It was a long run. Working with other, whatever that means now, indie acts (SBTRKT, Jessie Ware, FKA twigs), as well as the real A-listers (Drake, Beyoncé, Kanye West) gave Sampha exposure to different audiences. Instead of aiming in all of them and rush releasing quick albums, he took time to create his own little masterpiece.
Process is clear-cut, simple and plain at its core, and that’s why it works. Song structures are quite typical to pop music, and while the album’s not packed with potential Top 40 hits, its hooks (essentially Blood On Me’s, Incomplete Kisses’ and Timmy’s Prayer’s) are both catchy and stunning. Eerie, not overdone production and lack of uptempos make the whole thing more cohesive. And there’s other side of the record, the more honest and personal one. Sampha opens up about his deceased mother on the closing track, fragile What Shouldn’t I Be?, as well as on arguably the most emotional cut, (No One Knows Me) Like the Piano. You could almost feel the nostalgic aura around it.
Instead of pleasing everyone, Sampha’s figured what he’s best at. On Process, once and for all, he proves he has way more to offer than being just a collaborator.