Album of the Week: Geography by Tom Misch
Our Album of the Week this time around is Tom Misch’s debut release. Hailing from South London, this beat-maker and songwriter offers listeners a bright blend of genres that surely makes this album worth a listen.
Tom Misch is no longer just a beat maker. Following in the footsteps of J Dilla and Madlib, this South London musician began adding vocals to his tracks in order to grow a wider audience. What sets him apart from those that came before, however, is that the majority of the vocals are his own. Rarely relying on features, Misch’s soft tone compliments his delightful fusion of jazz, hip hop, and funk. Looking back at his humble beginnings, posting beats to SoundCloud back in 2011, it has always been clear to see how these genres have influenced his sound. Now, on Misch’s debut, Geography, we can see just how far he has come.
It is clear that Tom is keen to pay respect to the people and places that have helped shape his sound. The intro track, ‘Before Paris’, includes a monologue from jazz trumpeter Roy Hargrove about how playing music for the money is the “wrong way”. Misch declares his musical philosophy early on, using the voice of musician from a genre that influenced him: “You have to do this because you love it. And it doesn’t matter if you broke”. Similarly, the wonderfully funky track ‘South of the River’ pays homage to his home in South London. This area is seemly very important to his musical style, a place he has formed bonds with other rising stars including friend Loyle Carner — featured later on the album — as well as soulful artists Jordan Rakei and Carmody.
At times, with the consistent mix of these genres, Geography is in danger of becoming monotonous. Some of the slower songs save this from happening though. The beautiful R&B infused song ‘Movie’ adds a D’Angelo inspired flare to his sound, while ‘Cos I Love You’ has a infectiously happy 80s vibe, especially on the chorus, which can’t help but lift your spirits.
Most of the features on the album do contribute some welcome variety. A great example of this is how Loyle Carner’s tone and straightforward flow compliment Misch’s beat and vocals on ‘Water Baby’ perfectly; and the appearance of De La Soul is a satisfying addition to ‘It Runs Right Through Me’. Perhaps the only feature that doesn’t work so well is in ‘Lost In Paris’. Despite boasting pleasantly groovy beats and Kaytranada-esque synths, the unexpected feature from GoldLink feels slightly out of place amongst the softer guitar.
The final track ‘We’ve Come So Far’ is one of the simplest tracks, but it is also one of the album’s gems. Singing the title over and over again, the song does not feel repetitive but triumphant, continually building until it settles into a beautiful decrescendo of delicate guitar. Here, Tom Misch brings it back to basics and proves that no matter how far he has come, making beats is what he does best.
Article: Mariella Bevan
Editor: Alex Sheriff
