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On “Marrow”, Rabone's debut single, the ride cymbal feels as if it’s scattering raindrops while his voice reaches into the quiet storm and offers a path through. On the heels of an Erykah Badu co-sign, the London artist introduces us to his psychedelic world, where it sounds as if Vangelis and Flying Lotus are in the midst of a cosmic jam.
Rabone has been songwriting since he was eleven, perfecting his craft through collaboration and experimentation. During his time in New York City, his connection with a group of Black queer artists “encouraged [him] to deepen his understanding of music,” he says. Armed with this new knowledge, Rabone has been pulling from a deep well of musical influences, undoubtedly inspired by his time growing up in a record store. These influences populate the world he is building with echoes of familiar sounds and ideas. Horns and saxophone that would sound at home in Sun Ra's Arkestra flitter in and out of existence, and fade into the rich world of Rabone’s design.
“Marrow” reflects serious and intentional artistry, but the easy-going UK artist never loses sight of the wonder of music-making: “I love playing with sounds and trying to build the world with the music.” It is this intentional sonic world building that so effortlessly sets the track apart from the more derivative and less inspired releases from his contemporary ilk.
While chatting about albums that have achieved masterpiece status across music history, Rabone says “they don’t feel like a collection of singles, they feel like a world you step into.” Worldbuilding is top of mind for Rabone. While revealing that “Marrow” will be the opener on a seven-track project, “it sets the tone and pulls you into the world,” he adds. In truth, the confidence of his fully formed vision on this debut single does more than build a world. “Marrow” takes a page from the Soulquarians’ book of spells and dips it in acid to reveal a whole new dimension. It’s clear why Erykah Badu says, “I’m looking out for Paris Rabone,” when asked about UK artists she keeps an eye on.
“Marrow” unfurls itself patiently, dropping new tricks along the way, like oscillating vocal delays and drum fills squeezed through a flanger. “‘Green Eyes’ by Erykah Badu was a reference point. It helped me think about telling a whole experience in one song,” Rabone says. It’s not an obvious pairing, but the DNA of “Green Eyes” is there in “Marrow” in the minimal, evocative lyricism and multi-phased, unconventional structure of the song. Rabone paints from a rare palette, sonically and lyrically, with turns of phrase like, “I finally broke the window / it was made of paper all along / All along – you weren’t ever here / You weren’t ever 3D / All I could see; it faded right in front of me.”
Rabone reveals, unsurprisingly, that a break-up inspired the emotional centre of the song. What is surprising is how he finds a new shade to paint over this familiar canvas. Like all great artists, he is discovering new angles to present classic ideas.
English (US) · 