Tuff Times Never Last

Description

Initially drawing inspiration from a viral social media meme, co-bandleader Onome Edgeworth said of the titles origins and meaning: Its true! Although were reflecting on joy and celebration, you realize that a lot of that beauty comes out of challenges and difficulties. It felt like a natural truth that we discovered whilst writing.

The accompanying artwork was painted by Luci Pina, the acclaimed illustrator whose work has been sought and commissioned by the likes of The Cut, Soho House, DICE, Apple Music and Its Nice That. Embedded within the image is Kokorokos ode to London in the summer. Speaking on its design, co-bandleader Sheila Maurice-Grey said: The remit was summer in London, family and sense of everyone being in a congregation-like audience, and us being the musicians.

The artworks imagery and colour was inspired by feelings of innocence and nostalgia – coming of age in London and those rare summer nights where everything felt full of hope. The cityscape also pays homage to Spike Lees 1994 film Crookyln and Rick Famuyiwas 1999 opus The Wood. The band saw these movies as heartwarming representations of black family, community and resilience that served as a balm for them as Londoners. Speaking further on this, co-bandleader Onome Edgeworth said: Crooklyn is very emotional, but also very uplifting. It felt like how I grew up. This album is us sharing our own feelings, hopes and dreams. We didnt always have those stories in the UK

Three years on from their debut album Could We Be More which peaked at No.30 on the UK Albums Chart and received acclaim from The Guardian, The Telegraph, Financial Times, Jazzwise, CRACK Magazine and Downbeat Magazine, Tuff Times Never Last sees the London band with careless abandon expand their wide-ranging palette and influences.

While the afrobeat jazz of their previous work is still a core part of the records sonic design, the new album largely pulls from British R&B from the 80s, neo-soul, West African disco, bossa nova, lovers rock and funk. Sonically taking cues from the likes of Loose Ends, Don Blackman, Common, Sly & Robbie, William Onyeabor, Patrice Rushen, Ofori Amponsah and Cymande. Throughout this instinctive evolution, the septet’s seasoned musicianship preserves the essence of who Kokoroko are as masterful jazz artisans.

Speaking on the bands progression in sound, co-bandleader Sheila Maurice-Grey said: Innately, were jazz musicians but we’ve tried not to kind of box ourselves into one sound. So there is a level of freedom we’re starting to feel. We want to continue being as creative as possible without feeling any boundaries.

The unveiling of the new album comes alongside the LPs lead single Sweetie, a tantalising first taste of the new record that bridges the gap between where the band has been and where theyre going. A tribute to the playful bond between lovers, Sweetie is a horn-led and wonky-sounding tune saluting West African disco. It expands upon the band exploring more electronic sounds and toying with obscure drum machine and synth sounds.