Posts Tagged ‘Grime’
Salt´n´Peppa meets Grime = danish dynamite. Lucy Love from Copenhagen.
Personally not convinced by the slightly titillating ilustrations but don’t let that put you off: Marry Anne Hobbs is the adequate successor of John Peel at BBC and in general. For “The Warrior Dubz” she compiled a great collection of her favourite pioneering artists from the underground scenes she supports on her radio show. And considering how young a genre Dubstep is, it’s astonishing what a broad and textured palate of sound has been incorporated by the various proponents. Hobbs even managed to persuade more than half the producers here to submit exclusive tunes. “Warrior Dubz” is a breathless journey through the dubstep infirmary – with everyone from Burial and Benga, through to Andy Stott and Loefah making an appearance.
It is dark and murky, an instrumental reflection of gloomy London nights, but the dancefloor imperative of Digital Mystikz’s “Anti-War Dub” or Burial’s “Versus” is hard to resist. It is also intensely physical – the broad brushstrokes of bass that underpin the sampled police sirens and club chatter on Loefah’s “Mud VIP” seem designed to make your entire body judder. Elsewhere, Manchester’s Virus Syndicate crew are spectacular on “Dead Man Walking”, all rapid-fire distortion and frenetic MCing, while JME’s playground flow lightens the mood briefly as he coolly dissects hand-to-mouth living on Pence. This is a superb compilation of the most thrilling, forward-thinking music in the UK today.
Mark One’s “One Way” from 2004 is one of the first full length grime albums that has received a lot of attention outside the UK. Grime (or whatever you like to call it, Reflex records says on this topic: “In the 80’s, maybe it was House, Techno and Electro. In the 90’s it was UK-G, Drum and Bass, Breaks or whatever. Now there are so many terms for it that the journalists can’t pidgeon-hole it any more.”), has been getting a lot of attention in the UK and Europe, but I fear it’ll pass America by as so many other styles. Mark One himself has decribed Virus Syndicate as producing “something between Garage, Breakbeat, Dubstep, Tech Step, Drum and Bass, Breakstep and whatever else you can think of…”, definitively that whole scene is one of the most interesting things happening in the electronic sector, from UK-Garage to nowadays Dubstep.
This album features a slew of different takes on the grime feel, and stays largely instrumental and brings you tons of bass frequencies, melody and energy. The music tends to be trudging and dark, with a real attention to detail. The three tracks that do feature MC’s are tasteful and well done, especially “Stand Up” with JSD, while others seem to revel in oppressive, paranoid beats and orchestral-stabs worthy of mid-period Cabaret Voltaire: you can almost hear the surveillence-cameras whirring as they track your progress through grainy archive-footage of burning, boarded-up city-centres. The vocals featured on the three tracks are overall much less aggressive than those of London MCs, both in content and delivery. The Manchester based Virus Syndicate crew is a sign that these young sounds were already spreading out of London to other sprawling urban areas around the UK, and alternative takes on it were very welcome in 2004. Fans of bumpin’ bass everywhere need to take heed immediately.
Eh, still awake? Here´s more music that screams to be heard through a brutally loud sound system, yeah! Kevin Martin a.k.a. The Bug (and part of EAR, Techno Animal, Ice, among other projects) has a grimier view on dancehall sounds, offers filthy bass lines, hard-edged beats, ruff-in-the-jungle ragga and a killer selection of MCs spitting over this boiling shit. It starts with with ragamuffin hip-hop pioneer Daddy Freddy and continues with Toastie Tailor (do you know his work with New Flash?). Rootsman and He-Man are other highlights, but no fillers here. Some sweet vocal inspiration comes in the shape of Paul St. Hilaire, the artist formerly known as Tikiman. Longtime visitors of urbanology may remember his fantastic performances on the Stereotype record. The up tempo highlights that don´t let you time to breath are “Politicians & Paedophiles” and “Run the Place Red”, of course with the ill Daddy Freddy. “Fuck Y-Self” with Wayne Lonesome is a brutal smasher breaking your neck and you will scream for more after this.
Excellent soundbwoy killas!