Ikebe Shakedown, the self-titled album from the Brooklyn-based band, plays with elements of Cinematic Soul, Afro-funk, Deep Disco, and Boogaloo in all the right ways. After spending a few years together the group, named after a favorite Nigerian boogie record (and pronounced "ee-KAY-bay,") delivers a driving set of tunes featuring a mighty horn section anchored by tight, deep-pocketed grooves. The forthcoming Ikebe Shakedown debut for Ubiquity Records sees the band push their globally-informed sound and eclectic approach to tune-writing into new territory, "Self-titling the album is a way to introduce the audience to the many facets of the band - to provide a more complete understanding of what we do," bassist Vince Chiarito says. "Our sound has grown to incorporate our influences without overtly representing any one in particular. It just sounds like us," he adds. The album was ecorded at Dunham Studios with producer Thomas Brenneck and at Killion Sound in Los Angeles, home of engineer Sergio Rios of fellow Ubiquity act Orgone.
parisdjs.com
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I wasn’t exactly sure what to think of Ikebe Shakedown. Not being familiar with the group, my only point of reference were such buzzwords as “funk,” “Afrobeat,” and “revival;” the last of these being the most telling. A popular treatment by contemporary artists is the reappropriation of past fashions. More often than not, the attempts of said artists fall haphazardly into a contrived pool of clichés. The sound would come off more forced than felt. Simply put, I’ve learned that in music, it is usually best to leave the past in the past. This was my line of thinking going into my first listening session of the group’s self-titled debut. Several listens later, I realized that Ikebe Shakedown wasn’t faking the funk.
The minute I pressed play, I was overwhelmed by what I was hearing. As an enthusiast of the Blaxploitation film genre, I couldn’t help but feel as if I was listening to a modern day soundtrack from the likes of Curtis Mayfield or Willie Hutch. The album carries a certain soulful grit; so much so that it’s easy to get lost in present-day reality. “Is this seriously from 2011?” I often wondered. You see, at its core, Ikebe Shakedown isn’t trying to be funk. It just is. This isn’t a careless cover job attempting to evoke the soulful appeal of former genres. It’s an honest step back in time. What Ikebe Shakedown has managed to do, in their first major release, is something that modern artists have been attempting to capture for quite some time – authenticity of past sounds.
The album immediately hits hard, with a preview of what is to come, on the opening track “Tujunga.” Instantly, the listener is introduced to a simplistic form that efficiently and effectively utilizes a smooth drum pattern with an unadulterated horn section. Their minimalist approach seems to accurately capture the era from which they are borrowing. Even when the album inserts a guitar rhythm section into the mix, on the proceeding track “Kumasi Walk,” the sound remains incredibly organic. With a laidback vibe, it effortlessly slides along, never losing its natural feel.
The highlight of the album for me was the infectious track, “Tame the Beats.” If there was ever a moment in which I wanted to break out my finest James Brown impersonation, adlibs, foot shuffles and all, it was at this moment. This funk-oriented groove is the perfect score to a 70s Saturday night. It already has a place in my next house party set list.
Closing the album is the mellow “Green and Black.” Once again, riding a simplistic, yet active chord structure, this composition lets the horn section loose as they drive the track quite well. It’s the perfect ending to an adventurous trip through time.
The debut album for Ikebe Shakedown is successful in that it manages to present an older sound to a modern audience in an incredibly natural way. Had I not known otherwise, I would assume that this was another lost album found while digging in the crates for the next great Hip-Hop sample. That’s just how natural this album feels. The sound is far from manufactured and completely comfortable amongst its predecessors. Seemingly built for a much larger stage, I can only imagine how this collective sounds live. For now, however, I will keep this album on repeat as one of the best releases of the year, thus far.
The highlight of the album for me was the infectious track, “Tame the Beats.” If there was ever a moment in which I wanted to break out my finest James Brown impersonation, adlibs, foot shuffles and all, it was at this moment. This funk-oriented groove is the perfect score to a 70s Saturday night. It already has a place in my next house party set list.
Closing the album is the mellow “Green and Black.” Once again, riding a simplistic, yet active chord structure, this composition lets the horn section loose as they drive the track quite well. It’s the perfect ending to an adventurous trip through time.
The debut album for Ikebe Shakedown is successful in that it manages to present an older sound to a modern audience in an incredibly natural way. Had I not known otherwise, I would assume that this was another lost album found while digging in the crates for the next great Hip-Hop sample. That’s just how natural this album feels. The sound is far from manufactured and completely comfortable amongst its predecessors. Seemingly built for a much larger stage, I can only imagine how this collective sounds live. For now, however, I will keep this album on repeat as one of the best releases of the year, thus far.
revivalist.okayplayer.com
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Named after a favorite Nigerian boogie tune, this Brooklyn-based band plays according their own descriptions “with elements of cinematic soul, deep Disco, Afro-funk, and Boogaloo in all the right ways.” They use returning elements of afro-funky guitar rhythms, recreate like no other western band the real soul of 70s afro-beats with a clarity in use of layers, rhythms and arrangements, with African bottle and conga percussion and drums, with responding well arranged layers of nice harmonies of brass/horn arrangements, grooving with the sounds, like a light and gentle soulful groove-version of the real Afrofunk/soul and beyond related music from Nigeria and Benin. This works, in small changes in rhythm and focus on instruments and by small portions or with their not too long tracks. Succesful !
progressive.homestead.com
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Ikebe Shakedown, the self-titled album from the Brooklyn-based band, plays with elements of cinematic soul, Afro-funk, deep disco, and boogaloo in all the right ways. After spending a few years together the group, named after a favorite Nigerian boogie record (and pronounced “ee-KAY-bay,”) delivers a driving set of tunes featuring a mighty horn section anchored by tight, deep-pocketed grooves.
“Right now in cities across the globe, there are plenty of great Afrobeat revivalist bands aping the sound and groove of Fela Kuti’s legendary sound. Yet, surprisingly few of the new groups have strayed from an orthodox interpretation of the genre or done much real innovation. … Ikebe Shakedown is here to change that. The band takes signature Afrobeat elements – big unison horns, slinky bass lines, tight little guitar licks -and blends them with tasty grooves culled from ’70s-style horn-driven funk”. – Marlon Bishop, WNYC
The forthcoming Ikebe debut for Ubiquity Records sees the band push their globally-informed sound and eclectic approach to tune-writing into new territory, “Self-titling the album is a way to introduce the audience to the many facets of the band — to provide a more complete understanding of what we do,” bassist Vince Chiarito says. “Our sound has grown to incorporate our influences without overtly representing any one in particular. It just sounds like us,” he adds.
Most of the rhythm section met at Bard College, and the band rounded-out and officially formed when everyone settled in Brooklyn in 2008. From there, Ikebe has emerged as a compelling voice on the progressive local scene. After a run of dates around NYC, Ikebe recorded their debut 7″ single and the EP, Hard Steppin’, which was released on Colemine Records in 2009, receiving high praise from critics and fans alike. The group was invited to record at Dunham Studios with producer T Brenneck and at Killion Sound in Los Angeles, home of engineer Sergio Rios of fellow Ubiquity act Orgone. “The studios share a lot of similarities — the tracks were all cut live to tape with minimal use of headphones and overdubs. This basic approach allowed us to dig in and really focus on getting dynamic performances,” Chiarito explains.
The old school mentality to recording spills over in the lush, laid-back, and soulful funk joints like “Kumasi Walk” and “No Name Bar” where the multi-layered horn section plays off a cavernous backing tracks of slick drumming, spacey Hammond organ, and nimble guitar riffing. The cinematic soul sound is warm and deep with the 7-piece band sounding more like a larger ensemble as increasing layers leap from the tapes. At the other end of the BPM counter, on “Tujunga,” the band build a gritty African disco jam boasting a floor-filling percussion section, adding seductive guitar licks and an irresistible bass-line to set their horns ablaze. “Tame The Beats” is pure fire – bold melodies and heavy rhythms propel the song, with Meters-esque breakdowns providing only brief respite from the action.
grooveattack.com
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Grab a free download of their song "Tujunga" here:.
Ikebe Shakedown - Tujunga by noraritchie
Tracklist
01. Tujunga
02. Kumasi Walk
03. No Name Bar
04. In Circles
05. Don't Contradict
06. The Hold Up
07. Refuge
08. Tame The Beats
09. The Viking
10. Five Points
11. Asa-Sa
12. Pepper
13. Sakonsa
14. Green and Black
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