Following their critically acclaimed 2021 single Cristo Redentor, Younger Zen return with a song that marks a radical stylistic departure. Where the previous release had a distinct calypso-broken beat flavour this new offering is an audacious blend of African-Caribbean idioms that include the shadowy strains of dub as well as the hearty, bustling energy of early carnival street bands that use a range of homemade makeshift instruments. Written and produced by Kevin Le Gendre, Sancho Jumps features Wade Austin on steel pan and Konrad Zeno Foster on bass, percussion, glockenspiel, vocal chants and spoken word, but the piece also boasts a major contribution from Colin Thorpe. A legendary figure in black music in Britain, Thorpe was a founder member of seminal ‘90s soulsters Chapter & The Verse, and in addition to his skills as a pianist, is an excellent engineer and electronics soundscaper. The startling tonal distortions and audio trickery that are such an integral part of Sancho come courtesy of Thorpe, who worked meticulously at his CT Eye studio. Sancho Jumps was developed back to front, so to speak. The pan line was originally conceived as a solo interlude that was to have no additional input. But there was something about the melody that suggested other riffs, so Le Gendre set about reverse-engineering the piece. Punchy basslines, crackling percussion and a tingling glockenspiel were all laid down and the structure evolved organically, while Thorpe’s shower of effects gave the piece important additional ambiance and vivid textures.

The song’s cryptic title refers to the theme of competition and what might pass as sporting and unsporting behaviour on the field of play, especially in an international context where the pride of a nation is at stake. Trinidad & Tobago is at the heart of Younger Zen’s history and the full significance of Sancho Jumps will be put into sharper focus on the band’s forthcoming full-length album, Red, White & Black.