Building a music Nation
This is the third of a 10-part series on ‘Generation Next’ of Jamaican music producers.
OFFICIALLY, Kareem Burrell has been a music producer for nine years, but it seems he has been involved in the reggae industry all his life.
Burrell is the man behind the fledgling XTM.Nation. To date, it has released songs by roots acts such as Jesse Royal, Sizzla and Lutan Fyah.
“The focus is on putting out quality productions. A very high standard was set by my father and the original Xterminator Production label, and as a result everything that XTM.Nation produces has to live up to as well as surpass that level,” Burrell told Splash.
His father was Philip ‘Fattis’ Burrell, the larger-than-life head of Xterminator, one of the most successful labels in contemporary reggae.
The older Burrell, who died in 2011, produced countless hit songs, including Lord Give me Strength by Luciano, Ini Kamoze’s Hotstepper, and Never Dis the Man by Sanchez.
While XTM.Nation has a strong feel for the rootsy side of reggae, Burrell refuses to “be boxed in to any one category”.
“I try to explore new sounds from different genres and incorporate them in my music. Xterminator Productions was known for being innovative with its music, and this is the same quality that I would like to maintain,” he said.
Some of the songs Burrell has produced include Jesse Royal’s Hotter the Battle and Greedy Babylon, and Burn Dem Schism and Whats Wrong With the Picture by Sizzla.
The label’s latest releases include Sound Clash by Kayla Bliss and Don’t get Weary, a collaboration between Pinchers and Bounty Killer.
Though he is determined to create his own sound and identity with XTM.Nation, Burrell said his father’s imposing figure keeps him in check.
“I can’t begin to list half the things my father taught me about production. One thing that has stuck with me is the way he would emphasise how producing music was a meticulous process which requires a lot of attention and respect for it to be worthwhile,” he explained. “He also reminded me constantly that “music owes me nothing” and I shouldn’t behave as if I am the ‘M’ or the ‘I’ in music.”
— Howard Campbell
