Music writers – myself included – usually like to label an artist to a specific genre. This is however a difficult task for German singer and songwriter Patrice and his new album The Rising of the Son. This set is far from cohesive and mixes a variety of different genres, some more bass heavy than others.
Patrice has described the album as a rebirth. And it certainly is. It doesn’t sound anything like his previously roots reggae oriented efforts. With The Rising of the Son he embarks on a new journey.
Patrice’s captivating voice and singing style owes quite a lot to Bob Marley. He often has the same intonation and phrasing. The music is nowadays far from this reggae icon.
On the lead single Cry Cry he forays into rebellious punky reggae heavily inspired by The Clash, while One Day, which features Jamaican super producer Don Corleon, boasts a pulsating Sly & Robbie groove. 1 in 7 is Eastern European flavoured ska and God Bless You La La La, with Cody Chesnutt singing the chorus, is more or less straight up rock.
The Rising of the Son sounds like a major label release. Most of the radio friendly tracks have serious hit potential and will probably appeal to fans of Jason Mraz and Bruno Mars, although this is a little edgier.
Reggae and ska have influenced punk rock since the 70’s. And one of the earliest and most well-known examples is The Clash and their collaboration with Mikey Dread as well as their cover of Junior Murvin’s mighty Police & Thieves. Since then the genres have been in a love relationship that has rendered lots of great music.
The UK’s The Skints follow in this fine tradition, and it was manifested on their debut album Live.Breathe. Build. Believe., which was more or less a punk rock album influenced by ska and reggae.
On their recently released follow-up Part & Parcel they’ve used the same ingredients, but shifted the measures in favor of more ska and reggae and less punk rock.
Part & Parcel was produced by Prince Fatty – responsible for Hollie Cook’s highly acclaimed self-titled debut album released last year – and together with the band they’ve created a vital album jam-packed with furious energy and playfulness.
But it also boasts deep bass lines, smooth skanking vibes and sweet pop melodies courtesy of three lead singers – each with his and hers very distinctive style – taking turn on the microphone.
Probably not an album that will appeal to the purist or traditionalist, but well-worth checking out for those tired of rasta preachings or one drop beats.