Describing their debut record as ‘Tylenol 3 for capitalist migraines’, across Paradigm Shift, SDTW create shifting soundscapes summoning the golden era of hip hop, over which Brendan Grey’s alternately witty and provocative lyricism counsels on everything from anti-imperialism & anti-capitalism to celebrity/idol worship and climate catastrophe.
Whilst the scope of Paradigm Shift’s aim is broad, driven the most by the principles of internationalism, for Grey in particular, the ethos of the Winnipeg six piece strikes incredibly close to home. Raised the child of a climate policy specialist of the highest regard (his father), and a speech writer working in anti-racism in the 80s and 90s (his mother), Grey’s writing also pays homage to his grandmother who broke colourline barriers in the prairies as the first black pharmacist, and his grandfather who was an educator and cousin of both record-breaking pianist Winnifred Atwell and civil rights leader & Black Panther, Kwame Ture.
The familial intersects with the collective experiences of the oppressed and the maligned across the debut album - barbed lead single ‘Guillotine Dreams’ - which rails against monarchy & the British Empire’s Canadian territories - combines a repurposed Rage Against The Machine lyric & cuts from legendary Canadian DJ Skratch Bastid alongside a sample of Grey’s grandmother singing (accompanied by his great-grandmother playing piano), salvaged from 78s now nearly a century old. Elsewhere, ‘Grey’s Lament’ - which details Winnipeg’s anti-colonial history - takes its title from a play written by Brendan’s late uncle, and again interweaves a stark sample of his Grandmother’s singing.
Album opener ‘Mission Statement’ - which begins with the voice of the legendary late MF Doom providing counsel - sets out SDTW’s manifesto in clear terms, pledging allegiance to their causes of radical politics and artistic innovation, while paying respects to the traditions of Internationalist struggles and Black American resistance movements. The track also touches on another theme which weaves throughout Paradigm Shift, that of the strains and limitations of being a gig-economy worker under capitalism (especially those involved in the creative arts). Elsewhere, uptempo heater ‘First Strike’ pairs a staticky, rolling thunder-like drum break and a hypnotising drone synth with Grey’s sharp, fast flow, which here references everything from London graffiti writer turned fine artist Mode 2, Claude Monet, Naomi Klein and Nas, whilst reflecting on consumerism, fast fashion, graffiti/art and being a creative in the 21st century.
Whilst SDTW’s sound is rooted in hip hop, Paradigm Shift is enriched by a more contemporary approach, with the collective teaming up for the first time with Toronto-based producer Junia-T (2019 Polaris Shortlist nominee and touring DJ for Jessie Reyes). The album bubbles with the use of trap hi-hats, House synths and 808 bass pads, as on mid-album pivot ‘New Sight’, which rides breezily on a Drum n Bass inspired drum break and synths that seem more at home in Chicago House than boom bap.
The floating quality to ‘Quiet Strength’ belies its brutally honest scrutiny of grief and depression, written by Grey in the wake of losing several close friends, and intro-ed by a tour de force on survival by legendary American poet, essayist and civil/women’s rights activist Audre Lorde. It’s a motif which also drives ‘Mood Swings’’ exploration not only of the media’s handling of the abuse & murder of Black people (“Exploit your trauma til the stock is through the roof / they getting off to our trauma looped on the news”), but of personal struggles to navigate out of debilitating periods of depression.
Speaking about the intentions that spurred Paradigm Shift, Grey notes; It’s hard to summarise what this album is about, because it touches on so many different things. I’d say though, generally, it all falls in line with our themes of ‘resistance-based debauchery’ and internationalism. Opposing the homicidal ruling class the planet is forced to endure, while at the same time having fun, celebrating the wins and each other, and indulging in joy when possible. This record really is meant to be a comfort measure for all victims of capitalism. Which is everyone (laughs).
Our goal is to get folks to realise their shared struggles, in hopes that that will foster a shared commitment to change and unified movements. Right now we’re really caught up in individual grievances and representation politics. Essentially, it’s all about ‘me’. Which is fine, but limited. Our goal is to highlight and emphasise the common experiences seen across all oppressed/marginalised and exploited peoples, with the hope of having more partnership across cultures and classes, in order to really affect material change in our communities, and ultimately, confront and dispose of the ruling class.
