Secretly Canadian
Glow is the second full-length project of London-based songwriter, producer, and filmmaker Wesley Joseph. Clocking in at 24 minutes long, it’s caught between an EP and an album, but it’s a testament to Joseph’s talents that he manages to create something slick and diverse.
Joseph has been on the radar for some time, initially rising to prominence as a founding member of Midlands-based hip hop collective OG Horse, which included childhood friend Jorja Smith among its members. Joseph moved to London in 2016 to study film, the city providing him with a greater scope for his ambition and creativity. Joseph places great importance on his music videos, recognising the symbiotic relationship between music and film. Music videos have become something of a dying art, killed off by the rise in streaming services and financial constraints. But Joseph’s videos are worth watching; his visual storytelling enhances the personality of his music.
2021’s ULTRAMARINE provided a taster of Joseph’s capabilities, a soulful, pensive, and earnest effort pervaded by a sense of warmth. Joseph’s voice effortlessly bounced between a light falsetto and sharp rapping, the sound of someone who doesn’t want to be tied down. GLOW sees Joseph itching for people to see the next stage in his development, believing he now has “the artillery to do exactly what I want to”. The development is echoed in GLOW’s sound; it’s more atmospheric and layered but maintains the soulful energy of ULTRAMARINE. It feels like an almost avant-garde R&B at points, intimate and introspective but danceable.
The album opens with ‘GLOW’, providing a spacious, ethereal introduction, Joseph’s voice tender and soulful; it almost feels like the production you would expect on a James Blake track. ‘MONSOON’ blends soulful harmonies and rap with a subtly funky edge; the track was co-produced by frequent Jai Paul collaborator A.K. Paul. The song feels like a journey of self-discovery, about conquering fear and letting go of insecurities (“I stood up in the rain staring at the face of phobia”). ‘SUGAR DIVE’ features Korean singer DEAN, providing some sweet, laid-back vocals over some gently popping beats and shimmering synths. ‘I JUST KNOW HIGHS’ delves back into more atmospheric territory, a floating piece of electronica with a slightly dark edge; Joseph embraces vulnerability as he sings, “If I look down, I’m dying”.
‘COLD SUMMER’ is the record’s highlight, Joseph creating the atmosphere of the track’s title. It begins with a creepy orchestral intro before you get hit by these gritty beats; the song’s sharp, dense verses have a distinct grime sound. The chorus is eminently catchy, Joseph’s voice mournful as he semi-raps, “Are you gonna wait for me, no/Are you gonna stay for me, no”. ’25’ serves as an interlude, somewhat disappointing in an eight-track album. ‘HIATUS’ sees Joseph reflecting on his period between records and is similarly eerie. Joseph examines his roots while briefly lamenting city life, “Cause I miss when the air felt clean” and reminiscing about riding the bus back in the Midlands (“Sitting on the 997 route”). The track also conveys broader messages, as Joseph warns of the dangers of “Small town mentality”, drawing upon his experiences of growing up in Walsall. The album concludes with the sombre ‘LIGHT LIGHT’, a claustrophobic number with its skittering beats.
GLOW demonstrates Joseph’s creative prowess, both visually and sonically. Yet, you still feel there is more to come from Joseph, and it would be great to see what he could produce over a longer run time. GLOW provides a glimpse of his talent, and with Joseph’s creativity, confidence, and blue-sky thinking, you feel more is around the corner. Still, GLOW is enjoyable, and the music videos are well worth checking out, showcasing Joseph’s cinematic talents.