his a RECORD STORE DAY 2023 title - available over the counter in store first come first served on SATURDAY 22nd APRIL 2023 and the Sunday and Monday following.
If any stock remains this will GO LIVE/FOR SALE ONLINE at 8pm Monday 24th April.
View here for more details - https://www.crashrecords.co.uk/pages/record-store-day-2023-crash
Please note stock is very limited so place your order ASAP. Stock is not held in cart so please check out quickly. Please bear in mind that due to the nature of many people trying to place orders at the same time, we cannot guarantee that stock is yours until an Order Fullfilled/Shipped email has been sent. Unfortunately we are not able to combine orders for shipping.
If there are any issues we will email as quickly as we can so please use an email address that you check regularly. All orders will be dispatched as quickly as possible, but overseas orders obviously take longer to be delivered.
Prices are to be confirmed closer to the event - this is purely for info currently
"About the release
Recorded live at the Barbican during last year’s London Jazz Festival, White Juju is award-winning British saxophonist and rapper Soweto Kinch’s powerful new work for jazz quartet and symphony orchestra, written in response to lockdown, BLM, British history and the culture wars. The album melds Kinch’s distinct approach to jazz and hip hop with classical music—it draws broad inspiration from European folklore, the African Diaspora and divisive national myths to create a uniquely contemporary tone poem.
In many ways, 2020 gave us all the opportunity to see our lives from a fresh perspective. From appreciating the natural world, to reassessing our work life balance and de-cluttering our homes, the nation began an overwhelming cleanse. A summer of racialised police violence, the murder of Sarah Everard and discussions around ‘essential’ workers meant the nation was beginning to draw causal links between, racism, misogyny, class and environmental degradation. This reassessment, contrasted starkly with government mismanagement, disinformation and a noisy and disorientating culture war—all provided rich inspiration for Kinch’s work, White Juju.
Towards the end of the first lockdown, Kinch visited Liverpool, Salford, Hull and Cardiff with a small group of musicians and dancers, staging a socially distanced version of The Black Peril as an online festival. As he walked the streets, then denuded of pedestrians, he was immediately struck by imperial emblems, flags and statues in these British port cities—innumerable mock Elgin marbles, Queen Victoria statues, Union jacks and military monuments that, in the previous bustle of city life, went relatively unnoticed.
“It fascinates me how we’re all acquainted with an unspoken architectural and symbolic language of power” says Kinch. “How do these monuments or myths affect how we see ourselves as a nation? Naming the piece White Juju deliberately inverted ideas of the ‘savage’ or primitive. Perhaps the bizarre fetishes and obsessions of a cult religion are more visible in modern Britain than third world countries.”
A big facet of Kinch’s music is the presence of humour, and through White Juju he invites listeners to join him in poking fun at these hypocrisies as he confronts awkward truths about a nation, but also to feel the catharsis of being truly freed from a spell.
The vinyl iteration of the album includes two coloured vinyl discs, one red and one yellow. The striking cover artwork is by the Artist and Illustrator, Sophie Bass, who designed the cover of Soweto’s last album, The Black Peril. The gatefold cover includes detailed notes from Soweto Kinch about the work."
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