10. Future Brown Future Brown
Future Brown's eponymous debut album has become one of the most controversial releases of the year, with only the output of the PC Music label rivalling it in terms of the sheer quantity of think-pieces dedicated to discussing whether or not the record is an example of cultural tourism or a genuine attempt at fusing transnational sounds and styles. Whatever your perspective, this Warp release is a damn good and seriously fascinating album that includes some of the best tunes this year. The production super-group, formed from Fatima Al Qadiri, Nguzunguzu and J-Cush, started the project with the goal of creating instrumental tracks designed for collaboration with some of their favourite vocalists. While several critics have suggested that these producers, who have connections to various art scenes and curators (DIS Magazine in particular), are coming from a position of privilege and "exploiting" the sounds of underground artists and scenes, the album actually treats the collaborators with respect and grants them a public platform that is no different to that provided by the very journalists and bloggers critiquing the record. Future Brown features a remarkable range of styles across its 11 tracks. The lead single Wanna Party, which was released well in advance of the album, fuses ballroom sounds curtesy of MikeQ with trap hi-hats and Nguzunguzu's trademark bells as a platform for a stunning vocal turn from rapper/singer of the moment Tink. It remains arguably her best feature to date. Grime legends like Riko Dan, Roachee, Dirty Danger and Prince Rapid are foregrounded on Speng and Asbestos, with the latter's production actually sounding like a fairly accurate appropriation of grime's sounds - unsurprising, given that J-Cush is an expert of the style and Nguzunguzu and Fatima Al Qadiri have both referenced it extensively in the past. Standout moments include the darkly minimal R&B of Dangerzone, featuring a sexy duet from Kelela and Ian Isiah, the bass-y dancehall of Timberlee feature No Apology and Vernáculo, a track that fuses the merengue influences of guest vocalist Maluca with a sinogrime intro. Some of the best production occurs on the tenser, slower tracks like MVP (with 3D Na'Tee and Tim Vocals) and Room 302 (also featuring Tink), although admittedly the steel drum-led palette of Sicko Mobb feature Big Homie don't really do justice to a great vocal from the Chicago duo. Controversy aside though, this is a must-listen - if only because the production is exceptional, and the highlighted artists are more than deserving of further exposure and exploration.