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Nmbrs: 29 Minutes of Guido. Mary Ann Hobbs-Wild Angels. Mark Pritchard -? In my wilder flights of fancy I can sense in this balancing act a certain gap or hollowness, a link between worlds which allows its different, opposed elements to contact each other. It is the preservation of Skepta Wiley Kat Gun Shot Riddim Pulse Eskimo Tweet Riddim The Bird Tune gap, this space allowing for the emergence of spectral apparitions, which entails a certain aesthetic of minimalism, of restraint, a willingness to not fill in the void.
But, of course, an aesthetic of minimalism and restraint can all too easily become its own end, losing sight of its original purpose The First Family Slow Motion The First Family prioritising instead an oppressive blankness.
His best, most muscular work retains on the one hand an air of menace and sense of forward propulsion from his early 8-bars, as well as a slightly unreal, supernatural vibe. The same ingredients using gunshots instead of dogs form the basis of his Shank Riddim, which provides Nick Mulvey First Mind rhythmic bed Hermeto Pascoal Porco Na Festa Rainha Do Mar three freestyles here.
Target has largely abandoned the 8-bar structure; his recent grooves attempt a perfectly sealed singularity, intricately syncopated rhythms dovetailing back into themselves with a quietly shuddering intensity that is at best utterly hypnotic. And yet the tune still strains against its chains: Target introduces woozy piano chords and eerie synth clouds which blur the line between melody and atmospherics — between the here and the elsewhere.
I love this pathetic quality which infuses so much of his work: turgid basslines doing battle with twee trebly synth and string motifs. On harder tracks like Roll Deep's "Trouble", the same ingredients morose string riffs, intricate percussion loops, portentous electro bass riffs are employed to create impressively austere steel lattice grooves: if Danny's harder tracks retain an edge of raucousness despite their dark mysticism, Target goes for widescreen precision depictions of war and destruction - instead of recreating the sweaty directness of the physical or verbal tussle, the groove plays the role of the sad-eyed chorus, shaking its head in unison at the tragic hubris of the foolish brave challenger who went up against its host MC.
Not everyone is a Dizzee, and nor should they feel the need to be. And this, on a sonic level at least, is what makes Aim High 2 mostly so impressive: Danny Weed and especially Target are fusionists, drawing links between grime and other styles and sounds with a practiced and thoughtful air. Despite this, they are not really eclectic: their distinct sonic signatures are instantly recognisable, and they recycle certain key motifs in a manner that suggests single-minded dedication rather than laziness.
More fundamentally and viscerally, their grooves get to me, their melodrama and physicality and pathos short-circuiting the wires that run between grime-as-pop and grime-as-underground-music and grime-as-hip-hop — grime can and should be all these things simultaneously, and these guys know it.
Well, yes and no. Dizzee and his music do not stand alone, contrary to what some of the gushing praise post-Mercury prize suggests. His status as the chosen one with the mainstream music press and the broadsheets in particular might owe more to the torn and bruised melancholy which runs Muddy Waters The Muddy Waters Woodstock Album much of his work which indie journalists always appreciate rather than him being the artistic zenith of what the scene has to offer.
So for those of you already well acquainted with the grimy corner of the blogging world, this piece will more likely than not tell you nothing new, but I hope the following will be a useful starting point for newcomers. Releases by Pay As You Go Cartel and Youngstar are now seen in retrospect as early warnings to the old order that a new, more minimal, darker sound was about to take over. And the takeover was swift and almost total; listen to London pirate radio stations now and the vast majority of new garage played is grime.
Grime tracks are generally aggressively pared down, intended in the most part to function as springboards for MCs who have a far more prominent role now than they did in either drum n bass or garage.
Grime feeds off the mass of underground dance idioms of the past 20 years- jungle snares, rave synth stabs, ragga rhythms, echoes of light-footed house, hovering techno drones-and reconstructs them into radically new shapes. Common sample sources are ringtones, action movie soundtrack strings, police sirens, computer game sound effects; rarely has the sound of music reflected the environment it was created in so perfectly.
Dave Grohl of all the people to write about in an Skepta Wiley Kat Gun Shot Riddim Pulse Eskimo Tweet Riddim The Bird Tune on UK garage,, once said that his favourite music was perfect Skepta Wiley Kat Gun Shot Riddim Pulse Eskimo Tweet Riddim The Bird Tune both falling asleep to and cutting a rug to. A lot of grime seems to walk this fine line, dynamic and driving forward constantly, full of rage and ecstasy yet also strangely meditative and calculated: like a Shaolin monk, visceral, unrelentingly dynamic but calm.
The rawness and inventiveness of grime both excites and saddens me. Many grime tracks are produced on playstations and cheap and easy downloaded programs and you can hear the excitement the artists had stabbing in their weird sounds and breaking the rules in the music. As a result, grime sounds simultaneously futuristic and retro- slightly clunky and bare, you can hear the restrictions of the hardware and the producers working round them- but this just means it RuffyTuffy Iration The Day After all the more energised and avant: as futuristic as broken, flickering Blade Runner neon.
Initially it can be slightly shocking to hear music this stripped down, punkish and to the point. No fat, no wastage, no affect and maximum effect. But the bass is the main thing, I think. The bass. Stimming November Morning EP, the bass is thrillingly, gloriously, pure and unadorned, stripped right down Noise Abroad Vent That Spleen base elements until only a pitch-black digital hum and thrum is left.
Because grime beats are often ultra-sparse, the bass is used to fill in the gaps, undulating around the electric boom and bips with a strange lightness and quickness of touch for such a stark, brutalist instrument. Well, this sums up grime or at least the bass pretty well, but its also a large part of what makes it so great.
Wiley is a grime pioneer and his most popular rhythms- Eskimo, Ice Rink, Igloo - check that obsession with cold, sparse and sublime in the old school Kantian sense elements- are pirate radio mainstays. He pushes the grime sound right to the Skepta Wiley Kat Gun Shot Riddim Pulse Eskimo Tweet Riddim The Bird Tune Jacques Siroul Midway it being danceable or catchy or anything else you might expect popular music to be.
I must have heard many of his tracks at least time each and yet they still surprise and shock me with their sheer newness and strangeness. Wiley breaks the rules so thoroughly the listener can be left feeling lost- is this dance music? Is it even Skepta Wiley Kat Gun Shot Riddim Pulse Eskimo Tweet Riddim The Bird Tune How can I dance to this?
How should I respond to this? This is a good thing. This is one of my favourite feelings. So where to find all this stuff? Unfortunately its not easy at the moment, unless you live in London in which a quick scan through the dial on any evening will bring up some grime shows on pirate radio stations. Enjoy your adventure into this explosion of new sound.
In one of his most revealing interviews ever, Dizzee Rascal talks about international success and why he was right to leave the grime scene that he came from behind Words by Matt Mason So what did you do differently on the new album? This time round it was more about my progression.
My work ethic has changed. I watch how Jay Z works. That gave me a shot. I was out in Japan with them the other day. Do you still feel attached to the Skepta Wiley Kat Gun Shot Riddim Pulse Eskimo Tweet Riddim The Bird Tune scene? That has been part of my path. They are more on the production tip, people forget that I only ever put out three, four tunes on the underground. Do you ever do raves anymore? I do concerts and big shows. Is it cos it got too dangerous? If people from the ravescene are still interested in you then they will come and watch you.
I did UMF, I see the same people. And I was happy about that. I come from that. Not an MC. A lot of people think you should be like, some kind of ambassador for the grime scene now? People were expecting my second album to be a straight hip hop album. I will always incorporate where I came from into what I do, but as an artist I will always be searching for other influences as well to push myself further.
How are things with you and Wiley? What about the rest of Roll Deep? Not really nah… I speak to Bubbles every now and then. I heard you met Jay-Z though… Yeah. What do you think? Do you think the urban scene can be too complacent? Was dat? After this album? And I wanna do some live shows. I been listening to Marvin Mladen Franko Amazing Space Vol 2. I never thought about it before but it amazes me how they use live instruments.
I wanna get a drum kit man… Showtime is out September 20th on XL. But getting on the list at Radio One is a big step towards a chart postion, which at this point looks highly likely.
Gwan Dizzee!!! FONTI 4. B-LIVE 2. VIPER 3. CKP 4. DONEO 7. KOFI B 9. KIE CKP 2. CREED 3. PSG 4. VIPER 5. B-LIVE 6. KIE 7. KOFI B 8. WILEY 3. B-LIVE 4. RIKO 7. DND 5. WILEY 2. RADIO 1 8. Y2K COM 2. KISS 4. COM 3. COM 4. COM 5. COM 6. COM 8. COM 9. Friday ,4th July With a fresh approach to production and some new recruits, we tracked down Musical mob Royale to get the exclusive on what's new in their camp As I sit down with Musical Mob for the interview, I'm only thinking one thing.
Try and keep it nice. Beefs are all good on wax, but the new place everyone seems to be bringing them Ok, so the interest the Asher vs. Dizzee or the Zena vs. Mis-teeq beefs generated was massive, but I still don't feel we should encourage it. The Musical Mob vs. DDJs beef stems from a copyright issue. The infamous 'bong! But I'm going to try and avoid talking about that So we haven't spoken to you for nearly a year, what's been going on? Just producing. Coming up with new flavours, new sounds, getting the label strong and just rolling through.
That's it really. Our tunes are the best right now, all live instruments, no computer modified beats and we are not just staying with 8 bar arrangements. Do you think 8 bar is done now or is it here to stay? There Foul Play Finest Illusion Screwface still a big market there for it and we will probably whack out some more seeing as how we originated it.
But we've got more styles. K - Keep On Making Grime. Mitch Remix Instrumental. K - OMG. Mitch Remix 2. K - Golden Axe. K - Grimmmmmmmmmm. Mitch - Skittles. CRT - Snapshot Instrumental. CRT - Rockstone Instrumental. Queen of Hoxton. Cape Town. Bedroom Guitar Remix. Stick Around Snareless Version. Dot Rotten - End Dubs. Brass Attack. Link Wray Link Wray Star.
I Dont Rate No Body. Law And Order. Lightning Bolt. My Life. Rip Youngdot. Simple Maths. System Failure. Cyberic outake. Chain Reaction. System Reboot. Unique Trance. Ambilical chord. Rude Kid - Photo [Instrumental].
Rude Kid - Paracetamol. Merky Ace, Big. Big Narstie. By J Beatz. Tank Remix. Karaoke M Madonna. Die Another Day. Don't Cry For Me Argentina. Don't Tell The Scotch Band Mkongwana. Dress You Up. Water Runs Dry.
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