SLAKAH THE BEATCHILD-SOUL MOVEMENT VOLUME 2.

dereksmusicblog ♦ March 10, 2014 ♦ Leave a comment

SLAKAH THE BEATCHILD-SOUL MOVEMENT VOLUME 2.

“It’s been a long time coming sang Sam Cooke.” The same can be said of Slakah The Beatchild’s forthcoming album Soul Movement Voiume 2. It’s the sequel to Soul Movement Volume 1, which was released to critical acclaim back in September 2008.  After a gap of six long years, Soul Movement Volume 2 will be released on 10th March 2014, by BBE Music, which has been like a second home to Slakah The Beatchild.

It was on BBE Music that Slakah The Beatchild released his 2008 debut, Soul Movement Volume 1. It was released to critical acclaim. Music lovers hungrily awaited the followup to Soul Movement Volume 1. When Something Forever dropped in February 2011, it wasn’t a sequel to  Soul Movement Volume 1. No. Slakeh was saving that for later. Instead, it was a smooth fusion of Nu Soul and hip hop. Critics loved Something Forever. So did music lovers. It was the perfect soundtrack to those warm summer nights. Everyone agreed Slakah The Beatchild was an artist going places. However, for the Toronto based artist, he was doing things on his own terms.

That’s been the case since the start of Slakah The Beatchild’s career. His love of music stems from his childhood. He was born Byram Joseph in the small city of Sarnia, Ontario. From an early age, Slakah caught the music bug. That came when he inherited a small collection of vinyl from his parents. Soon, Slakeh was hooked. Just like many children, Slakah had dreams of becoming a musician. His makeshift drum kit was his mother’s pots and pans. She tolerated this for a while, but eventually, decided Slakah learn to play the drums.

So, Slakah headed off to drum lessons. This was the next part in his musical education. After learning how to play the drums, Slakah took singing lessons and learnt to play the piano. For any aspiring musician, being able to read music and understand music theory is important. This would stand the future Slakah The Beatchild in good stead.

With his musical education complete, Byram Joseph’s career began in earnest. His raison d’être was to create timeless music. Inspired by Stevie Wonder, Marvin Gaye, D’Angelo, Quincy Jones, Raphael Saadiq and J-dilla, Byram’s career began career in Toronto.

For many people, the first they heard of Slakah The Beatchild was in 2005. Slakeh worked with Atomic Betty on her eponymous debut album. Sharp-eyed music lovers might have noticed in the credits the name Byram “Slakah” Joseph. He was credited for programming. Slakah The Beatchild had been born.

A year later, in 2006, Slakeh featured on Bad Meaning Good, a track from DJ Small and Drake’s album Room For Improvement. Then in 2007, Slakeh featured on Share, a track from Drake’s Comeback Season album. Slakeh also produced In The Studio for Poizunus’ 2007 album A.ctive D.reaming D.isorder. Word it seemed, was spreading about Slakah.

In 2008, Slakeh wrote Sunglasses for Divine Brown’s sophomore album The Love Chronicles. It went on to win a Juno award in 2009, which is the Canadian equivalent of a Grammy. By then Slakeh had arrived.

Slakah The Beatchild released his 2008 debut, Soul Movement Volume 1. It was released to critical acclaim on BBE Music. “It had been a long time coming.” However, it was worth the wait.  Having written, produced and appeared on other people’s albums, Slakeh’s solo career was now underway.

Having released his debut, Slakah returned to writing and production. Slakah worked on Tingsek’s 2009 album Restless Soul. He wrote four tracks and produced two tracks. Then on Shad’s 2009 album The Old Prince, Slakeh mixed and produced Now A Daze. All this was good experience for Slakah The Beatchild’s sophomore album.

Nearly three years after the release of Soul Movement Volume 1, Slakah The Beatchild released Something Forever. With its fusion of Nu Soul and hip hop, Something Forever was well received. Just like its predecessor, Something Forever was critically acclaimed. However, it would be another three years before Slakah The Beatchild’s released another album. 

During that three year period, Slakah The Beatchild was busy. He worked on Häzel’s 2012 album The Lost Tapes. Then there was The Slakadeliqs 2012 album The Other Side Of Tomorrow. The Slakadeliqs was a side-project for Slakah The Beatchild. It too was well received by critics. Slakah The Beatchild’s profile was in the ascendancy. 

No longer was Slakah The Beatchild just a Canadian phenomenon. Far from it. Now he was building a fan-base further afield. This included in the UK and Europe. Slakah The Beatchild’s profile is sure to rise with release of Soul Movement Voiume 2.

Six years after the release of Slakah The Beatchild’s debut album Soul Movement Volume 1, comes the sequel Soul Movement Volume 2. It features fourteen tracks penned by Slakah The Beatchild. On Soul Movement Volume 2, Slakah The Beatchild joined by an all-star class that includes Spek Won, Glenn Lewis, Ian Kamau, Ayah and Tanika Charles. Will this all-star cast ensure Soul Movement Volume 2 is a fitting followup to Soul Movement Volume 1? That’s what I’ll tell you.

Opening Byram’s Soul Movement Volume 2 is Groove (Cut A Rug). Bubbling synths, crisp drums and percussion give way to ethereal harmonies. They cascade across the arrangement, as funk, electronica and hip hop unites. Slakeh’s cooing vocal is tender, as it becomes a jazzy scat. It’s sassy and sensual as it floats in and out of the mellow, multi-layered arrangement. 

Stompthatflo is best described as a jazz-tinged slice of hip hop. From the get-go, the track has a smokey, old school sound. Joining Slakeh is Spek Won, who delivers a feisty rap. Horns rasp, crisp drums and vibes join harmonies, as Slakeh and Spek Won, unite to create a slice of old school hip hop. With its late-night, smokey, jazz-tinged sound, it’s one of the highlights of Soul Movement Volume 2.

Jazzy guitars and cascading harmonies unite as Adventure For 2 unfolds. Synths bubble, drums crack and Slakeh delivers a needy, seductive vocal. Tender harmonies accompany him, as Nu Soul, jazz and hip combine. The result is an Adventure For 2 that could result in three.

Number 1 has a cinematic sound. It’s the sound of a piano being played against a backdrop of chatter that results in this comparison. Then it’s all change. Glenn Lewis joins Slakeh and they fuse Nu Soul and hip hop unite. Drums crack, while flamboyant flourishes of a piano set the scene for a heartfelt vocal. Power, passion and emotion combine during this heartfelt paean, which shows another side of Slakah The Beatchild.

Thunderous drums, keyboards and Slakah’s scatted vocal open Where’s Yesterday. They’re joined by a rap. By now, the arrangement has taken on a mellow, laid-back and soulful sound. Slakah’s vocal accompanies the rap. Tenderly and soulfully, he sings around the rap. His vocal is yang to the rap’s yin. Meanwhile, the drums, keyboards and harmonies are locked into a groove. Mellow and soulful, with a summery vibe, this would make a good single.

Stabs of keyboards open Keep Up, while Slakah’s vocal cascades across the minimalist arrangement. Gradually, the arrangement unfolds, and an eight minute epic gets underway. What follows is a fusion of ambient, jazz, hip hop, house and soul. For the first half of the track minimalist describes the arrangement. Just crisp drums, keyboards and Ayah’s vocal accompany Slakah. They’re vocals are a perfect fit. Tender, ethereal and full of yearning. Then swathes of the lushest strings sweep in. This is perfect. It’s a masterstroke and results in the album’s emotive and ethereal Magnus Opus.

Something About Her sees a return the Nu Soul. Pizzicato strings, keyboards and drums provide the backdrop to Slakah’s sultry vocal. Harmonies float in and in out, while the drums become crisp. The drums aren’t as loud. That’s no bad thing. It allows the vocal and string to take centre-stage and enjoy starring roles in this track.

Miscommunication features two guest artists, Spek Won and Ian Kamau. Again, Slakah throws another curveball. A cocktail piano opens the track, before before it heads in the direction of hip hop, albeit with a touch of Nu Soul thrown in for good measure. Spek and Ian sing call and response, combining hip hop and Nu Soul. Meanwhile, the piano and drums have locked into a groove. This proves an irresistible perfect accompaniment to Spek Won and Ian Kamau.

Endurance reminds me of D’Angelo. It’s the arrangement that prompts this comparison. Nu Soul, hip hop and jazz combine seamlessly. Rasping horns, jazz guitar, mellow keyboards and crisp drums combine. Harmonies float above the brisk arrangement, which is propelled along by a standup bass. Slakah’s distant vocal is emotive and pensive. It drifts in and out of the arrangement, which washes over you a captivating combination of hip hop, jazz and Nu Soul.

Just like several tracks on Soul Movement Volume 2, Wanna Do opens with a jazzy guitar. It seems to be a favourite of Slakah. So are the crisp drums which accompany the guitar and Slakah’s sensual vocal. Bubbling synths and a rap flit in and out. The mainstay of the arrangement are the guitar, drums and Slakah’s vocal. This triumvirate prove a potent partnership on another genre-melting track.

Slow, thoughtful and jazz-tinged describes Us Theory. It has a spacious, jazzy arrangement, where just a guitar, drums and Slakah’s vocal combine. Cooing, scatted harmonies and keyboards add the finishing touches to what’s one of the most beautiful songs on Soul Movement Voiume 2.

The familiar fusion of jazzy guitar, drums and cocktail piano open Someone Like That. It has a lovely, understated and mellow sound. Meandering along, a funky bass joins the mix. By now, funky, jazz-tinged with a hip hop hue describes this mellow track.

With the crackling sound that opens Love Fool, it’s akin to listening to cherished vinyl record from yesteryear.  Especially, when Tanika Charles delivers a vocal powerhouse. She’s a singer with a big future. Tanika sounds like she’s been raised on a diet of classic soul. There’s even a resemblance to Amy Whitehoue. Slakah’s band raise their game, as if realising this is musical magic is happening. They provide a driving arrangement to Tanika Charles, a diva in waiting.

Closing Soul Movement Volume 2 is Overtime. Again, the sound of worn vinyl is replicated. What follows has an old school sound. That’s thanks to the keyboards, rhythm section and bubbling synths. Literally, the arrangement meanders along. A clavinet enters, as if Slakah is paying homage to Stevie Wonder. Then all too quickly, the track is over. It’s a final reminder of just what Slakah The Beatchild is capable of.

Six long years after Slakah The Beatchild released his critically acclaimed debut album, Soul Movement Volume 1, comes the sequel Soul Movement Volume 2. It’s been well worth the wait. A genre-melting album, Soul Movement Volume 2 is a coming of age from Slakah The Beatchild. He’s come a long way since his debut Soul Movement Volume 1. No wonder. Slakah has hardly stopped working.

Since then, Slakah The Beatchild has released two further solo albums, plus released an album with The Slakadeliqs his side-project. Then there working with a whole host of artists. Slakah has written, mixed, produced and been a guest artist on other people’s albums. All this has been good for the main event, his solo career, and specifically, Soul Movement Volume 2, the long awaited sequel to Soul Movement Volume 1.

Returning to the scene of the rhymes after six years, was risky. Indeed, sequels per se are risky. After all, if Soul Movement Volume 2 didn’t match the quality of Soul Movement Volume 1, Slakah risked tarnishing his debut’s legacy. Thankfully, that’s not the case. Far from it. If anything, Soul Movement Volume 2 has surpassed the quality of Soul Movement Volume 1.

That’s not a surprise. Slakah The Beatchild is six years older and wiser. He’s matured as a musician, songwriter, singer and producer. With an all-star cast, Slakah The Beatchild has recorded the best album of his career. It’s a genre-melting album full of nuances, subtleties and surprises. 

Everything from old school hip hop, ambient, electronica, funk, jazz and  Nu Soul is combined by Slakah The Beatchild over fourteen tracks. His raison d’être has always been to create timeless music. That’s the case here. Ten years down the line, Soul Movement Volume 2 won’t have aged. That’s the case with all good music. I’m sure when you return to Soul Movement Volume 2 in the future, it’ll sound just as good. No wonder. Look at Slakah The Beatchild’s influences.

Listening to Soul Movement Volume 2, it’s obvious that Slakah The Beatchild has been inspired by everyone from Stevie Wonder, Marvin Gaye, D’Angelo, Quincy Jones, Jazzmatazz, Raphael Saadiq and J-dilla. To that, I’d add the old school hip hop of A Tribe Called Quest, the classic jazz of Wes Montgomery, plus Nu Soul singers like N’bambi, Jill Scott and Erkay Badu. All these artists have influenced Soul Movement Volume 2, which will be released on 10th March 2014, by BBE Music. It’s an album that’s been well worth the wait.

Six years after the release of his debut Soul Movement Volume 1, Slakah The Beatchild returns with the much anticipated sequel, Soul Movement Volume 2. Since then, he’s released two more solo albums. However, Soul Movement Volume 2 is the finest moment of Slakah The Beatchild’s career…so far, and marks a coming of age for the former Byram Joseph.

SLAKAH THE BEATCHILD-SOUL MOVEMENT VOLUME 2.