| Format: | LP |
| Availability: | In stock |
NMR009
2022
‘In Session’ is the debut album from UK dub producer Mali-I released on None More Records. Mali-I is Mali Baden-Powell (Z Lovecraft / Rhythm Section / Monzanto Sound), 3rd Generation Windrush, named after Bob, spelt like the country. The album draws on Mali-I’s deep love of UK dub and the likes of sound system innovators such as The Bug, Wackies and Channel One, but brings in contemporary London sounds via his long time affiliation with London party and label Rhythm Section.
The record draws on a wide range of reggae and dub influences, from UK Lovers Rock with tunes like the lead single ‘Heaven Sent’ and ‘Near Or There’ and the current London rap and r’n’b scene with killer second single ‘This Place’ . There’s also darker and harder instrumental dub material aimed at sound systems like ‘Scorpio Riddim’ for the heads. Mali-I adds his own contemporary take on these classic sounds, drawing on his extensive experience operating Biodiversity Studios, working as a sound designer and mixing engineer, lending the record an exquisitely refined experimental approach to the aesthetic of the record, as well as drawing on his experience of playing live keys in his band Monzanto Sound, also on NMR.
Mali-I is joined by a host of killer guest vocalists across the record, including the inimitable Natty Wylah, the heavenly vocals of Ms. Ray, J Caesar’s soulful voice and Lincoln Barrett’s deep and moody snarl across two tracks.
Having worked on the album over the last three years, with some tracks gestating from old drafts, the bass has been tuned for hi-fi and bass bins alike.
Mali-I says of the record “The album process has been organic, and unpressured. I have taken my time to make many more ideas needed than necessary for a 40 minute LP, whilst reaching out to my community of musicians and vocalists to develop a multitude of basic reggae rhythms into fully-fledged dub reggae, always keeping in mind an old-school approach. Guided by my obsession with authentic dub reggae, the album was mixed live into 2-tracks, yet I utilised experimental sound design techniques and non-linear editing tricks to give reggae a fresh sound that’s both DIY and cutting edge.”
