Trudii Harrison – Black Voice – Review

July 26, 2020

Trudii Harrison: Black Voice Single Review by Mr Topple for Pauzeradio.com.

Ahead of Californian-based CKM Infinity Studio’s new EP, The Message (dropping later this summer), one of the tracks included in the release is out. And it’s a pertinent and ultimately powerful affair – from Trudii Harrison.

Trudii Harrison Black Voice, released via CKM Infinity Studio, sees Harrison team up with the label’s founder, producer Cliff Manswell. It’s a haunting, unsettling affair – driven by some elegant production from Manswell which has created a brooding, heavy piece of work – perfectly fitting the subject matter and Harrison’s voice.

The track is undeniably Roots-driven, utilising various devices to deliver a recognisable sound – but one that is far from rudimentary or traditional. Heavily staccato keys perform a relentless bubble rhythm, which tonally sits in a predominantly lower area of register than on some Roots tracks – which immediately creates depth. The bass, syncopated across drop-beat rhythms, works around diatonic riffs. The dropping of beats is interesting – most notably on the chorus, where it works off two-bar phrases, dropping just the one on the first, then the one and three on the second. This pattern helps create a subtle wind to Black Voice, complimenting the keys.

Drums perform a classic one drop to enhance the sound further – with the kick hitting the two and four, hi-hats performed dotted rhythms around open and closed techniques and the snare alternating between rim clicks and open skin hits. The occasional cymbal roll compliments these, but the overall arrangement is relentless and helps to maintain momentum across the fairly relaxed BPM.

There’s a deft use of electric guitars by Manswell. Their inclusion is quite targeted, avoiding a straightforward skank and instead offering responses to the main melodies call. Bending is frequent, and their sound is slightly rasping and bluesy, with the bass on the amp wound down. The fleeting inclusion of what sounds like a synth atenteben (or similar woodwind instrument) at points (with a countermelody) is a clever nod to the Motherland. Meanwhile, additional synth horns (or possibly strings, or both – high-passed and tinny) join the chorus, hitting the one with sharp chords, before hitting the four and on the second phrase of the bar, the three too. Added elongated reverb and samples bring some Dub vibes into the mix – and the whole package is expertly crafted by Manswell, creating an unnerving sound that is swamped with depth and punch. Moreover, it’s a perfectly aligned platform for Harrison’s voice.

She’s a fascinating artist who transcends the boundaries between Roots, Soul and Jazz: probably best described as Neo Soul. Her voice is ostensibly an alto – hovering in that rich, resonant area around the middle and lower treble clef. While her timbre is full and rounded, she doesn’t allow herself to be stuck to that sound – offering up a tighter, more closed tone as she moves up her register into soprano territory. She also flips between her chest and head voice well, using these to punctuate the lyrics. But it’s Harrison’s interpretation which is perhaps her strongest skill. Across the track, she intuitively moves between clipped staccato notes to marry with Manswell’s music, and then more drawn-out, longer breathed phrases. The rise and falls in her dynamics are wonderful and the deviation from standard vowel sounds a lovely touch. A 2020 Erykah Badu? Quite possibly. And it goes without saying it’s lyrically powerful work, too – as Harrison muses and rages on the systemic, endemic racism that still exists across the world.

Black Voice is a dignified yet somewhat searing track, where Manswell’s music and Harrison’s lyrics and performance have complete synergy. Cleverly constructed, it serves as a promising look at what’s to come from the label’s EP. But moreover, it cements Harrison as ‘one-to-watch’ – as she is showing all the signs of being an extremely unique and exciting artist. Glorious.