- It's no secret that I'm enamored with London's jazz scene. 2018 was a breakout year in terms of both international popularity and the sheer amount of quality material released. Fyah follows up an incredible twelve months from its members: Theon Cross' tuba contributions helped earn Sons of Kemet a MOBO nomination, Moses Boyd released one of the decade's best live albums, and Nubya Garcia led a debut from spiritual ensemble Maisha.
Despite being Theon's first solo offering, the record acts far more as a showcase for this trio. Boyd's stuttering drums lock down repetitious grooves layered thick with tuba basslines and Nubya's saxophone riffs. It's an explosive combination that unsurprisingly recalls Sons of Kemet with a hip-hop and electronic influence instead of afrobeat. Running through eight of Theon's compositions, the band are a force to be reckoned with. The opening and closing tracks are strongest: Activate blasts off with thumping dance rhythms while LDN's Burning toys with electronics to sound truly unhinged.
I know it's not his album but Moses Boyd is undeniably Fyah's standout. I just find Theon and Nubya generally stick to improvising within defined loops while Moses develops the more subtle and complex rhythmic background. Though that's not a knock on their individual styles, many of these cyclic melodies help reinforce a dance music vibe. Theon's versatility does wonders here too, his horn tooting forms syncopated funk basslines on Radiation then a high-pitched squeaking accompaniment on Candace Of Meroe. The trio can get explorative at times yet earthy tuba tones always anchor them to a collective groove.
Sometimes it drags them down though, as does the addition of extra players. CIYA, which features additional guitar, percussion, and horns, is easily my least favourite cut on the album, sticking out thanks to a lack of drive. I find the decision to list each other player as features a confusing one. This would have been such a cohesive trio record but unnecessary augmentations to the band somewhat ruin the overall flow.
Final thing I'll mention is the group's use of instrumental effects. Reverb, and distortion appear quite prominently with generally positive outcomes, their inclusion in Panda Village's glorified trap breakdown, for example, is far better than it should be. It's yet another interesting dimension separating Fyah from its contemporaries, continuing the sublime incorporation of diverse influences we've come to expect from London's scene.
My expectations were high and Fyah delivered, carving out its place as yet another creative and unique record from the UK. As a debut it falls predictably short in places but is redeemed by excellent musicianship from the core player group. Nubya Garcia particularly impressed me, I've always found her playing a bit safe but she's plenty adventurous here. I guarantee you've never heard tuba groove this hard, and probably won't until Theon's next release. A fascinating first step in a strange new direction.
- Boddhi Farmer.