Notoriously straight-talking, Kris Wadsworth has stood out over the course of his career due to a tendency to distance himself from his hometown and it’s synonymous musical heritage. There is no doubt that Kris has a disillusion with Detroit – a city that stands out fabled and rose tinted for most music fans – but this deviation demonstrates an enviable honesty, and a personal desire to pursue his own individual musical journey free from the shackles of geographical presumption.
Despite the well-publicised grievances he has with Detroit’s modern music scene, he has never denied that it continues to churn out talent on a prodigious basis. Perhaps fittingly, the first release on Wadsworth’s new label Breed, sees him return to Detroit in absolution, uncovering two relatively unknown producers, Shady P and The Friend.
Re-wet, produced by The Friend with a helping hand from Shady P, opens with a rugged kick and ominously echoed whispers, before a shuddering and almost atonal bassline brings the mood straight down to street level with its dirty swagger. This, coupled with the clattering drumwork, lends it power and momentum that could see some damage on a big system.
Detroit Girls sees production duties inverted, with Shady P taking the lead, with assistance from The Friend. Heavily swung drums, scratching strings and a spluttering foghorn create a sense of brooding restlessness – although this could be a useful tool the tension remains too pent up to truly satisfy in its own right.
There is a journalistic temptation to speculate on whether this new project is an attempt to reforge some of Wadsworth’s links with Detroit, but ultimately, it’s the music that matters and there’s certainly enough experimentation and originality in Breed’s debut release to make this fledgling label one to watch.