Cymande, the South London outfit behind funk-laced anthems like “Bra,” “The Message,” and “Brothers on the Slide,” return with Renascence. Emerging in the early ’70s with a genre-defying sound—funk, soul, reggae, jazz, calypso, and Afrobeat all in the mix—they found success in the U.S., gracing the Apollo Theater stage and touring with icons like Al Green and Patti LaBelle. But in Britain, they hit a wall, facing an industry unwilling to embrace a Black British band forging their own path. After their first three groundbreaking albums—Cymande (1972), Second Time Round (1973), and Promised Heights (1974)—Cymande largely went quiet, aside from a solid effort in 1981 and a 2015 comeback with the overlooked A Simple Act of Faith. Their influence, however, proved unstoppable: by the ’90s, hip-hop’s elite were sampling their grooves, and filmmakers like Spike Lee were weaving their tracks into soundtracks. Now, with Renascence—produced by Ben Baptie (Adele, Moses Sumney)—founders Patrick Patterson and Steve Scipio, joined by a fresh lineup, pick up the thread they left dangling decades ago.
Renascence is an album that feels like both a continuation and a gentle step back. With Patrick Patterson on guitar and vocals and Steve Scipio on bass, the lineup also includes long-time collaborator Adrian Reid (keys), Raymond Simpson (vocals), Richard Bailey (drums), Donald Gamble (percussion), Denys Baptiste (saxophone), Kevin Davy (trumpet), and Toni Kofi (saxophone). The chemistry between these musicians is palpable, creating a sound that’s smooth, lush and inviting. The instrumentation here is impeccable, but the album can sometimes fall into that comfortable groove where everything sounds pleasant but a little too sanitized.
Opening track “Chasing An Empty Dream” kicks things off with a gritty clavinet groove, layering percussion and bass before the vocals cut through. It's pure ‘70s soul and funk with a Latin edge, and when the drums kick in, it feels like the track could take off—but it doesn’t. The groove remains mellow, transcendent, the horns wrapping themselves around the melody in a cinematic manner. It's the kind of track that brings to mind the psychedelic era of The Temptations or a Curtis Mayfield soundtrack.
On the other hand, “Road to Zion” is a delicate, string-drenched ballad that evokes the soulful tenderness of Terry Callier. Raymond Simpson’s vocals here are impassioned, but the track’s slow burn almost borders on too soft, drifting in the background rather than commanding attention. Meanwhile, “Only One Way” brings in guest vocalist Celeste for a piano-driven ballad that could have been a hit in another era—though in the current pop landscape, it feels like it might get lost in a sea of Taylor Swifts and Sabrina Carpenters.
“Coltrane” is another easy-going groove, drawing from both urban and Caribbean influences, with the keys adding a unique color. It’s laid-back, smooth, and undeniably cool, but again, it doesn’t quite push the boundaries. "Swedeen," though, takes the energy up a notch. This track isn’t a furious funk explosion, but the horn riffs and percussive drive, anchored by a mean bassline, make it dance-floor material. There’s a warmth here that’s infectious.
Then there’s “How We Roll,” which introduces hazy keys and bluesy guitar with a jazzy vibe, anchored by a melodic bass. It’s got that echoey dub edge, but guest Jazzie B’s spoken word doesn’t add much to the track, making it feel like a long intro rather than a fully realized piece. “Heart of the Willing” is another smooth soul ballad that allows Patterson’s guitar to shine through, while “I Wanna Know” and “Darkest Night” bring back the lazy, laid-back grooves that are easy to get lost in but never quite hit the heights they promise.
“Carry The World” leans into the Caribbean influences with a mid-tempo rhythm that builds to an instrumental crescendo, but just when it feels like it could take off into something special, it fades out, leaving much unexplored. It’s the kind of track that would shine live, with room for instrumental solos, but here, it never quite reaches its full potential.
Renascence is an album of classic soul done the old-fashioned way—very good at times, but not always earth-shattering. The performances are flawless, and the interplay between the instruments is top-notch. Patterson’s guitar licks are essential yet discreet, gently coloring the songs, while Scipio’s bass takes the lead at times, adding jazzy harmonies and counter-melodies. The percussion is a great touch, adding depth and wrapping around the groove laid down by the steady drums. The horns feel like another voice, and the keys add the perfect touch of color.
But despite all this, it often feels like the songs are playing it safe. The grit and fire that made Cymande’s early work so unique are missing here. While the performances are flawless, it would have benefited from a little more edge and maybe a few more up-tempo tracks to balance out the more subdued moments. Live, these songs would no doubt kill, but on record, they can feel a little too polished.
Renascence is a treat for fans of classic soul and funk, and it’s a reminder that some styles of music just aren’t made like this anymore. While it may not be the groundbreaking comeback many were hoping for, it’s still a pleasure to hear these masters return with their signature sound—now, if only they’d taken a few more risks.
Genre: Soul / Funk
Release date: January 31st, 2025
Produced by: Ben Baptie
Label: BMG
Rating: 7/10
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