Korokoko’s Abusey Junction is likely to be the softest and beautiful thing you’re going to hear in 2018. It is at the end of the day only an instrumental, only an Afrobeat instrumental – but it is a monumental instrumental – a monstrumental! It is at the same time soothing and emotional, it is like that feeling you get towards the end of a good cry. Sadness and warmth combined. It is the gentle beats of the percussion that soothe. It is the plucking of the guitar strings that pull on your heart ones. In this way it is reminiscent of ‘Mediterranean Sundance’. Its long, but it deserves to be long in the same way that Fat Freddy’s Drop ‘Hope for a Generation’, Sebastien Letellier’s ‘La Ritournelle’ and The Hot 8 Brass Band’s ‘Sexual Healing’ deserve to be long. After all if you’re going to have a cry, get it all out eh?
I’ve just read elsewhere that the track was written by Oscar Jerome, which was a real coincidence because I included at the bottom of this article a review of Oscar Jerome’s ‘Subdued’ which I recently likened to Fat Freddy’s Drop ‘Hope for a Generation’ as a ‘whilst you’re here you might be interested in…’ addition. In ‘Greedy for Music’ it says
The song is a ballad, written by guitarist Oscar Jerome, on the roof of a compound in Gambia, where the band spent time last year immersing themselves in the soundscapes of the region. http://www.greedyforbestmusic.com/journal/friends/abusey-junction/
The track is included on an album called ‘We Out Here’ recently released by ‘Brownswood Recordings’ designed to promote new jazz talent. https://weouthere.bandcamp.com/album/we-out-here
More music from Kokoroko
Oscar Jerome steps up to the plate of Jamiroquai and Fat Freddy’s Drop
Subdued is the first track on Oscar Jerome’s soon to be released EP Where are your Branches. Its an epic in the style, although not quite of the magnitude, of Fat Freddy’s Drop’s Hope For a Generation. It starts off like with a rich mix of soul and acid jazz twangs, just like Jamiroquai. Jerome, however, true to the title of the track, adds a mournful tinge to his punched out impassioned soul vocals, like a dog licking his wounds, similar to Dallas Tamaira. It ends with a slow building and yet melancholy instrumental, I get the tiniest hint of Bebel Gilberto’s Autumn Day Song.
He’s playing Ghost Notes in London 18th April.