It’s fair to say that Pama International isn’t exactly shy about parading influences for the world to see. Here’s a band/collective (I leave you to decipher which it really is) that is well and truly in love with every single aspect of reggae music. Think of it as an assortment of Trojan box sets succinctly compacted into one UK act. ‘Pama Outernational’ marks the band’s sixth studio album proper, and may well be the best to date.
From the opener, “Equality & Justice For All”, there’s a very distinctive dub backbone to the album. Booming, deliberate and bruising, this feels like the natural follow-through to 2008’s ‘Love Filled Dub Band’. Tracks seamlessly ebb into one another, a compendium of instrument imagination. Lead single, “Happenstance” is a good bar-setter: it’s a busy track full of effects, big bass and brass. A song to appreciate through headphones, if ever there was one.
Where the album really steps up though are the moments when those more flamboyant trad-reggae sounds start to infuse with the dub foundation. “Are We Saved Yet?” has the type of soul flavour that made this year’s Aggrolites release burn bright. “I Still Love You More”, for all it’s hooked pop choruses, buoyant brass and positive vibes, may well be the best track the band has put out. It’s definitely the most accessible. “What You Do Now” harks back to the Motown days, whilst “Trade It All For More” files itself as a simple yet slick number, all calm and collected, chilled to within an inch of its life.
Like its predecessors, this record is littered with guest performers. The press release discloses that Bentley Rhythm Ace, Kasabian and Lord Large are all represented, whilst Lynval Golding (well, he’s nearly a mainstay) and Sir Horace Panter bus in from The Specials, with producer John Collins in tow. Unsurprisingly then, “Question The Answer” has a real early 80’s doom and gloom feel to it. A reminder that not all 2 Tone was baggy trousers happy. These individuals undoubtedly add to the eclectic touches throughout.
With ‘Pama Outernational’ the band has pretty much nailed that traditional sound square on the head once again. It’s not the most diverse record you’ll ever hear, but there’s more than enough intricacies and sub-genre switching to prevent it from merely seeping into the background. Hum-drum elevator music this ain’t. Basically, this is a Pama International record and in a way you know what you’re getting from the off. What’s different this time around though is that everything seems just that little bit tighter, that little bit better.
Alex