What strikes immediately is the production’s richness. Recorded at Edgetip Studios in Arnhem under the guidance of engineer Raoul Soentken, the track boasts a density of instrumentation that could easily collapse into chaos. Instead, it thrives. The four-piece horn section weaves through the arrangement with the sophistication of classic soul-funk ensembles, whilst the rhythm section\u2014anchored by d’Z’s drumming\u2014maintains an unwavering groove that gives everything else room to breathe. This is old-school recording methodology applied with modern precision, and the results speak eloquently for themselves.<\/p>
The influences are worn proudly rather than hidden. Jacob Collier’s harmonic adventurousness finds its way into the backing vocal arrangements, whilst Gino Vannelli’s penchant for lush, layered production clearly informed the sonic palette. The horn work tips its hat to Incognito and The Brand New Heavies, those stalwarts of acid jazz who understood that brass sections needn’t merely punctuate\u2014they can converse. Steely Dan’s idiosyncratic approach to songwriting lurks beneath the surface, particularly in those challenging harmonic passages that Dengler navigates with apparent ease.<\/p>
Speaking of Dengler, her contribution proves pivotal. When d’Z brought the initial piano composition to their collaboration, he needed more than just a vocalist\u2014he required someone who could parse complex harmonic territory whilst maintaining melodic accessibility. Dengler delivers precisely that. Her vocal performance demonstrates technical facility without sacrificing emotional directness, a quality that proves essential given the song’s feel-good intentions. The melody she crafted flows naturally despite sitting atop chord progressions that would challenge lesser singers into stiffness or overcompensation.<\/p>
Chris Korzec’s featured guitar solo deserves particular mention. Rather than simply showcasing technical prowess, the solo integrates seamlessly into the track’s architecture. It builds, it breathes, it adds another dimension without dominating. This restraint\u2014choosing musicality over mere virtuosity\u2014elevates the entire production.<\/span><\/p> The genesis during the pandemic years adds contextual weight. Whilst the world ground to a halt, d’Z was writing, searching for the right collaborator to realise his vision. That he found that person in Dengler, and that their working relationship developed into genuine friendship, isn’t incidental to the music’s success. “Shout!” carries the warmth of mutual respect and creative trust. You can hear it in the way the elements complement rather than compete, in the space left for each instrument to contribute its voice.<\/span><\/p> The decision to record everything live at Edgetip Studios rather than construct the track piecemeal through digital manipulation pays dividends. Beginning with drums and bass, building through keys and guitars to the horns, then finally adding vocals\u2014this methodology captures performance energy that programming rarely achieves. The result feels lived-in, human, present.<\/span><\/p> What prevents “Shout!” from descending into retro pastiche is its refusal to merely replicate its influences. The production nods to classic soul-funk and jazz-fusion without being shackled to either genre’s conventions. The arrangements are detailed without becoming fussy. The performance is tight without sounding sterile. This delicate balancing act requires not just technical skill but musical wisdom\u2014knowing when to add another layer and, crucially, when to stop.<\/span><\/p> As a statement of artistic intent, “Shout!” succeeds admirably. It announces d’Z and Dengler as collaborators who understand that sophisticated music needn’t alienate, that grooves can coexist with complexity, and that feel-good music can be taken seriously. Whether it stands out from the crowded field of contemporary releases, only time and listeners will determine. What’s certain is that it stands up\u2014and that, ultimately, matters far more.<\/span><\/p>\n\n\n\n\n
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