The fantastic debut of Melle Brown has a looming heart underneath all the tracks with many collaborators! Instrumental or with vocals, Bloom celebrates the alternative, under appreciated and breathes new life into them.
From her interview with Gal-dem magazine (which rings superbly truthful) – “I’ve put a lot of thought into melodies, chords and textures in each track; I’d love it to be the go-to EP when people want a balance between reflective, easy listening and turn up mode.”
Blossom doesn’t feel like an debut but rather a seasoned sophomore or a later project in someone’s career arc. The project makes use of clever curation and tight track sequencing within the 15 minutes it runs through.
Where dancehall and afrobeat (as well as various genres of Afro-carribean music) are being quick-washed into the fabric of popular music for a trendy cycle run, Blossom’s timing of release feels pivotal as it turns 180 degrees away from the cliches of filtered.
Stylistically the project pulls from the funky house movements of the late 2000’s, the garage of the early 2000’s and the underground house in between.
On the less electronic side, the project looks at soul music, funk basslines, jazz and blues for sophisicated chord stylings.
However the project makes these influences contemporary in a way that feels individual and not derivative. High energy music with tempos that shift between double time and half time stretches.
The collaborators are free-flowing musicians who are unconcerned with restriction (Danni Wells, Yolanda Rosetta grace smooth vocal performances, Mr Benjamin brings a lyrical edge, Karis playing melodic counterpoint, Shaun Lewis, JayMusique, Samuel Elliott all add to the texture of the project).
Blossom feels like a reclaiming of the late 2000’s – ‘funky house ain’t dead’ mixed with the future bass of the 2010’s – mixed with an alternative flair to the maximal EDM and droning techno/house and the jagged hypermasculine spaces of grime and road rap.