Kirk Diamond ADD

Review

Album Review: Kirk Diamond x Finn - Dread

10/12/2023

by Gardy Stein

"How important are the dreadlocks?" "Yeah, this is my identity. You dig weh mi ah say?" Bob Marley's answer to the question asked by Dylan Taite in their 1979 interview in New Zealand forms the intro to a new album called Dread coming to us all the way from Canada, released by innovative producer Finn as well as singer, songwriter and social activist Kirk Diamond. It is the first full oeuvre for the Jamaican-born Toronto resident, but his road leading up to this achievement is paved with two Juno awards already: one for his EP Greater in 2018 and the other for the single Reggae Party earlier this year.

Both through its name and the intense cover, the album brings to the fore one of the most visible signs of Rastafarianism: the wearing of dreadlocks, possibly the most natural hairstyle there is (the word 'style' in itself is misleading here, because wearing dreadlocks actually emphasizes the rejection of styling, at least in their original, rebellious conception). A rebel spirit was certainly present in the creation of the nine tracks, too, as they don't conform to any expectations or patterns.

Thus, the title track Dread almost sounds a bit off, wobbly, for lack of a better word (in German we call it "leiern"), especially the prominent piano line, and Kirk's slightly slurred vocal delivery complements this impression of roughness. The overall quality of the recording makes it clear that this is intentional, though, since bass and drums and keys are very much on point. As the name suggests, the song talks about the common misconceptions of filth and neglect still held by some people in connection with "the crown pon di King head", stressing that "Natty bold, Natty beautiful". The subsequent Dread At The Kontrol seems to continue on the same riddim, but while this is true for certain instruments and the tempo, the chords cleverly switch from minor to major, and the whole mood becomes brighter, happier. This perfectly fits the storyline of the song, in which a lousy selector is playing everything but Reggae and is chased away to bring the people joy. "Natty Dread a tek over!"    

A seamless continuation of this vibe, Dub Rub puts us right into the dancehall with the MC who now entertains the people. Diamond's effortless flow which he commands not only in singing but also in deejaying or rapping, as exemplified here or in the intro As I Would Say, as well as the original sample by the late Billy Boyo make this rather short piece (it's only 1:45 long, another proof of the creators' out-of-the-box thinking) a nice one to skank along to.

Not much needs to be said about Reggae Party, released almost exactly one year ago and collecting accolades ever since, including the Juno award mentioned above. Featuring the amazing vocals of young Kairo McLean, it is the perfect feel-good track (especially when you watch the video!), but at the same time the lyrics are quite though-provoking. "Born out of love and the purpose was for us to be free [but] their plan is to build walls instead of building bridges…" Make sure you never stop coming together! Likewise around for a while now, Bring It Good comes with some sweet '90s digital Dancehall vibes, oozing sexy both in the video and in the voice of guest artist Tiffanie Malvo (in case her name rings a bell, yes, she is the daughter of Dancehall-veteran Anthony Malvo).

With Need You In My Life and Rub-a-Dub Luv, two more songs complete the lovers' section of the album (the latter a romantic dialogue with fellow Canadian singer Tiishy), while Ragga Muffin further expands the stylistic diversity and pays homage to this era of vocal versatility.

Trinity (featuring Lord Fury) is a wonderful track to close this wonderful album, not only because it has a special, calming vibe music-wise and talks about the holy trinity of man, woman and child, but also because it comes full circle to the beginning with a quote of Marley's One Drop. As in a few other songs, we hear the instrumental skills of Kirk's band, The Movement of Ahryel (C. Barrett on keys and sax, R. Wright on percussions, J. Luke on guitar, K. Hypolite on backing vocals), and I especially like the added crackle, a brilliant way of giving the whole thing a tangible, authentic touch. Vinyl rules!

Dread is not a concept album per se, but the unique production of the riddims (somehow rough but at the same time warm - chapeau, Finn!), the whole arrangement of the playlist including the intro and the two interludes contributed by legendary Killamanjaro soundman Ricky Trooper as well as Kirk Diamond's bright vocals that bind it all together make it an exciting and self-contained sonic experience. There are plenty nuances you will only catch with repeated listening, from shout-outs to the label Golden Era Music to musical quotes to environmental issues like reducing plastic waste, but having reached the end of the album, you'll want to press play again right away, anyway. "As I would say!"

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