The duo's minimal rhythm sermons have been fleshed out for public consumption. Basically [a]Day One[/a] have been Jazz Clubbed up, imposing a murky blanket of that semi-mythical, multicultural '
Live, however, their broody power seems blunted. The duo's minimal rhythm sermons have been fleshed out for public consumption. Basically Day One have been Jazz Clubbed up, imposing a murky blanket of that semi-mythical, multicultural 'Bristol Sound' on tunes which deserve a better hearing. Literally.
They still shine through, mind, chiefly because Phelim's deadpan irony makes him one of the most original white rappers in Britain. 'Waiting For A Break' is pure social commentary, a caustic summing-up of wannabe stars which is as savage as Jarvis but twice as dry. But there is no sneering superiority here - 'I'm Doing Fine' finds universal meaning in a personal confession of vulnerability, existential loneliness and skin-deep socialism.
Post-Massive Bristol is teeming with wired white-boy monologue merchants like the Experimental Pop Band or Monk & Canatella. Day One lead the pack in sharp storytelling and slick synthetic grooves, but half-realised shows like this undersell their rich potential.
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