Swindle & Kojey Radical's "Coming Home" Is a Euphoric Triumph (and it Sounds Like One, Too)

On “Coming Home,” Swindle plays towards every strength within UK jazz, while Kojey Radical delivers one of his best pieces of lyricism to date.

“Coming Home” – Swindle & Kojey Radical

Swindle is a man of much intrigue. His streaming numbers may not suggest so, but chances are within UK production, he’s your favorite producer’s favorite producer. Dating back to the early 2000’s Swindle has been on the scene with the likes of legendary Grime group “Roll Deep” as well as early features with JME, Mahalia, Ghetts, you name it. His latest album No More Normal, which dropped back on January 25^th, might finally give Swindle that push into the mainstream media whether he wants it or not — especially with his song, “Coming Home.”

No More Normal by Swindle — No More Normal – Swindle

Someone get my city on the phone
Tell them I’m coming home
It’s been a different kind of life on the road
Tell them I’m coming home
Many don’t make it where I come from
Think we should make a toast
Came a mighty long way from the road
Tell them I’m coming home

The hook, delivered by Kojey Radical, is backed by Machester’s very own “Riot Jazz,” a brass band that does not fail to bring out the best in the track itself. As the horns dance around with such animation one can almost see it in front of them. If I could put it into words, it plays like the roadman’s version of “Eye of the Tiger”. It’s a bright, joyous production that lets the troubled youth of today know that it’s possible to follow ones dream, and to make it out of whatever dark path may lie before them.

The “road” Swindle is referring to does not have to be anywhere in particular or anywhere too far from home even. It’s the struggle of the lower class around the world and the side hustles one more than likely endures throughout their time on them.

When it comes to the verses, Swindle’s past expertise shine the brightest. The Dubstep upbringings show in his subwoofer-heavy bassline, while his love for jazz play in the complementary hi-hats and snares. It creates this sound that bends genres entirely; a notion Swindle himself has been praising within his work since 2010.

Kojey’s deep voice suits the gritty rawness of the track superbly, a conclusion that probably came to each of their minds, as they collaborate on multiple songs throughout the album itself.

Nearing the 3-minute mark, Swindle cuts the brass band for a jazz fill on the electric guitar, allowing for Kojey to hone into his home-field advantage that is spoken word. A true poet at heart, Kojey can take his complex stanzas and morph their structure into any time signature, seemingly forever, without even sounding like he needs to catch his breath.

Whose words reach further?
That man who whispers
his piece to find peace?
Or the man who yells
his troubles to exult his troubles?
Won’t you help me find
the solace you promised?
Trying to forget fleeting euphoria’s
I can’t keep on running
if I don’t know what from.
I can’t keep chasing a woman
that’s already gone.

Swindle has kept quiet since the release of the album. Though you may find reviews here and there, you’ll be lucky to come across the artist doing an interview. On an album comprised with so many amazing talents, its almost funny that Swindle’s limelight might shine the dimmest. Still, the new project remains to be championed around the underground scene of South London. Perhaps Swindle does not want the attention, maybe he’s just happy to have come home.