Super Duty Tough Work - Paradigm Shift (Extended Version) (Album) + 10 Questions
Picture Credit: Skye Spence
Winnipeg’s Super Duty Tough Work release the extended version of their 2023 mission statement-esque debut full-length Paradigm Shift. Available everywhere, Paradigm Shift Extended expands on that thought by releasing the full instrumental version of the record, accompanied by one b-side, “Watershedding”, and two previously released tracks from their debut record, Studies in Grey.
The group is also pulling back the curtain and sharing the behind-the-scenes documentary, ‘Making Of Paradigm Shift’. “It’s interesting to watch this documentary now, as it was shot almost 3 years ago,” notes Brendan Grey. “It definitely captures the feeling and vibe of those particular moments. It’s pretty pure in some regards. It’s funny to reflect on that time now, given how much time has passed and how some things have changed, within the world and within the group. Glad we were able to capture all that at that time because, as I said on Watershedding, “things will never be the same.”
Switching focus from the lyrics to the music, the instrumental record offers listeners a chance to really absorb the rhythmic and harmonic ideas laid down by the band, because this is a band after all. The static-heavy syncopation of drummers Brendan Grey and Kevin Waters, with low-end support of bassist Ashley Au, only to be further embellished by bursts of sax and guitar from Olivier Macharia and Gaby Ocejo, is at the forefront of this release, as listeners are led to embrace the often overlooked foundations for the searing commentary that typically dominates Super Duty reviews.
In addition to the instrumental tracks, a lost cut from the Paradigm Shift sessions is featured. “Watershedding” is a smooth yet haunting, forward-moving yet relaxed offering, filled in typical Super Duty Tough Work fashion with sparse yet tasteful staticky piano and lyrics so layered, you’ll be looking for the footnotes to catch every reference. Navigating a new era, “Watershedding” finds frontman Brendan Grey drawing on the past as he tries to make sense of the present, lamenting on everything from mind reading algorithms and corporations supporting genocide, to the effect all of the above has on one’s psyche. Yet despite the despair, Grey maintains his wit (“My style is like the Black Adder meets the Black Panthers”), his focus (“Each move made with a purpose, stay watching like closed circuits…”) and his commitment to his listeners and the art (“So when I rhyme it’s sincerely yours”), all while continuing to show that he is the master of paying homage to his influences and citing his sources.
References to Clyde Stubblefield and James Brown are particularly poignant, as the drums on this cut (played by Grey) are caught somewhere between quintessential Stubblefield (think Funky Drummer) and a more contemporary J Dilla stutter. The crunchy keys and muffled bass are accentuated by the supremely tasteful guitar playing of JUNO Award winning jazz guitarist Joceyln Gould, and the airy vocal harmonies of Afro-Iraqi musician Ahmed Moneka, who’s voice is distant yet felt, positioned and mixed to sound more like a sample from an old record, than a live recording. Static, piano loops, thumbing kick drums, trashy hi-hats, no real chorus, hopelessness, optimism and of course, a Nas reference?! Sounds like Super Duty Tough Work.
SUPER DUTY TOUGH WORK ON TOUR
June 22 Africa Oye Liverpool UK
July 10 The Horn St Alban's UK
July 13 Mostly Jazz Birmingham UK
July 17 Lefty's Well Whitehorse YK
July 18-22 Dawson City Music Fest YK
Aug 2-4 Arts Wells Festival Wells BC
Super Duty Tough Work sat down with Wordplay Magazine to answer our infamous 10 Questions:
1. So tell me, how did it all begin? What sparked your love for music?
I mean, I come from a musical family and a family that appreciate the arts. I don’t think there was ever an “Aha!” moment, it’s just always been around me.
2. Who are some artists that influence you and that you want to work with in the future?
Oh man. Influences? So many. Obviously all the greats: Black Thought, Nas, Yasiin Bey, Preemo, Pete Rock, Public Enemy, Rage, Lauryn, Roni Size, Nirvana... Honestly too many to name, those just come to my mind immediately.
As far as newer artists, I’m inspired by people like Noname, Mach Hommy, Moor Mother, Little Simz...
People I’d love to work with: Alchemist, Philo Tsoungui, Karriem Riggins, Yussef Dayes, Kaytranada, Little Simz, Madlib, Nia Archives... Again, so many. These just popped into my head now.
3. What projects do you have coming up and can you give us any info on them?
Well, we just released an extended version of our last record, Paradigm Shift. It was accompanied by a short Making Of documentary, showing the process of how that record came together, so that’s still pretty fresh. Go peep it on our YouTube channel (and subscribe)!
As far as upcoming projects, I don’t really like to speak on things that aren’t done, because plans change so quickly, but maybe I’ll let you in so I can hold myself accountable (laughs). Right now I’m working on a project with my man Ali Wan Kenobi, a dope producer from Istanbul. He contributed some production on our first record, and we’ve worked together a lot over the years as a beat music duo called Ali Atwell, where he would play samples of his SP-404 and I would play drums. We have some Ali Atwell stuff coming too, but we’ve never put out a project together of just his beats and my raps. So that’s definitely in the works, and something that I’m excited about.
In the world of Super Duty, I think I’m most excited to drop our micro grant initiative for emerging artists. Basically we’ll be giving money to young artists in Treaty 1 to try and help support up and comers a bit more. Whether they need to buy gear, rent space to make art, or even just buy groceries, we hope to be able to support them in whatever way they need, ‘cause being an artist can be tough, especially as a young person still figuring out where you fit and how to navigate things. So yeh, the initiative is called Sit and Build Micro Grants. The name Sit and Build is taken from a line the Saul Williams poem Amethyst Rockstar (youtube it!). We’re just waiting for some graphics to be done up and then we’ll be dropping that soon. We’re starting small, but the goal is to grow it, like anything else.
4. How would you describe your sound?
Public Enemy meets Portishead, with a heavy influence from the Nas school.
5. What's your proudest moment to date so far as an artist?
That’s a tough one. I’d say, recently I was asked to be part of an exhibit that’s on display at the Canadian Museum for Human Rights called Beyond the Beat. It explores musicians who have used their music to push for political change and such throughout history. I had some reservations about being involved, for reasons I won’t get into here, but in the end I agreed, and was one of about seven Canadian artists to be featured in a big way on screen in one area of the exhibit.
I think one of my proudest moments was when my step-son’s teacher messaged me saying they had visited the exhibit with his class, and that he was very proud to show everyone that I was in the exhibit and of how I use music to push for change, and that she sees that in him too, along with some other very kind words about him. That was a good moment.
Picture Credit: Adam Kelly
6. Do you have any advice for our readers who may be trying to play the mad game of music?
Do something else (laughs). Nah, I mean, it depends what you want to get out of it. This is a strange game of illusions and dissonance. For so many of us I think it starts out as fun and really coming from a place of love. But gradually, as you get deeper into it, things that weren’t important before start to become more important. Streams, views, likes, cosigns. These are the metrics by which a lot of people, artists and industry, judge the value of your art. They’ll talk a good game about the importance of art and all that, but it’s BS. It’s called the music BUSINESS for a reason. And business is about numbers. Sales. Moving units, selling tickets, getting bodies in the seats, buying drinks in the venue, etc. So it can be disheartening, especially for folks who are genuinely more interested in the art. On top of that, these days it’s more about creating content and letting folks into your life than whatever it is that you create. That can be tough for folks who just want their art to speak for them. Some people are able to carve their own lane where they just do their own thing outside the industry and shit, but for the majority of people, it’s hard to pay your bills if you’re not playing the game. I mean, even when you are playing the game it’s hard.
I’m not sure I’m the one to be giving out advice, but I’d say if you really wanna do this as a career, you have to have a plan. And people around you to help it come to fruition. A lot of it is about relationships. So try and cultivate genuine relationships with people. You’re gonna meet a lot of assholes and people who gas you up and then never call again, but just stay genuine and try not to take things too personally. And focus on the people who support you, not the ones that don’t.
7. Are there any artists on your radar right now that we should check out?
Heir, a rapper and producer duo made up of Maassai (NY) and Jwords (Oakland). They are doing some cool stuff, together and separately.
8. What albums are on heavy rotation on your Spotify playlist currently?
Spotify ain’t shit. They’re crooks, first and foremost. They’ve got a terrible business model when it comes to paying artists and helping us make a living. But anyway... Heavy rotation albums... Man, it’s crazy, ‘cause currently, I’ve never listened to so little music in my life. I’m more likely to put on a lecture or discussion, some kind of political or pop culture commentary than listen to an album. I think the last album that I really rinsed was probably Noname’s last record, Sundial. That shit is incredible. Black Classical Music by Yussef Dayes was also highly anticipated. The new Mach Hommy isn’t bad, RICHAXXHAITIAN.
But yeah, if I’m being honest, I’m more likely to put on something from Black Power Media, or Novaro Media, or Olayemi Olurin than I am to listen to a record right now.
9. What do you like to do when you're not making music?
Skateboarding. Spending time with my family. Practicing drums. Reading…..and plotting the next moves.
10. Name Three things you can't live without when in the studio?
Good people, good vibes, time.