Meet Francis Soal, the digital alter ego of Benjy de Kock. You might know him for his involvement in TexasRadio, Coriander Colin and The Rudimentals, or perhaps as the co-founder of Concept Records (where he also manages and produces the YouTube series Big Little Concepts).
Well, now he’s going solo, with a concept album titled Hindsight 2020 that tackles existential dread and digital identity. Recorded over the space of five years with Ray Morgan on drums, Ben Jamieson on bass and Juan Khan on guitar, Soal explores everything from prog-rock to reggae to jazz and blues, all whilst contemplating the contradictions of modern life.
Analogue production techniques bring added texture, creating a rich sonic landscape that deserves your full immersion. With an eclectic range of guest performances by Milan Ehrhardt, Grace Crooks, Shaw Komori, Tamzyn Freeks, Simon Bates and horn arrangements by Nobuhle Ashanti, with mastering by DJ Simbad, there’s a team of creatives behind this offering that make it something special – a testament to friendship and collaboration.
Inspired by legendary dub producers Dennis Bovell and Lee ‘Scratch’ Perry, Soal sought to find harmony through experimentation. Opener “Stretch” is a plain and vulnerable composition of keys, so brittle they threaten to fall apart at any second.
But the record quickly gets playful with “15 Leaps” and “Leave”, as rhythmic interludes and colourful vocal arrangements make for a visceral, unpredictable listening experience.
Tracks like “God Song” immediately bring to mind Freddie Mercury, with dissonant Queen-esque acapellas and discordant ballads. Unfortunately, the result is imitation, with far too many similarities to “Bohemian Rhapsody” for the track to sound original.
“René” succumbs to a similar fate. It’s like listening to something straight off of Mika’s Life In Cartoon Motion, and while Soal’s curious spirit often makes for an exciting, daring artistry, it lacks his own voice.
I find myself searching for sincerity, trying to figure out who Soal really is amongst the cacophony of instruments. Perhaps Soal is all of these things, or maybe it’s my own fault, trying to define his music in too broad a term.
Given the various projects he’s embarked on over the years, it’s clear to me that Soal is not one to limit himself creatively, always in pursuit of the next thing, something new to whet his appetite, and for this he should be commended. His tenacious and often idiosyncratic spirit is all over this debut, and it’s refreshing to say the least.
