence of the lyricism is a sight to behold, or a sound to be…hear. I guess. Anyway, it’s really bloody good.
When the chorus rings out “I ain’t worried about no championship ring, this ain’t bout the competition I’m just doing my thing” I believe it. Not because he puts it down with conviction but his career is testament to that. We’ve watched as he’s leant on his songwriting and production instead of momentary fluctuations in taste and flavour. He’s not the dude who jumps on the next trend to right some streaming numbers.
The only visible about face I’ve seen from IJALE over the years was the name change to IJALE. Working previously under the name Crooked Letter he released some of the early tracks you’ll now see under the IJALE mantle as well as a spattering of remixes and production credits. Don’t misunderstand though, I’m not implying he hasn’t developed his craft because the growth is supremely evident, but the trajectory has remained focused. Don’t let it seem like he’s all colour and flavour with no nutrition though because Jerry’s capacity to speak with nuance and lived experience on issues of race and politics is second to very few others on a local level. Meantime though, just appreciation the juju.
I might just put one more here for your ears, something on a real Jack Harlow type beat built around a twisted recorder sample and thick with bounce. But truly, go listen to the whole body of work, it’s worth it.
I like this song for so many different reasons and, as is my way, I shall tell you those reasons. I like the way that HAAi starts the records sans drums, just letting you luxuriate in those oscillating synths that only hint at a melody. I like the way that she delays that percussive gratification for a full ninety seconds and then welcomes it with the most threatening sub-bass imaginable. I like that when the breakbeat arrives, it sounds soaked in glycerine, smooth and sluggish like it’s beholden to viscous goop, moving with great effort.
Remember Dark Bells? Well they, and I quote, didn’t call it quits just drifted off into the sunset around seven years ago. In these years since we earned ourselves this project from Teneil, one third of Dark Bells and evidently a solo artist with an elevated sense of sound design. She’s been making DJing and producing under the name HAAi and doing so with with great success.
Here, this is for you.
Danika, formerly Danika Smith, has gone full Rihanna with this standalone moniker and frankly, I’m inclined to allow it. You can’t lay claim to the name Danika unless you’re confident that you are the central Danika in the world of Danika related narratives but let me tell you – this is THE Danika. This is the one. I just image-searched all the other Danikas and you can see it in their eyes, they know they’re bit-part players.
Put your auditory nerves around ‘If You Call My Name’, the Danika’s newest single and tell me you’re not moved by the structural creativity, the directness of the idea, the warmth of Danika’s vocal in the chorus and her deadpan delivery of the verses. “You got no credit and your phone screen’s fucked so I guess it’s up to me if we’re to keep in touch…”
It speaks to a detached partner, a lover who only half-heartedly wants of you. There’s a relationship between those emotionless verses and the impassioned chorus that works to deliver that sense of hot’n'cold mixed message love. Couple all of this together with production that is both stripped back and boasting a proper groove and hell, we might just start rewriting our end of year lists. The bassline and guitar arpeggios are quite simply a joy.
She’s been at it a minute but how about you stop demanding that every artist break out with their debut single and give them the chance to mature into realized artists and we might end up with more songs like this. From her forthcoming album, out sometime, somewhere.
Artists you need to know rn
| 1. 1300 |  |
316 |
| 2. Voidhood | |
259 | 3. jamesjamesjames | |
186 | 4. Zan | |
174 |
| 5. Sesame Girl | |
147 |
