Led by primary lyricists and co-frontman Barnaby Weir and Daniel Weetman and featuring Jarney Murphy, Nigel Patterson, Ned Negate, along Francis Harawira, Barrett Hocking, Lucien Johnson and Matt Benton, the Wellington, New Zealand-based funk and dub outfit The Black Seeds can trace their origins back to 1998, and since their formation, the act has developed a reputation for music that thematically may express different things based on the songwriter, focusing on personal triumphs and failures, relationships both good and bad, as well as the personal insights and experiences of the artists involved — while being under-pinned with an underlying message of positivity and optimism, pairing that optimism and positivity with funky, dance floor friendly grooves. And as a result, the act has developed themselves as one of their homeland’s finest acts; in fact, the act has several multi-platinum selling albums in their homeland, and a critically applauded live show that they’ve taken across the world, developing a foothold in Europe and North America.
After spending several years with an intense and very busy touring schedule that included the act playing some of the world’s largest festivals, the members of the New Zealand spent the past year or so working on their soon-to-be released effort Fabric, which was recorded at acclaimed producer/engineer and long-time collaborator Lee Prebble’s Wellington-based studio The Surgery. And although the album will further the act’s long-held reputation for pairing funky grooves with positive messages, the album will also find the band gentle expanding upon the funk, Afrobeat, soul and dub-based grooves; in fact, “Freakin,'” the album’s latest single finds the band playing the slick, 80s-inspired synth funk that reminds me of both the genre’s pioneers — i.e., The Gap Band, Cherrelle, Prince and others, as well as contemporary practitioners such as 7 Days of Funk, Blood Orange, Rene Lopez, and others, complete with a two step worthy stomp.
Produced by Owen Watts and directed by Mark Russell, the recently released video employs some pitch perfect retro-futuristic graphics and clothing, while featuring a soul train line and breakdancers — because well, of fucking course. The only thing the video is missing is a dude with a boombox.