I was trying to organize this review in the way of it being some type of 'lifetime achievement award' for Bunji Garlin. Not that he's anywhere near the end (literally or musically), but I find myself, these days, SO attracted to his work that "new music from Bunji Garlin" is likely to get me as excited as it is from just about anyone. Specifically, I can owe that to the fact that, at least in terms of amount of times I've heard them, in 2023 and this year the fire breather from Trinidad has had the two songs which I have listened to more than any others. I fully replaced one from my repeating workout playlist (that one song, on repeat, was the entire playlist. THE WHOLE THING) only with the other! So, by that reasoning, I could well say that Garlin is my current favourite musician regardless of genre and has been for about a year and a half. I do 'go back' with Garlin's music (one of my most prized possessions is a physical copy of his debut album, "The Chronicles") and I've had the privilege of seeing the man (THIEF SOCA MONARCH FROM HIS WIFE) perform on a few occasions and it can be downright overwhelming in person and just listening when Garlin is at his destructive best and he has been PRECISELY that over the past couple of seasons (and before that as well, but he is FLAMING at the moment). In 2023, Garlin would set out with 'Hard Fete' which would easily prove to be one of his biggest hits to date and would go to net him his second ever Road March title and his first as a solo artist. I listened to 'Hard Fete' CONSTANTLY... I wish I could go in detail as to why but.... shit, here it is. You listen to it... but be careful, friends. It wil consume you.
While he wouldn't go home with Road March #3 in 2024 (biggup Mical Teja), he would provide the season (which was very good, actually) with its clear BEST tune to my opinion and push quite a few very big tunes, producing yet another big year. If you are unfamiliar with Garlin's music (shame on you!), I'll make it quick: He kind of infuses Soca with a bit of Dancehall, but not really. I've come to think that is somewhat of a disrespectful way to describe him but what he does is 100% Soca music - it is just highly lyrical and just as inventive and revolutionary. What Bunji Garlin is capable of doing with words is literally STUNNING if you appreciate such a thing and the fact that he is capable of doing it melodically and infectiously -- within the scope of the world's most addicted musical genre in my opinion -- is a giant bonus. I would expect, years from now, you'd hear more and more people coming up with similar styles and saying that they grew up listening to a whole heap of Bunji Garlin. RIGHT NOW, one could even make the case that Garlin has been influential in the development of stars such as Skinny Fabulous, Dash and others. So, we've already well seen Garlin make a substantial further-reaching impact on the genre - outside of his own, direct, musical contact. So, when you have a great artist who is in great form what do they do to maybe bring everything together and offer somewhat of a celebration and momento of the era? They make an album. Though Soca isn't always the most album-heavy of genres, Garlin, himself, has been relatively reliable, releasing over a dozen since his 1999 aforementioned debut. In recent times, most of Garlin's sets have come via VP Records. His 2024 effort, on the other hand, comes through a label in Bad Beagle which is either his own or of his management (and both can be true) as it seemingly only exists to handle the business of Bunji Garlin and one other individual who I will tell you about after in my next review. "Ayl'ian" brings together Garlin's 2024 campaign and puts it all in a very nice package (literally. That is nice coverart) and spices in a couple of surprises as well. I do have to confess that I was somewhat disappointed that 'Hard Fete' was not included but the reason why it wasn't is clear and the tune isn't difficult to find on an album, having been included in the 2023 edition of VP's "Soca Gold" (which we will, hopefully, see again next year as there was no "Soca Gold 2024"). The explained and accepted exclusion of that MASSIVE tune is probably the only disappointment going on here as Bunji Garlin drops what has to be one of the highest quality albums of his entire career. Let's discuss!
"Ayl'ian", like much of Bunji Garlin's work only gets better and better with the more attention you give to it. It's fascinating that, given the kind of 'over-the-top' nature of his artform, the perpetual STAR of Garlin's show can go overlooked EASILY. If you can see through the jump and wave madness and the hype and the flames, what lies beneath is USUALLY (literally ALMOST ALWAYS) kinda/sorta spectacular. What he does relatively casually is only rivaled by some of the most elite of his peers and in their best of form and if you have really gotten into his music, "Ayl'ian" will serve as a PERFECT introduction for you. The first thing you will hear on that introduction is.... and Intro and one which is DAMN clever and, probably, one of the better moments here. A narrator here gives a fun recount of how Bunji Garlin came to be Bunji Garlin from his roots, having 'landed' in Wallerfield, Trinidad. I've always appreciated not only Garlin's skill but his recognition of that talent. The man knows just how good he is and he doesn't hesitate in pushing it because he is, CLEARLY, confident in his ability to demonstrate that piercing skill. Intros are trypically very quick and nondescript, this is not one of those intros - it is all kinds of interesting. Fittingly, the very first time we actually hear from Garlin on "Ayl'ian" comes in the form of the celestially vibed Badjohn Republic licked burner, 'Today'. I remember hearing this one fairly early on in the season and thinking that I REALLY liked it but I expected him to go a bit higher (and he would), but I don't think that's a fair way to sum it up these days: EXCELLENT is much more appropriate. 'Today' isn't just jump and wave track (although that is definitely what it is), it's a song about finding a level of EUPHORIA somewhere in there and doing absolutely anything you can to keep that feeling and if you needed something to kind of beat you up a little bit (you know what I mean), 'Today' is more than up for it! The next tune came for Spice Mas 2023, the downright filthy 'Entering Greenzland'.
"Dem days, Tallpree used to link wi with a Suzuki that ain't have no top
Leave Grand Anse and gone up Gouyave and when wi start, it ain't have no stop
BOY I GET CUT YESTERDAY, THIS MORNING WAKE, I AIN'T HAVE NO CUT
LIKE THE JAB ON JOUVERT MORNING HEAL MI LIKE IT IS NANOBOT
My behaviour tomorrow is putting mi in the evening news
Worse, when I pon di vessel, deh for di bikini cruise
A girl give mi a look
I wonder if she giving mi clues
THIS IS A TIMEBOMB I MUST DIFFUSE"
Seated atop the Slam Bang Riddim of Xpert Productions, though it comes and goes quickly, 'Entering Greenzland' is masterful. It will not (it hasn't) be recognized as such, but it's probably one of Garlin's finest lyrical performances in recent times and a glaring example of what I meant when I spoke about how capable he is of doing thing spectacularly with very little effort. It was DJ Avalanche provided the ground for 'Jump Up' which is basically what you think it is (you can tell that from the title).... but not really. There is a definite hitch with 'Jump Up'. Garlin thinks the floor is too crowded. He wants it vacated permanently, so he wants you to jump up:
"Like you get paid early and you get pay-raise
Then you go play lottery and win it the same day
And then yah IG crush message you the same way
When you waan fi link up, she looking the same way"
Not your typical jump-up, 'Jump Up' is goin to supply you with something extra as you might expect from the "Ayl'ian". Also I should mention that the riddim here, the Do You (which backed an even bigger song that I'll tell you about next time), though kind of pounding, never threatens to overwhelm or annoy. Ever the defender of Soca music (biggup I Wayne), Bunji Garlin continues his work with 'Daiz You' where he proposes that, although you're entitled to your own opinion (THAT'S YOU!), perhaps there's a different reason why you aren't a fan ["I feel like you don't like Soca cah you never get no gal to whine on"]. And I should also mention here 'Tell Yuh Mudda Now' as it carries the attitude from the track it follows, as Garlin suggests to you a more appropriate outlet if you're frustrated by what you hear from him... as he does not want to hear it.
The middle portion of "Ayl'ian" features some very colourful efforts and one massive hammer in its ranks and manages to keep the levels established by the large beginning (before the ending which... destroys absolutely everything, everywhere in and out of sight). Check the cool 'Pass Around', which also comes through Badjohn. You take this song and just listen through it very casually and you walk away thinking that it's solid, nothing special at all and you'll be just happy with it as it is there, but if you dig in a little deeper you come away thinking that rarely has anyone made simply hanging around and having a good time in a bar sound so detailed and INTERESTING. Travis World shares in the sprawling wealth to be found on 'Looking Over'. The vibe on this one is interesting, mightily. There's some Soca in there, surely, but I'm also feeling maybe a dash of DISCO??? Maybe that's just me, but it is entirely infectious and should come as a ZAP to people just sitting around listening through "Ayl'ian". 'Monsters' has a nice blending of sounds behind it, this time bringing in a little Zouk, making for one GOLDEN Groovy set. Mind who you're spending your time with ["I know di ends. Wi know di straight and di bend. They shopping di old wid di trend. All actors who fake, who pretend. Smile in yuh face and mek yuh feel like friend. Boost up yuh head and mek yuh feel like dem. Rob you everything now you ah feel like end. Longtime mi navigate di field round dem"] is the thought behind this one and, just like on 'Looking Over' you'll have a difficult time ridding your mind of its echoes long after the tune has ended (great chorus). The terrestrial beginnings of 'Trajectory' serve to make way for what it subsequently develops into as well as for another big winner, 'Sleepless Weekend'. There is work to be done across the brilliant Toy Box Riddim through NMG Music (where Patrice Roberts reigned supreme with 'Nobody') and there's simply no time for sleeping this weekend! And then, also buried here is 'No'. You might remember, from seasons ago (song probably 10-15 years old by now), 'Licks'? 'No' is 'Licks' chilled (but not really) and reincarnated.
"Yo bro!
If she tell you no, that mean the answer is no
It doh mean 'I eh sure', 'I eh really on that' or 'I don't think so'
It doh mean 'come back tomorrow'
It's just let it go, let it go
Bredrin pack yuh things and man, go
Not
Next
Nay
Never
Nope
Nothing
Nein
Nadda
Negative
Even negatory, I don't know why you acting so predatory
If she tell yuh do not cross di territory
And tell you NO in every category
It is important and it is imperative, also mandatory -
THAT YOU KNOW THE WORD THAT IS NO"
Sickening it is that such a piece is so applicable and necessary today (or any day at all for that matter) but something once again has gotten on Bunji Garlin's last nerve and it's driven him, once again, to refresh and reprise this scathing message of what should be completely common fucking sense: LEAVE OTHER PEOPLE'S SHIT ALONE!
The final third of "Ayl'ian" is absolute FIRE in every single way and it contains what is EASILY one of the finest selections of Garlin's entire storied career. The album's final moment, 'At This Time', is probably the lightest of them all but even it is sorta outstanding in a spreading type of way (it may take a few spins to grow on you is what I'm saying) (You'll get the rest of these immediately). Coming in with a somewhat oldschool sound, 'At This Time' features downright DOMINANT ["When you see mi come in, walk parallel. Go round mi like dem plastic horse on dem carousel.Want to bad talk mi name, you're free to do that as well. But you will not get mi committing any act of hell"] wordplay with Garlin saying that if your intentions are not positive, you can move right along. Check the hypnotic 1980's fueled (thanks to the Tape Deck Riddim) 'Classic Like' where the artist makes us all feel old as hell in a BEAUTIFULLY nostalgic type of way. 'Classic Like' didn't get its proper run in my opinion, it is MAMMOTH and ranks very highly altogether on 'Ayl'ian' and any child of that era will find themselves smiling wide with some of the references Garlin makes (the man literally brings up VHS & Beta). Things get ice cold for a minute with the grimy 'Links' before the heat returns. 'Links' is exactly what the title would suggest if you don't overthink it. It's about the power of coming together and the good times that can be had when amongst good people, regardless of where they may be from. There's also a quiet aggressiveness here which is unexpected (it isn't celebratory AT ALL) but 'Links' is still a very good time and not to be missed and that kind of unusual vibe is at least partially why.
Paired in succession are the blistering 'Forward' and '110 Overcharge'. The former is special and it's been a favourite of mine from this season -- from anyone -- since the very first time that I heard it. The start of '110 Overcharge' is BRUTAL! It is hellish and aggressive, destructive brilliance. It is a musical kick (punch and knee) everywhere you need it across DJ Avalanche's pounding Real Stink Riddim. Even within the midst of... all that mess Garlin is in devastating form ["Gal wine with they ass bend. Wi colder than Aspen. Who have di energy? Wi looking to draft dem!"]. The same could be said for 'Forward' which features very little in the way of a drop-off to '110 Overcharge' (probably have never listened to 'Forward' in this much detail, it is EXCEPTIONAL!). Both tunes are very hype, Power Soca and represent the best of their kind not only on "Ayl-ian" but anywhere in Garlin's recent catalogue to my ears. If you are looking for a good tune for the cap on a workout playlist, you'll happily camp out right between these two. And finally is a little song called 'Carnival Contract'.
'Carnival Contract' is probably one of the best 100-120 or so songs that I have ever heard. Period. It's amazing and it goes without saying that it IS the strongest selection on this album and would be on just about any of Garlin's albums. The Banx & Ranx riddim of the same name backs a GEM which is as hypnotic (I have probably lost a few DAYS euphorically lost somewhere on 'Carnival Contract', and you can keep them! I don't want that time back!) (It's yours!). Song is about VIBES! It was created in some secret facility somewhere in Trinidad by scientists who have identified a nerve in the human brain only permeable by this PRECISE set of sound.
Overall, I'm going to fend off the burgeoning temptation I have to go back through the greatest of Bunji Garlin's albums, but I'm going to tell you that, at least from the top of my head, "Ayl-ian" is just as good as any of them ("Ispaniard" was golden) (so were "Flame Storm" and "Next Direction"). It is a FANTASTIC release and, as I said, it's even better than I thought it would be, in thinking of these tunes, individually. You wrap them up together and put a bow on them and what you end up with is pretty near SPECIAL. "Ayl-ian" ranks near the finest collections of a bona fide musical LEGEND in Bunji Garlin, representing, collectively and individually, some of the absolute finest work the man has ever done. HUGE!
No comments:
Post a Comment