Tarrus Riley – Remember Me – Review

August 5, 2020

Tarrus Riley: Remember Me Single Review by Mr Topple for Pauzeradio.com.

The oh-so-Royal Tarrus Riley is back. After 2019’s storming EP, B.L.E.M. he’s once again returned with another fresh track in preparation for his new album, dropping at the end of August. And, of course, we should expect nothing less than gorgeous perfection.

Tarrus Riley Remember Me, released via Jukeboxx Productions and Zojak World Wide, sees Riley team up with Shane Brown and Dean Fraser from BLAKSoilMusicGroup (BSMG) on production duties. The track is actually quite an unexpected surprise, because Riley has banished a predominantly Reggae or Dancehall sound for something more Folk-led along with sympathetically acknowledging the other genres’ historical roots.

In short, it’s a broad, elegant and sweeping composition, which immediately feels like it would be right at home in a film score, such is the quality of the instrumentation and arrangement. It opens with samples of rain and thunder, which is a clever piece of musical signposting – as it indicates society’s and life’s storms, before the track and its messages’ sun shines through.

Remember Me is heavily led by more traditional African elements interspersed with Folk-Pop. It opens proper with the rhythm section accompanying a flute solo. Given the instrument’s slightly tinnier timbre it sounds like a metal concert flute as opposed to a wooden African variation like an atenteben. But either way, it’s beautifully constructed and executed by Zoë Brown – with acute attention to dynamics, a wonderfully rhythmic yet expressive vibrato and a flow that fits the song’s thematic content perfectly.

The rhythm section is key to the track’s arrangement and delicate, flowing momentum. A rich and rounded bass from Glen Browne provides a consistent yet subtle drive to Remember Me. It works off an intricate motif across the bar – using a combination of semiquaver, quaver and dotted/full crotchets to creating a rippling, gentle flow but one which still provides forward motion. Its understated sound is delivered extremely well.

Mitchum Khan’s guitars are glorious and stripped back, performing strummed chords which lead the track’s melodic progressions, hitting double time on each downbeat. His use of sliding up and down the fret between each progression enhances the natural, Folk-like feel. Additional riffs feature at times, and then on the bridge Khan moves into slow arpeggio chords which help bring a smoother glide to Remember Me before the chorus kicks in.

Meanwhile, the drums from Kirk Bennett are persistent yet unfussy. Focus has shifted from a traditional, Western set up to more African instrumentation – including pitched djembe, a brushed snare (or it may be a shaker) and what sounds like a dundun as a lower pitched beat. It’s simple yet effective, with the snare/shaker controlling the rhythm and drive. Just to finish the package off, Riley’s children perform backing vocal duties. And then, there is of course the man himself – once again showing his natural versatility to turn his artistry to almost any composition.

Tarrus Riley is utterly compelling and spellbinding across Remember Me. Gentle, humble yet unashamedly direct, he glides around the instrumental lines with just the right level of staccato and legato notes to match the musical phrase (clipped notes on the verses, longer on the bridge and a mixture on the chorus). Moreover, his performance is cleverly understated – never forcing the dynamics or timbre above a slightly forthright vocal caress. Both these attributes display not only the intuitive nature of Riley as an artist but also the control he has over his voice.

But what really stands out about Remember Me is the perfect synergy between composition and performer. Brown, Fraser and Riley were clearly at one when it came to what the track is intending to deliver – as it’s a perfect Song of Praise. Worthy of something more cinematic, it’s beautifully arranged and executed by all involved. An evocative and moving joy to listen to – and a promising introduction to Riley’s forthcoming album. Wonderful.