Ras Teo Deh Pon Dem – Review
Ras Teo Deh Pon Dem Review by Mr Topple for Pauzeradio.com.
The incomparable Ras Teo is back with a new release (plus a second which has accompanying Dubs) – the third out of four releases, showing that he consistently produces quality content without question.
Ras Teo Deh Pon Dem, released via Forward Bound Records, is a pleasing experience across eight tracks, all of which are produced by Teo, David “Jah David” Goldfine, and Benjamin “Ashanti Selah” Smith.
Combing the two vinyl as one listening experience, Teo and his team have created a veritable symphony of Roots and Dub-inspired sounds, which both honour the traditional while encompassing the progressive.
The vinyl opens on Side A of the release with Yank and Isez. The brooding minor key throughout briefly flits into major chords, which make for an even more atmospheric experience. Traditional Roots devices are in play: keys run a choppy bubble rhythm with occasional additional riffs, while David “Jah David” Goldfine’s bass runs a double drop-beta riff, which predominantly skips the three and four, giving a large amount of breathing space. Roberto “Lone Ark” Sanchez’s Drums run a one drop, adding to this feeling of airiness – which gives prominence to the additional instrumentation.
The horn section is central. Patrick “Aba Ariginal” Tenyue’s trumpet and Henry “Matic Horns” Tenyue’s trombone almost provide a secondary vocal line, running a complex arrangement which weaves around pleasing harmonies and well-structured melodies. Additional percussion provides interest, while the use of some well-placed reverb gives nods to Dub. Teo’s vocal is pointed and intense, with pleasing backings from Roberto “Lone Ark” Sanchez, Benjamin “Ashanti Selah” Smith, Audrey “Sister Audrey” Litchmore, and Teo “Junior Natural” Hjalmarsson. Lyrically, Teo has crafted a strong narrative around maintaining personal faith in the face of Babylon’s mendacity and maintaining trust in Jah – as ‘good over evil’ will prevail.
Next, Jah Satta continues the minor key mood, but with a lightening of the instrumentation. Those Roots staples are present, but with the bass this time running around a fuller melody which only drops one beat. Keys are still across a bubble rhythm, but in terms of dB it’s not as prominent as on the previous track. Drums are still on a one drop, while the additional percussion is fulsome.
Here, however, Zoe Brown’s flute plays a central role – providing an extremely attractive additional melodic line. Electric guitars also come into play, with some rasping performances. Horns are still present, but secondary. Meanwhile Teo delivers a more staccato vocal than before, with some pleasing runs included too – and with strong backing vocals again. The narrative is strong again – with Teo reminding us that we should give thanks to Jah for allowing us to follow his righteous path – while Teo also details the alternative, and it’s not pleasant.
Minor keys are a theme on Deh Pon Dem, with Defend I also continuing that trend. The BPM has picked up a bit, while the drums are working across a more intense bubble rhythm with some forthright additional percussion which patters frantically in the background. Keys still run a bubble rhythm, while the bass is still running a busy riff which skips the one – playing well into the drums’ arrangement. There is a great arrangement on the horns, which at time provides backing and at others, responses to Teo’s calls. The use of an organ brings additional interest, while reverb is prominent again. Teo is strong once again on his vocal, and the backing ones are more harmonised across vowel sounds than before. Lyrically, he has created a veritable song of praise to Jah – calling on him to ‘defend I, free I’ – and it works brilliantly.
The title track Deh Pon Dem changes tack somewhat, smoothing the sound out via the use of a close hi-hat whose sound spins across each bar. Brown’s flute runs around the track once more across a multitrack recording, bringing intensity to proceedings – and against a backdrop of an increased BPM, keys on a bubble rhythm, and a bass that is staccato in its drop-beat riff but with a complex melody that winds up and down its register. Also central to the track are the use of electric guitars, which come into their own across a bridge which is heavily influenced by Dub – where the rest of the instrumentation strips back. Backing vocals are heavily Gospel influenced, while Teo delivers and assured and urgent performance with some pleasing vibrato used to balance his performance out. The narrative is a highly pertinent tribute ort Marcus Garvey – and overall, it’s one of the albums stronger tracks.
Knock Knock opens Side B of the vinyl – and the sounds has moved again. Here, the pace is slower, the instrumental arrangement more lilting, and the flow smoother. The usual devices are in play, in terms of the keys’ bubble rhythm, drums across a one drop (but with some pleasing additional riffing on the snare and cymbals), and a bass tat focuses on a drop beat rhythm that skips the three. The horns are virulent once more, forthright in their delivery across responses to Teo’s calls. Patrick “Aba Ariginal” Tenyue’s dampened solo is particularly pleasing. Brown’s flute comes in at points, also with some well-arranged responses. Keys break away from the bubble rhythm at time with some funky riffs, and these are mimicked by the organ which is a pleasing addition. The use of reverb is once again well-placed, bringing Dub to the fore of the sound.
Teo once again excels in his vocal, with strong support from well-arranged backings. Here, we see a performance with real light and shade in terms of both dynamics and note extension/clipping – with his signature vibrato put to good use as well. Lyrically, he has provided a stark warning – that if you do not commit to Jah, and living a righteous life, then Zion will not be waiting for you – but Lucifer will.
Lip Service ups the ante in terms of the stuttering, Roots-based arrangement – seeing a brisk bubble rhythm on the keys complemented by the horns running a highly-staccato riff across some harmonised chords. For the first time, the bass doesn’t drop a beat, instead running a winding melody throughout each bar. Drums do, however, run a one drop but with some additional syncopation across the hi-hats than has been previously seen. Brown’s flute is back with a glorious line that flutters around to increase the feeling of movement. A guitar runs a skank, while additional percussion is rapid. The introduction of a clavichord brings an additional layer of interest, as does the reverbed vibraslap. The backing vocal are strong, while Teo’s main line is furious in its delivery across a narrative which calls out Babylon’s proponents and their lying – whether it be over poverty, protecting mother nature, or racism – but reminding us also that Jah will eventually judge them, Stirring works.
In a change of tack, Alive N Well is a smooth and evocative track which at times feels more soulful than the rest of the album. It feels less like Roots, with more underlying movement, due to the half-time skank being played out across the clavichord and guitar. This complements the keys’ bubble rhythm and the stuttering bass line, which repeatedly comes in off the beat – or misses it altogether. The drums one drop is not prominent, with the kick and snare taking a background role to the hi-hats. The electric guitar whine in and out, while electric keys tinker in the background and the flute ties the bow on all of this. The use of reverb is again well placed – and the overall arrangement, ending the track with a predominantly instrumental section, is expressive. Teo is strong once more, and his narrative – around how Jah lives in all of us who have faith, even if that faith falters – is fitting to the musical backdrop.
Ras Teo Deh Pon Dem closes with We Ah Step – a stripped-back affair which is almost a studio version of nyabinghi drumming. The arrangement is more than that – with the eventual inclusion of keys, additional percussion, and a sparse bass line. However, the sentiment is strong – showing how Rastafari’s most traditional of musical forms can progress while still being true to its Roots. Teo’s vocal is also respectful to the tradition, with a cautious delivery that is still passionate in its delivery – and a lyrical call for Rastafari to come together as one and ‘step, step, step… out of Babylon’.
All the Dub versions of the tracks are available on the second vinyl Ras Teo Deh Pon Dem in Dub.
Overall, Ras Teo Deh Pon Dem is a strong offering from Teo and all involved. It stands well among the previous releases in this collection – but also poses the question, where will Teo go for the fourth and final release?
Read previous reviews from Ras Teo including Soul Rebel, Up Fi Jah, Coming Home and One Fire EP.
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Ras Teo Deh Pon Dem Review by Mr Topple / Pauzeradio PR Services.
