by SCOTT C

The success of the most recognizable voice in U.K. hip hop has been a combination of things. Roots Manuva’ s deep-set London twang leans more towards Jamaican slang than anything else, but he’s always succeeded at seamlessly combining the best of both worlds on record, for a product that is distinctly U.K.

Those of you familiar with his first album Brand New Second Hand, followed by the now-classic Run Come Save Me, know that his sense of humour falls somewhere between cheese on toast and black-eyed peas, backed with the honest ability to get awfully deep at the drop of a hat, as the title of his new LP on Ninja Tune rap offshoot Big Dada suggests. He’s also no slouch on the boards, having done double duty as producer (using the alias Lord Gosh) and MC for his fair share of tunes.

Stepping away from the dub-heavy sounds of Run Come Save Me, the lovingly polished—and long awaited—Awfully Deep is a fearless foray into the unexplored avenues of hip hop experimentation. While grime is being celebrated for its fresh new take on inner-city sounds, Roots Manuva has been central in the evolution of U.K. urban sonics. He’s always made a point of combining influences on record, and striving to find a sound that is intrinsically his, in turn influencing many other British artists to do exactly the same. Although his name might not be reverberating like Dizzee Rascal’s in North America right now, his music is built to last, and will be recognized for its genius in years to come.

It’s been years since Roots Manuva (aka Rodney Smith) set foot in Montreal, and a shame that he hasn’t been back sooner, but this week, he’s in town to support the release of Awfully Deep with a show at la Tulipe. The Mirror spoke to him over the phone from his tour bus, somewhere in Belgium.

Mirror: I understand that you’re travelling with a live band for this tour. Is that something you decided to do based on the sound and feel of the record, or is it just to keep from getting bored on what can be an exhausting, repetitive stint with just a DJ?

Roots Manuva: Well, the new record is quite different from anything I’ve done, and I wanted to take that and really try to bring in a live aspect to the tour. I always loved the tight sting of a band at a show, and that’s all that I’m trying to capture. It really does bring a whole new feel to a show if you have the band right there, able to go anywhere, really. All the recordings are just reference points, so that you can switch it up when you do it live. I should point out that we will not be bringing the band to Canada, though.

M: How did I know that was coming? We always get the short end when it comes to that kind of shit.

RM: We will, however, be having a battle of the drum machines when we get to Montreal (laughs). That should provide some enjoyment for the people.

M: Really? What are the weapons in question?

RM: Probably the MPC 1000 versus the Roland 202. You can get really great bass sounds out of the 202. Big, squelchy, dirty bass.

UnAmericanized

M: The lasting appeal of Run Come Save Me had a lot to do with your precise attention to the sonic aesthetic of the record. I have equal love for the vocal version of the LP, and for the dub version [Dub Come Save Me]. You’ve always had a decidedly active role in the production of your records, but I know that doesn’t make things any easier.

RM: It’s hard sometimes just to say what you want and need to say. Now, I’m not going to start moanin’ about U.K. hip hop, but I’ve seen things shift, from aping American styles into a more creative expression of what is going on in the U.K. People are meshing different styles. Things have grown a bit since my last record was out, and I wanted to make something to reflect that the rules had changed. There’s loads of inspiration and creativity in the U.K. music scene right now, so I had to check myself before I made just another record. Hip hop culture is cemented into British life. American hip hop has become a little lazy and formulaic, and I think, in Britain, people are just realizing they can be themselves and finally get down to being really creative.

M: Awfully Deep has a completely different feel to it, compared to your first two LPs. Is it simplistic to say that you went deeper, both lyrically and musically?

RM: Not at all. I wanted to have many more layers on this record than I ever had before. I mean, Run Come Save Me was recorded in mono, just to get that authentic, dry dub sound, but here I wanted to keep some of the gritty feel, while still taking it to another level.

You can bet on it

M: Why the hell have you stayed away from Canada for so long?

RM: I actually like Montreal a great deal. I feel very at home there every time I go, but this music thing is labour-intensive, man. No rest. I think the last time I was there was with the Herbalizer for the Jazz Festival or something. Canada has always been good to me, though.

M: I actually made it over to London for the very first time last April. I also felt very at home, but I couldn’t get over the fact that there was off-track wagering on every second street corner, everywhere you go.

RM: The bookies?! (laughs) You can get anything and everything in there, man. Some of them you can get chips, or a TV, drugs, even a wife if you play your cards right.

M: Are you a betting man?

RM: Me? No. I try to stay away from them places. Plus, when you’re skint, it’s not a good idea.

M: C’mon, man! I thought you were making the big bucks over there.

RM: (laughs) You must be joking! I ain’t got no bling over here, that’s for sure. You need to check out the video for “Too Cold.” That’s the real bling right there. It’s on some 18th-century, Barry Lyndon, aristocracy vibe, complete with all the trappings of the high life. Big bosoms, duelling pistols and everything.

M: Are you wearing the fancy white wigs and all?

RM: No, there’s no wigs, but everything else is there. It’s funny, but it really goes with the vibe of the song, and at the same time, it’s not your average video. The whole thing just makes me laugh.

With Airborn Audio at la Tulipe on Friday, May 6, 8 p.m., $20

>> Music Listings