Silence Is Loud is not just one of the best albums the artwork of which is a closeup of the artist’s face, but a tasty introduction to Nia Archives’ blending of underground ‘90s dance music and soulful, rock-adjacent melodising.
The immigrational grit of jungle, zonking of drum and bass, and Britpop-inspired writing appear that bit more cohesive on follow-up Emotional Junglist. Its predecessor released in the wake of innovator DJ Randall’s passing, and was, at large, a tribute to the good work of such trailblazers, but Nia’s second album goes all out, tying all together to confirm that this is her personal, feelgood sound.
And what a crab you’d be to downplay, or not get something out of it assuming you’re generally okay with dancing. While loose and feral, the production guarantees emotional connection on liquid drum and bass tunes such as Train of Thought and Superlust. Feelingz Go Numb is bubbly and dreamlike, equipped with synths that are equal parts spacelike and watery, vocal modulations that persist, and percussions that intensify like roaring lions. It’s that dang ol’ fucked up feeling that comes with being given something epilogue-sounding as an intro.
But the best tunes have a dance-punk-type edge, see the hook-heavy Danger, comprised primarily of unashamed bad girl lyrics, floatily sung by vocals like the lightest butter, or a steady hand spreading the lightest butter. Its feelgood celebration of rave culture is akin to Silence Is Loud’s high points – see Unfinished Business.
“D is for me, A to the Z / N is my number, you can block it all day / G is the spot, E is what we drop / R is for I really, really, love it, don’t stop”.
Boys in Blue similarly feasts on the rebellion of the UK’s underground club culture, getting gobby with coppers at 4am, if that isn’t too early. It’s very loud about it; fittingly for an album climax, its sudden start comprises drums that are louder than all that come before, and bass that is louder than all that comes before.
Some maturely-produced beats, honouring Hackney Church like a Christian would any church, speak for themselves – see Get Me Down, the particularly rowdy There Goes Ma Head, and Vertical, though its wub wub synths do a bit of lifting.
Others apply dreamy melodicism that will help those who aren’t too into jungle / drum and bass – see This Could Be, the Take on Me-esque Dance With Me 2Nite, and Tender, via precious “arrrr” vocalisations from Sampha.
But I have to mention Tha Darkest Hour too, despite its description not fitting into any subsection of this particular music review. Way trippy, its first half – or so – snubs dance beats for a meditative, South Asian-style texture which includes a colourful sample that sounds a bit like a sitar.
Nia Archives further develops her own musical language on her second album. Emotional Junglist collects pop, jungle, drum and bass, and even punk tendencies, to form one big super genre that offers the London-based singer heaps of uniqueness.
Best tracks – Danger – Boys in Blue.
Rating – 8 out of 10
