That Soweto Kinch guy doesn’t sound like someone with a political axe to grind at all, no, not at all:
Soweto’s 2010 release The New Emancipation drew its inspiration from 19th century work songs and early blues, exploring the modern resonances of the emancipation story. From debt/wage slavery, to creative oppression in the music industry and ideas of race in a post-Obama age it combined this rich musical inheritance and revisited it with stellar jazz ensemble and modern hip hop production.
And his latest album?
A politically and racially-engaged body of work, historical inspiration for the record can be traced to the episodes of civil unrest that erupted across the western world one year on from the Armistice Declaration in 1919. What should have been a moment of triumph and social cohesion, disintegrated into violent disorder and racial conflict. From Liverpool, Glasgow, Cardiff and South Shields, Jamaica and the ‘Red Summer’ across the US, city streets were set ablaze by race riots. The album is a reflection on this history as well as celebration of 100 years of ‘black music’ across the Diaspora …
The Black Peril explores the sounds of ragtime, proto-jazz, West Indian folk music and the classical works of black composers of the period, revisiting a time of momentous social change, while also exploring connecting strands to modern forms of dance music including hip-hop and trap. The music examines both the ebullience and defiant optimism of early black music, as well as the brooding sense of revolutionary danger it symbolised.
The project is a powerful artistic reflection on this 100-year history of racial conflict, exploring cultural anxieties, which in many ways are just as prescient in today’s world.
Shoulder clearly free of chips.