Bursting on to the scene in 1995 with the serene “Next Type of Motion”, Rodney Smith aka Roots Manuva quickly developed into the most prominent wordsmith of UK hip-hop. His prophetic, story-teller tone and smooth lyrical flow became the narrative to urban struggle at the beginning of the millennium. With the pulsating “Witness (1 Hope)” and elegiac bars to accompany The Cinematic Orchestra’s “All Things To All Men” featuring in the seminal film “Kidulthood”,Smith cemented his reputation as his generation’s most poignant poet.

 

Releasing on the Ninja Tune affiliated Big Dada, Smith has been lauded for paving the way for future artists integral to the UK sound such as The Streets and Dizzee Rascal and while the Mercury Prize nominated artist has refused to be pigeonholed by genre, his exploration of “bass culture” has pushed him in multiple, eclectic directions. Employing influential left-field producers such as Four Tet and Adrian Sherwood for his latest work, the album is a wide-ranging compilation of sounds in which dub, funk, techno and even classical elements combine.

 

From the compelling social critique contained in the lyrics and atmospheric strings, “Hard Bastards” has the weathered cynicism of an old timer ground down by years of exposure to a cold, unforgiving world. “Crying” converts this world weariness to schizophrenia with its eerie rhythms and Trap-style bassline giving the impression of impending doom.”Facety 2:11”is an altogether different affair; with a sample as odd as the track name, the Four Tet produced beat is relentless and unrefined and provides an interesting platform for Smith to deliver his vocal talents.

 

Dropping his bars with the esteem of a pastor preaching to a congregation, “One Thing” is classic Roots Manuva, albeit with a slightly frenetic beat and more anthemic chorus than in the rest of the album. This rapturous feeling is also echoed in “Stepping Hard” with Smith’s lyrics instructing to “Stand back and wait the abundance come”, the haunting guitar riff emphasizing the imminent apocalypse.

In contrast to the harsh truths of much of the album, the use of both soulful strings and a sample in the same vein as Bon Iver lends “Don’t Breathe Out” a sepia-toned nostalgic quality which shows that the 43 year old isn’t all doom and gloom. This catchy nostalgia is continued in the warming, outpouring of soul “Fighting For” which employs an organ and Gospel elements to end on an unquestionably positive and hopeful note, at odds with the lamentable tone of much of the album.

 

It is clear to see throughout this album and in his past work that Smith relishes his role as the funereal overseer of a fragmented society and one could argue that his eloquent lyricism is at its peak under this guise. However through the darkness it is possible to see more uplifting, spiritual qualities to his voice and it would be these qualities that it would be interesting for him to explore, enabling him to showcase a more diverse range of vocal ability and inflection rather than just what we have seen before.

Ali Hares