If you’re in the business of making eclectic, influence-crunching electronica that’s rooted in live instrumentation, being invited to tour with Bonobo is quite the seal of approval. It’s not hard to see how 22 year old Tom Leah caught the attention of his simian soundalike; there’s more than a passing resemblance in Werkha’s layered instrumentation and pattering beats, but like any decent opening act, Werkha packs more energy and dancefloor draw than the blissed out whirls of Black Sands or The Northern Borders. Elsewhere, another big name endorsement comes from Gilles Peterson, which is not overly surprising given Leah’s interests in jazz, Afrobeat and soul, amongst others.
Beacons kicks off with ‘Lapwing’, a jitter blend of jazz sax and soulful house that calls to mind the louche electro-swing of Parov Stelar’s work. If Jeeves & Wooster were on the dancefloor today, this would be entirely classy enough for their jazz-age cool. Underpinning it all lurks a fuzzy, ambient bass, tying the track together with a delicate, crafted feel. (It also has an endearing video starring middle-aged yoga enthusiasts – bonus points).
‘Moving with the Nuisance’ is slightly less successful in its jazz reappropriation, as an electric guitar stirs over a dubby, distorted beat and T.E.E.D. style layers of micro percussion. The vocals are slightly too generic (“Put your hands up if you came to party”) and the jazz/house fusion a little too laboured.
The pace is soon ramped up again though, as the EP’s apex arrives with the excellent ‘Sidesteppin’’; a soulful house cut that is dominated by Bryony Jarman Pinto’s pure, unprocessed vocals. It’s a irresistibly crisp, silky track that builds into a solid groove, with a crunchy synth line and a beat that carries off the chorus’s claim – “I can feel my body rockin’ side to side!”.
From there, Beacons takes a slide down into the dark, with dubstep trumping jazz as the foremost influence on display. ‘Tempo Tempo’ brings a slinky, beat-driven open of clinking chimes and cymbals before succumbing to a dominant wonky synth pulse. Thankfully, this is on a different continent to aggressive brostep though; Leah commented recently, ““Since the bastardisation of the term dubstep, I have been keen to demonstrate that it doesn’t all have to sound like robots being sick” – mission accomplished. Smart, sexy and minimal, this is far more interesting than Skrilly and co.
One for those searching out unconventional grooves, Beacons is certainly an impressive calling card for Werkha. Skipping across genres carelessly, stitching his multiple interests, the EP heralds an undeniably original sound. There is a risk of lapsing into slightly bland, dinner party music – but if it’s good enough for Bonobo and Four Tet, that might no longer the criticism it once was. Next time around though, it would be nice to think you’d bother to interrupt someone mid-sentence to ask what was playing.