‘Melody’ album review – DancehallMag

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Demarco’s long-awaited debut album Melody is an agile collage of musical genres. While not billed as a crossover album, it skillfully sweeps new ground while Demarco remains rooted in its old playground, Dancehall. MelodyThe sixteen tracks seem to be a nod to the sixteen years that have passed since its success, the 2005s. Fallen soldiers.

Demarco has notoriously worn many hats – even before the bucket style on the album cover became its on-trend trademark. Versatile singer-songwriter / deejay / producer / director, who has a remarkable ear for instrumentals, has produced some of Dancehall’s most contagious riddims (Stress free, Shootout, Jambe An) throughout history. Demarco managed production on all but four of the Melody‘s and made each of the clips for the pre-debut grip.

At Melody, the No Wahala The singer weaves a range of rhythms – Dancehall, Reggaeton, Afrobeats, Roots Reggae – with other layers for an eclectic and sophisticated production. Due to his traveling style, Demarco delivers 53 delightful minutes for his debut on Ineffable Records.

The guest list includes Konshens, Queen of Dancehall Spice, Crusader Kings Shaggy and Sean Paul, descendants of the Reggae Royal Family, Stephen and Ky-Mani Marley, as well as international stars Sarkodie and Bomberjak in an unpredictable yet soundscape. always authentic.

The opening of the album, My way, evidenced by a boastful and indebted sound-system ode to everything related to Dancehall. “Man top ranking ah… we stay restless / Every day we move inna yaad like a stranger / Gyal inna barrage, keep coming in / If a guy disrespects, di gun dem bussin ‘”, rhymes SP on the track. This quick salute to culture featuring one of its most praised supporters is followed by a foray into Demarco’s other influences – Dancehall / urban fusion on flute on the Konshens collaboration. Mover, melodic scatting and saxophone on the Afrobeat earworm, For you, and the Afrobeats Ryda, supported by the piano.

Another star, All man featuring Spice, it’s equal parts bass and electro effects with some of the queen’s liveliest bars. “Wait till my wine on you …” she teases after every hardcore verse between Demarco’s compelling rap streams.

A series of songs midway through the album offers a welcome cool-down with tracks from the reggae / one drop variety. Love, stuck to you, all to me and Dance my stress away are appropriate reminders to the roots of the virtuoso genre, each with an engaging vibe.

Fallen is Demarco’s take on Justin Timberlake’s cry Me A River, a slow-motion kiss with a dramatic and stormy outro. Continue in this dark vein is Travel safely, a cover worthy of his tribute in small groups, Fallen soldiers, starring the 6ixx prodigy Chronic Law.

There are of course occasional missteps with such an ambitious project. Delayed by more than a decade, the excess of features on Demarco’s early days, especially in the first three tracks, felt like overdrive, reducing its singular impact. Tracks such as Throwing stone and In my heart are enjoyable but skippable, where the emphasis on (powerful) production undermines the lyrical quality.

The whirlwind of songs on the latter part of the sequel also seems out of sync with the sequencing. Tribute, which appeals to two of Dancehall’s legends, Bounty Killer and Beenie Man, for their epic testimonials is clouded by Demarco’s “look at me now” reflections. “It was quite a dream,” he begins, invoking another rhyming slinger Jamerican, the late rapper, The Notorious BIG Ironically, he and Biggie share another trait: their young daughters inspired their music ( on the rap classic Juicy, interpolates the track Demarco, BIG celebrates “Live the life without fear / Put five carats in the ear of my little girl. “)

In addition to being the common thread of its beginnings in metamorphosis, Melody is also the name of Demarco’s youngest daughter (her image appears as a reflection in her sunglasses on the cover). With MelodyDemarco not only honors new beginnings, but truly lives up to its album title.

Melody is an adventurous and commercial demonstration of Demarco’s ability to merge sounds. The assembly of the album is also impressive, which balances out most of the jarring transitions. The music pioneer sets his gaze far beyond Billboard, seemingly aimed at the longevity enjoyed by most of his collaborators.

Melody also reflects the current moment in music, with an eclectic consumer and marketplace – where Justin Beiber makes Afrobeats cameos and Shenseea shines among rappers who are who – where eclectic elements continually fit together in harmony.


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