With a justified obsession, one has been calibrating the name Coby Sey into the living imagination of some of the most relevant creation to come out of the UK in recent years. For some, it may have started with Tirzah’s “Devotion” (2018), where he collaborated on a few tracks and made a very vehement mark. Or shortly after when the Curl collective emerged, with Mica Levi and Brother May. Or, more closely, when he edited his 10″ of originals on Whities in 2017. But even when he got there, he had already edited and even collaborated with Dean Blunt on his Babyfather. The point one is trying to prove is that Coby Sey has been around for a while, long enough to recognize his voice, long enough to understand how he is part of a lineup at the forefront of British electronica. He is not a name you collaborate with, but one you want to collaborate with.

Both in solo exercises and in collaborations, he expresses himself with the will to enhance his personality and thinking, transcending the idea that what he does is limited to music, but is rather an event that goes beyond it and expresses itself with life, with a beating heart and forming a body, an identity. With this in mind, there is “Conduit”, edited by Londoner AD 93, the album that Coby Sey has been obsessed with for years and that finds existence this September 2022, when he also performs at Galeria Zé dos Bois. Head, ideas, and fresh music, in an album that is all Coby Sey. Despite some collaborations, he wrote, arranged, produced, mixed, and plays several instruments on “Conduit”. Obsession is natural to him, when he refers to what he creates, he always talks about the desire to put something together with a unique voice. Not to distance himself from the Coby Sey that appears associated with other names – because, after all, it is the same Coby Sey -, but to base an idea of sound as art and less one of music as a pop instrument: although there is pop meat in “Conduit”. Don’t be surprised if when listening to Coby Sey there is a strange trip to the feeling of hearing, for the first time, Tricky in the 1990s. For the way he shortens distances between various genres and fits them into an idea that today is tomorrow. Urgent, therefore. Let it not be for FOMO, but for the desire to see a brilliant mind that thinks of sound as art and transforms it into a unique, physical, and global experience. AS