Who we are
Wayne and Tyrone grew up in a migrant Jamaican household in Southall where they were influenced by the diverse sounds of that migrant town with its fusion of Caribbean, Asian and African influences.
Their music was inspired by their tabla playing Indian-Jamaican grandfather. Those ancestral beats are in their blood.
They were also influenced by their parents’ and grandparents’ vinyl reggae and soul. Sam Cook, Otis Redding, Jimmy Cliff.
The Wright Brothers believe in social action music, using music to champion civil rights.
Licensed to spin
Tyrone Wright is a musician, producer, and writer known for his distinctive and experimental place within soul, R&B and hip hop. His work – swinging from, and deftly enfolding, the mechanical and raw to the lo-fi and harmonic – has culminated in his partnership with brother Wayne Wright as part of The Wright Brothers, by way of Warcy and his Southall/Indo-Jamaican roots.
Tyrone Wright’s sound is a sprawling exploration of tightly-wound drum sequences combined with ambient key work, warping synths, and evocative vocals. Soul meets trippy electronica, echoing as much Brixton as it does Detroit.
Emerging from their early founding and membership of Mad Like Dat, Tyrone was – from an early age – concerned with how sound (and music) makes a life. Sculpting a style from the myriad and storied origins of the Caribbean, African and Asian communities of south and West London, they were – before disbanding – shown close attention by Island Recordings, who had released many of Bob Marley’s classic works. In the same breath, these are tracks which wound their way into the playlists of Soul to Soul’s legendary Jazzy B, as well as hearing their Money Don’t Make The World Go Round on Kiss FM’s Max and Dave hip-hop show.
Tyrone spent the subsequent years constructing and evolving his distinctively open and shimmering sound by collaborating, producing and writing for a range of artists. In this time he founded – and produced – hip hop group the Dungeoneers. Performing regularly throughout London with his next project, Spanner in the Works, Wright refined a sound which collapsed ambient lo-wave into scattering, dense beats. Later appearing on Run, a mix-tape released by Doom Man, saw him appear alongside UK ragga artist Sweetie Irie. We hear inflections of Ron Trent’s Blazzin, jazzy riffs penetrating a steady and engulfing beat of cymbals and drums. The influence of Chicago house – moving away from the trance-state of deep house – is tangible in these recordings, their pulses and often unexpected trajectories creating waves which allure and calm in the same gestural work.
Under the moniker Warcry, Tyrone has since co-produced a track with Dego, one half of Mercury Prize nominated drum and bass legends 4Hero. A relentless drive toward collaboration has defined his career; working with pianist Andy Tilley and brother Wayne Wright as Moody Street, Tyrone has massed a gravitational pull toward a distinctive colour and texture of R&B, soul, and hip-hop; fast moving, energetic, but also lapsing and steady. A number of his albums represent the peak of this wave; Mosaique Frequency Volatile (2008), Elements of Soul (2008), The Way of R&B (2013), and R&B Hits (2015) – all of which he has written for, sculpting out from his roots as a musician to become a dexterous writer and producer, shaping and defining the sound of contemporary soul; these are tracks regularly spooled on Kiss FM, and played across the UK. A summer sound, drawn out of the hot streets of south London and the town squares of Jamaica. A regular DJ at literary events and performance nights, he is adept at blending – co-creating – with both words and music.
Ultimately, Tyrone believes in social action music; his expansive and loud voice is used to champion civil rights by asserting the always-political nature of the myriad streams from which he draws his inspiration; from Detroit to Southall. Working across genes, time and emotions, what emerges is an R&B that has traveled, both back to its source and into myriad possible futures. Cementing his sound in the uplifting, urban imaginary of soul, his work pulls and re-ties threads from rural Jamaican drum-music and vinyl reggae; it is a sound deeply rooted in the accumulation of London as a meeting ground for genres, but also reflects the origins from which those sounds have emerged. The post-industrial now meets centuries of folk rhythms and oral traditions. At times dubby, even industrial (Kraftwerk by way of trip-hop), its skittering waves of beats and crisp high-hats produce a shimmering heat wave which is continually reworked and scattered at its fringes. Tyrone Wright accelerates hip-hop history into a smoothly cascading present.
His latest ventures have seen him producing music for spoken word artist and writers, including a collaborative project with Mosaic, titled Silver Screen. He now co-produces music with his brother, Wayne Wright, as the Wright Brothers.
Quiet so'till him loud
Wayne Wright is a musician, producer and writer known for his membership of Mad Like Dat, alongside brother Tyrone Wright, in addition to his own work producing for the likes of Beverley Knight. A musician with a comprehensive and attuned understanding of electronic hardware and keys, his sound has been defined by its artful combination of modern rhythmic beats parsed through the legacies of R&B and soul.
Alongside his brother Tyrone Wright, Wayne was a founding member of hip hop group Mad like Dat. Hailing from the same Southall housing estate, Wayne’s sound is drawn from a deep wellspring of inspiration; from the living archive of his parent’s and grandparent’s vinyl reggae and soul collections. Sam Cook, Otis Redding and Jimmy Cliff have been triangulated through modern experiments in recording technology and production. The archive has been energized.
Wayne’s background is one of technical experimentation, of the sluicing and preparation of hardware; sculpting in sound via analogue synthesizers and digital flexes. From the age of five he was taking apart – dismantling to understand – old electrical apparatus.
An electrician’s sensitivity to the precision – and loss – contained within housed wires and soldering means he has approached the production of sound as a literally industrial enterprise; deconstructing rare grooves and modern sounds, and so wiring them together for a distinctive, iterated sound.This vibrancy of influence and trajectory shares the historical agility of Moodyman with the unpredictable daze of artists like Hunee. A collapsing of registers and tones which dismantle their origins and built them back into a truly contemporary moment; analogue synths shunt and ride alongside crisp cymbals and thick drums, industrial and alert; summer days on hot estates.
In this way, Wayne’s output is instrumental; playing acoustic and bass guitar alongside keyboards, he would be defined as a “player, not a talker”, of strings and ‘tings. In co-producing a re-mix for Beverley Knight with Major via No Apologies he has asserted his own distinctive attitude toward enfolding and exploring the musical landscape around him as a source of inspiration and imagination.