Cymande – ‘Renascence’ album review: the British funk icons never lost their appeal
THE SKINNY: Rolling blackouts, Grange Hill, and Babycham: the 1970s was a particularly strange time in the social history of the United Kingdom. The vibrant colours of the 1960s ‘peace and love’ age had largely disappeared, and the country was left bedecked in mustard, corduroy, and flares. One of the only glimmers of hope and joy during this perpetually smog-filled era was the emergence of the British funk and soul scene, with London outfit Cymande leading the charge. Adding their own unique twist to the foundations of psychedelic funk that had been laid across the Atlantic, the band created some of the finest albums of the 1970s.
Now, over 50 years since the release of their debut album, Cymande have finally returned to the airwaves with the fittingly titled Renascence. A triumphant return to form and their first major album release since the 1980s, the record is imbued with the same kind of infectious, funky grooves that put the band on the map all those years ago. With heavy basslines, captivating rhythms, and a plethora of incredibly polished musicians, there is little to criticise on Renascence.
Whereas other artists might fill their ‘comeback’ album with a plethora of nostalgia-fueled cash-in songs that fail to adapt to the modern era, Cymande certainly do not rely on their 1970s heyday. Across the tracklist, Patrick Patterson and Steve Scipio draw upon their songwriting past while remaining firmly rooted in the present day, adding endless new layers to their already extensive sound. In support of this new era for the group, Celeste and Jazzie B feature on the album, adding their own unique influence and power to proceedings.
Celeste’s feature, ‘Only One Way’, is a particular highlight within the record. Her powerful vocal style seems almost tailor-made to the moving funk of Patterson and Scipio. For the most part, however, the appeal of Renascence is still built around that duo, who started Cymade together back in the early 1970s. Despite the time eclipsed over the course of their careers, the songwriters prove their ability to stay relevant and with the times on this album. Multiple tracks take aim at the current social and political state of the world, echoing the idea that not a whole lot has changed since the band’s heyday.
Comeback albums are often misguided and rarely live up to an artist’s original work. However, Cymande have never been a group to follow trends or fit into expectations. As such, their long-awaited comeback is just as captivating, important, and funk-ridden as their celebrated discography from the 1970s. In fact, when looking across their entire body of work, it is difficult not to view Renascence as an all-encompassing highlight.
For fans of: Wearing Kangol hats and thick-rimmed spectacles, hanging around jazz bars, and pretending to be an expert on red wine.
A concluding comment from The Bay City Rollers: “There’s room in the market for popular 1970s groups to make a comeback? I’ll get my scarf.”
Renascence track by track:
Release date: January 31st | Producer: Ben Baptie | Label: BMG
‘Chasing an Empty Dream’: Picking up where they left off from their 1970s heyday, Cymande immediately launches audiences into the heart of their infectious and politically right-on funk sound. Awash with social commentary and themes relevant to modern times, the album opener is a perfect blending of old and new. [4.5/5]
‘Road to Zion’: Unlike the infectiously funky opener, ‘Road to Zion’ crafts a mellow, orchestral sound while retaining those identifiable elements of Cymande’s funk sound. Its composition and songwriting quality can certainly not be disputed, and it flows beautifully into the rest of the record. [4/5]
‘Only One Way feat. Celeste’: Recruiting Brighton vocalist Celeste to add her typically powerful tones to this song, the band lands upon a song that is as timeless and universal as any of their notable songs from back in the day. [5/5]
‘Coltrane’: Paying homage to everybody’s favourite tenor saxophonist, Cymande turn up the jazz influences of this album while retaining enough of that funk rhythm to keep the listener’s toes tapping throughout. [4.5/5]
‘Sweeden’: Reverting back to the uptempo sounds of classic British funk, this largely instrumental track is a gorgeous signifier of just how much craft and musical quality is packed into the line-up of the band. [4/5]
‘How We Roll feat. Jazzie B’: Accompanied by the Soul II Soul founder, Cymande builds into an ethereal eight-minute epic which rises and falls in tempo to compelling effect. This track is a particularly good example of the organic, improvisational jam style that the funk band have always been adept at. [4.5/5]
‘Heart of the Willing’: An organ introduces another mellow, romantic offering from the band. Once again, the timeless appeal of their music and songwriting is laid bare, with this song blending in almost seamlessly with their older material. [4/5]
‘I Wanna Know’: Effortlessly cool and unsuspectingly catchy, the group only seems to build this album’s intrigue and quality as we approach its final moments. Much like the previous song, Adrian Reid’s organ styling is a particular highlight. [4/5]
‘Darkest Night’: While the penultimate song perhaps does not pack the same punch as some of the earlier offerings on Renascence, its pivotal commentary on issues of racism and morality in modern society is certainly enough to carry the song through. [3.5/5]
‘Carry the Word’: Leaving listeners on a note of unity, togetherness, and defiance, Cymande gives definitive proof that they never lost their quality as proprietors of British funk and using that incredible music as a channel for equally important messages. [4/5]
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