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Trip Hop in 10 Albums. At the dawn of the 90s the trip hop wave flooded Great Britain with electro influenced by Jamaican music and rap beats. With dreamy rhythms and oppressive atmospheres, Massive Attack, Portishead, Tricky, Morcheeba and various others invented a futuristic kind of dark soul music which was sometimes very cinematographic. The categorically elusive Sampha arrived in 2010 with a co-headlined SBTRKT collaboration and a solo EP, then became known more for supporting roles as a songwriter, producer, vocalist, and keyboardist. Process Sampha to stream in hi-fi, or to download in True CD Quality on Qobuz.com.
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SAVE YOURSELF
- View credits, reviews, tracks and shop for the 2017 320 kbps File release of Process on Discogs.
- Sampha discography and songs: Music profile for Sampha, born 16 November 1988. Genres: Alternative R&B, UK Bass, Neo-Soul. Albums include A Seat at the Table, When I Get Home, and Process.
SAVE YOURSELF is the new project from me to you, my fans. While a complete piece with a beginning, end and visual concepts that have been worked on over many months, this is not an album.
This record was written from last summer til last week and is about being able to share music with you more frequently than I have done in the past, and not long after its been created.
Though as SBTRKT I am one person, I've always tried to champion the idea of bringing together artists who are from different places both musically and geographically.
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For this record I worked with a small group of collaborators, most of whom I had not collaborated with before. Instead of an open-ended collaboration where studio jam sessions would lead to songs, I approached collaborators who I felt would be most suited to the overall ideas I had already collated.
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To me it feels similar to my first album - a small group of vocalists, productions that are fairly stripped down and a project filled with emotion. These songs are what I feel to be the most interesting musical stories I've made to date.
Though perhaps more importantly than how, why SAVE YOURSELF is coming now has to do with the current cultural and sociopolitical climate. Culturally, albums now feel like a means to prove you are a 'real' artist. To release an album, you turn yourself over to traditional label cycles and the end of increasing sales, leaving behind the creative spirit that brought the music to life in the first place.
The title SAVE YOURSELF and the visuals reflect my personal mood on what's happening in the world and society on a macro and micro level. Whether that be racism, xenophobia, the environment or irresponsible greedy politicians. All this while thinking about how incredible it will be when humans actually reach and settle on another planet. As an artist it feels strange to me to create simply happy music without being effected by current world affairs. Through the music too, I'm reflecting my constant state of nostalgia for the future. A dark optimism, for one that seems ever far reaching. So the title and artwork reflect this. Where we go next but also where we are now.
The categorically elusive Sampha arrived in 2010 with a co-headlined SBTRKT collaboration and a solo EP, then became known more for supporting roles as a songwriter, producer, vocalist, and keyboardist. After he recorded with fellow Brits Lil Silva and Jessie Ware, his commercial presence was magnified by Drake, whose Nothing Was the Same featured him on a couple tracks. Within a few years, Sampha had collected credits on works by a slew of mainstream artists, including Beyoncé, Kanye West, Frank Ocean, and Solange, as he assisted comparatively marginal but significant figures like FKA Twigs and Bullion. He also inched toward the completion of Process, an artful and accessible debut full-length. Admirably, the album is without opportunistic reciprocal collaborations, unless one inconspicuous Kanye West co-composition counts. It's largely a solitary and intensely personal effort, co-produced by Rodaidh McDonald, ranging from placid piano ballads to urgent electro-soul. All the narratives, expressed in anguished, repentant, and haunted terms, befit a voice that always sounds as if it's on the brink of choking back tears. Sampha's vocals can be an acquired taste, but they're instantly identifiable and heartfelt. They're all the more compelling when detailing interpersonal ruptures, drawing imagery like 'I took the shape of a letter, slipped myself underneath your door,' or in a state of agitation, 'gasping for air.' The album reaches its most stirring point in 'Kora Sings,' built on an alternately serene and jittery production, over which Sampha sings to his dying mother, trailing off after 'You don't know how strong you are.' None of it is particularly light. Sampha's exquisite melodies and detailed productions nonetheless make all the references to longing, disturbed sleep, injurious heat, and shattered glass go down easy. 'Reverse Faults,' sparkling low-profile trap with a dizzying combination of smeared glints and jutting background vocals, might be the best display of Sampha's skill set. Another marvel is the hurtling, breakbeat-propelled 'Blood on Me,' its last 40 seconds juiced with some of the nastiest synthesized bass since Alexander O'Neal's 'Fake.' In a way, this all makes the previous output seem merely preliminary.
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