Set for release on July 11th via Brownswood Recordings, ‘Tuff Times Never Last’ is a spirited and vibrant collection of songs serving as an optimistic reminder to tightly hold and embrace the many dualities that occur in life. Over the course of the 11-song suite, the album explores togetherness, community, sensuality, childhood, loss and above all perseverance. Initially drawing inspiration from a viral social media meme, co-bandleader Onome Edgeworth said of the title’s origins and meaning: “It’s from the meme but it's also true stuff. Although we’re reflecting on joy and celebration, you realize that a lot of that beauty comes out of challenges and difficulties. It felt like a natural truth that we discovered whilst writing”. The accompanying artwork was painted by Luci Pina, the acclaimed illustrator whose work has been sought and commissioned by the likes of The Cut, Soho House, DICE, Apple Music and It’s Nice That. Embedded within the image is Kokoroko’s ode to London in the summer. Speaking on its design, co-bandleader Sheila Maurice-Grey said: “The remit was summer in London, family and sense of everyone being in a congregation-like audience, and us being the musicians”. The artwork’s imagery and colour was heavily inspired by Spike Lee’s 1994 film ‘Crookyln’ and also Rick Famuyiwa’s 1999 opus ‘The Wood’. Movies for whom the band saw as heartwarming representations of black family, community, resilience that served as a balm for them as Londoners. Speaking further on this, co-bandleader Onome Edgeworth said: “Crooklyn’s very emotional, but also very uplifting. It felt like how I grew up. This album is our version of sharing the feelings and stories told in those movies. We didn’t always have that with British film and TV”. Largely eschewing the afrobeat jazz of their previous work, the new album instead pulls from British R&B from the 80s, neo-soul, West African disco, bossa nova, lovers rock and funk. Sonically taking cues from the likes of Loose Ends, Don Blackman, Common, Sly & Robbie, William Onyeabor, Patrice Rushen, Ofori Amponsah and Cymande. Throughout this instinctive evolution, the septet's seasoned musicianship preserves the essence of who Kokoroko are as masterful jazz artisans. Speaking on the band’s progression in sound, co-bandleader Sheila Maurice-Grey said: “Innately, we’re jazz musicians but we've tried not to kind of box ourselves into one sound. So there is a level of freedom we're starting to feel. We want to continue being as creative as possible without feeling any boundaries”. The unveiling of the new album comes alongside the LP’s lead single ‘Sweetie’, a tantalising first taste of the new record that bridges the gap between where the band has been and where they’re going. A tribute to the playful bond between lovers, ‘Sweetie’ is a horn-led and wonky-sounding tune saluting West African disco. It expands upon the band exploring more electronic sounds and toying with obscure drum machine and synth sounds. ‘Sweetie’ marks Kokoroko’s first dose of new music since their EP ‘Get The Message’. Released last November, the project spawned ‘Three Piece Suit’ featuring Azekel - their honouring of the Nigerian immigrant experience, contemplating home, lineage and ancestry in 1960s London. Upon its release, the EPe earned praise from Rolling Stone Africa, Bandcamp Daily, The Fader, YAMS, OkayAfrica, TRENCH, Official Charts, NOTION, CLASH, DMY, Rough Trade and The Stranger. **The first pressing of the black vinyl includes an A3 Poster**
