Hyperdub Anniversary Compilation

One of the most anticipated releases of the past few months, grab it here:

http://rapidshare.com/files/285673547/Various_Artists_-_Five_Years_Of_Hyperdub_HDBCD005_CD1_2009.zip

http://rapidshare.com/files/285688142/Various_Artists_-_Five_Years_Of_Hyperdub_HDBCD005_CD2_2009.zip

Dizzee Rascal - Tongue 'n Cheek

In 7 years and 4 albums Dylan Mills a.k.a. Dizzee Rascal has gone from being one of the most respected Grime MC's out there to National Treasure status; winning pludits, critical acclaim and (following 3 successive number 1 singles) commercial acclaim. It's been a totemic rise, one that's even more remarkable when you consider the subject matter of debut offering 'Boy in da Corner'.

A dark gritty album punctuated with gutteral beats and street level wittism, Boy in da Corner was critically lauded- winning the prestigous Mercury Music Prize, but failed to propel Dizzee to commercial success. His follow up, 'Showtime' recieved somewhat mixed reviews. Despite an impressive single in 'Stand Up Tall' it lacked the imagination and dexerity of his debut. More recently 'Maths & English' saw Dizzee dice with arena sized hip-hop beats with mixed success. Though 'Pussyole' and 'Sirens' became veritable anthems, ill judged collaborations with Lily Allen and Arctic Monkey's Alex Turner seemed to sully the record.

As sales dwindled Dizzee was at a cross roads. Rather than retreat into the shadows of the post-UKG pirate radio scene from which he emerged he linked up with Scottish super producer Calvin Harris to record, arguably, 2008's biggest anthem 'Dance Wiv Me'. This record more than any other seems to perfectly encapsulate Dizzee's take on life; fun, carefree and filled with young, attractive women.

Although Dizzee is clearly trying to latch onto traditional saucy British humour (think the Carry On films) Tonuge 'n Cheek often comes across as being riddled with laddish injokes. Lyrically Dizzee sounds not unlike 2 Live Crew of the 69 Boyz for 2009. The album's two dominant themes (as with many/most urban records) are girls and money. But even Dizzee seems unsure of his views on them. Whilst 'Dirty Cash' offers up criticism of post-Credit Crunch greed Dizzee is only too happy to extrol the virtues of "money money money, girls girls, cash cash" on the aptly titled 'Money Money'.

Freaky Freaky sees Dizzee boldly proclaim "I like that kind of girl / You didn't even need to ask her name / Can you believe it? / She was sucking my dick, you should have seen it / Sprayed in her mouth, then watched her kiss her boyfriend." Although sexist bravado is hardly new in the rap game it marks a clear shift in Dizzee's observations of lust when compared to the modern day battle of the sexes that was 'I Luv U'.

Lyrical contradictions aside Tongue 'n Cheek showcases Britain's most successful MC in funloving mode. Monster hits 'Bonkers', and 'Holiday' showcase Dizzee's ear for an anthem whilst 'Chilling wiv da Man Dem' is from the same lineage as his early Jungle pirate radio slots and Maths & English's 'Da Feeling.' Though commerically viable these tracks do seem heavy on the novelty factor with cheesy trance synths and references to Playstation games providing little in the way of substance. Production wise Dizzee also seems to have taken his eye off the ball. Though he claims to be a contender for Pop stardom he fails to make it to the next level- currently occupied by (amongst others) The Neptunes, Will.I.Am and arguably his former collaborater Calvin Harris.

I have no doubt that this album will propell Dizzee to stratospheric commerical success but in my view it lacks the clinical execution of his previous efforts. With fine honing he could become a real contender to the long-term viability of stadium sized producers/artists like Jay-Z and Kanye West but on this offering he lacks both the lyrical wit and artistic vision to achieve such corinthian heights.

Ryan McGinley comes to London

Bit late posting this, but well worth checking out one of the most iconic modern American photographers.

Raekwon - Only Built 4 Cuban Linx Vol. II Review

It's without a hint of hyperbole that I can say that this record is the most eagerly anticipated record in Wu-Tang, if not hip-hop, history. Although Jay-Z's 'Blueprint Vol. II' has claimed the column inches it's hard to overlook the latest offering from Raekwon the Chef. Ladies and Gentlemen '...Cuban Linx Vol. II' has arrived.

After a mere 15 years of waiting arguably the greatest lyricist of his generation has finally delivered a follow up to his critically lauded solo debut. Vol. I effortlessly fused stone cold, skitteral production with lyrical dexterity, drawing on abstract metaphors and motifs to portray the grim realities of the 'thug life'. Though critics may suggest that Raekwon sought to glamourise drugs and violence the stark realness of his lyrics clearly exposed the misery, death and destruction of a ghetto existence. In many ways Vol. I was closer to the films of Martin Scorsese and blacksploitation movies like 'Across 110th Street' than his 'Gangsta' contemporaries. The early 90's saw the rise of G-Funk, and whilst getting your swag on to Snoop may have been fun, his tales of excess lacked the subtle or intelligence of the Wu- arguably Hip-Hop's most important and innovative group.

But what of Raekwon's contemporaries today? In all honesty hip-hop, commercially at least, appears to be on it's last legs. the sonic ferocity of Crunk is little but a novelty, modern day 'Gangstas' like 50 Cent lack any semblance of menace or integrity whilst commercially viable acts like Kanye West appear to be more interested in releasing novelty trainers and embarrassing themselves on red carpets than in producing relevant music. Against this soulless background the 90's revivalism of Rae seems like a breath of fresh air.

Introductory track 'Return of the North Star' fuses the romantic notion of prohibition era Gangsters with sombre warnings of "another nigger cheating you out your money" juxtaposed against the description of a vision in which Rae is seen "onstage at Madison Square Gardens". The listener is immediately transported back to 94, Rae may be off the block but this record is a reflection of his former reality- a theme continued throughout.

The first proper track 'House of Flying Daggers' is a statement of intent if ever there was one. J Dilla posthumously contributes a weighty beat, sampling the Four Tops. Whilst vocal contributions come from Inspectah Deck, Method Man, GZA and Ghostface Killah. Again the Clan's past are referenced (this time in the form of Kung-Fu motifs) leading one to question whether this record has arrived too late? Those concerns are dispelled a run of tracks taking in production from Prince Paul (Sonny's Vision), Marly Marl (Pyrex Vision) and RZA's masterpiece 'Black Mozart'. Despite opening with a kung-fu B-Movie sample RZA reworks 'The Godafther Theme' and adds layered vocals to remarkable effect. The chorus "You better get that money, no matter, what you do. You gotta get that money, and represent your crew " appears on paper to be a chant glorifying gang loyalties but in reality it is a mournful death march whilst the couplet "As reaper stay sprayed, still niggas is smoked. Four in his pocket, a diamoned up chain and some coke" shows the harsh contrast between material fetishism and the reality of life in a gang.

Considering the range of producers on this album it is ironic that the records strongest moment comes in the form of 'New Wu' a track produced by one Robert Diggs. Again RZA's production mournful; 808 snares matched against the solemn tones of little known sould group The Magictones. The rapid fire delivery of Ghost provides a perfect foil to this as he spits "Bulletproof tuxes, knuckle games is clarkers and busters. Eighteen niggas, bringing the ruckus" at double quick speed. Rae's own contribution is no less impressive using visions of marauding Romans to describe his crew, stating with no bravado "Make a move and get blown off the planet." Delivered by a lesser MC this line would appear to be an empty threat, from Raekwon it's a promise.

The album's middle section doesn't let up with Dilla and The Alchemist providing strong contributions in the form of 'Ason Jones' (feat. O.D.B) and 'Surgical Gloves' respectively. The topic rarely strays from the hyper reality of Rae's narratives of cooking and selling drugs, however lines such as "we living off fear" dispel any sense of glamour. Though often emotionless Raekwon's journey through the darker side of New York is revealing and is in many ways comparable to the social exploration of Dickens or Joyce. When Seamus Heaney described hip-hop as modern poetry he may well have had a point.

Although always engrossing it is debatable whether this record needed to be a full 22 tracks deep. At times it can come across as almost too much of a mixtape thanks to the sheer range of producers on show and at little over 1 hour in length several tracks seem like filler efforts. Despite this it is near impossible not to drawn into this record. Vocal complexities are matched by impeccable beats and reinvent the soul sampling format that has been hijacked in recent years.

So has Raekwon returned with a 'fresh' innovative album? the simple answer is no. However, though all the motifs seem to point to a simple thug formula Raekwon succinctly develops an introverted, and raw look at the ghetto. Whilst the 'ghetto bred capitalistic mental' as defined by Immortal Technique has become synonymous with the glorification of violence Raekwon eschews such simplicity. Power is juxtaposed with death, the grim reaper looms heavy and mournful tones are bought to the fore- the RZA showing why he is the most intelligent producer of all time.

It would be easy to dismiss this record as a rehash of it's predecessor, but it is hard to fault a record which combines grit, romance and reality so brilliantly. Subtlety is a premium here and when coupled with paranoid, skitteral beats it is a winning formula. This album was never going to match Vol. I but it is one of the most impressive bodies of work (despite lacking any clear singles) the world of hip-hop has produced for a long time. Has Raekwon saved hip-hop? In his own words "Fuck saving hip-hop we bringing the streets back". He has done just that, the streets of GZA's 'Cold World', Ghost's 'Yolanda's House' and his own 'Ice-Cream' Street laced with fear, loathing, death and spectres. If you want a record to posture to look elsewhere, if you want an evocative take on modern day inner-city USA step right this way.

How can Hip-Hop be dead if Wu-Tang is forever?

This video's gotta be seen to be believed. HUGE new track from Raekwon the Chef, taken from the long awaited Only Built 4 Cuban Linx Vol. II. Can't embed but check it here

Full review to come

Liverpool Heads Up

Back for another round, Liverpool's biggest/freshest of a reggae come dubstep night TAKEOVER returns on Friday October 2nd at the Zanzibar Club on Duke Street. Featuring Rinse FM's very own Syncro b2b with Indigo , Leeds 2-step duo Submerse, Double and Heala, Redshift Sounds and top boy Organik this promises to be a night of epic proportions.

Terror Danjah- Industry Standard Vol. IV

Whilst the whole world (or at least the world of London pirates, blogs and music ‘zines) seems to be going crazy for Hyph Mngo this week sees the release of an equally impressive and perhaps more important record from the ‘nuum. Straight from Planet Mu is Terror Danjah’s ‘Industry Standard vol. IV’. Danjah is regarded as possibly the best grime producer of all time, bringing a ridiculous amount of synaesthesia enduing sonic sounds to his take on grime. This release features 2 reworkings of the essential ‘Zumpi Hunter’ riddim a track that’s received coverage from across the board, becoming a staple of sets by Logan Sama, Prancehall, Spyro etc.

The first version is an updated V.I.P mix, featuring superior mastering showing the true depth of production. The second mix comes from Swindle and is very much in keeping with the current trend for Bristol’s ‘Purple Wow’ sound. This sublime mix adds vibrancy and a deeper melody to the synths, inducing the listener in before launching into a crucial breakdown loaded with 808 claps. Though redolent of Joker, Gemmy etc this track stands alone in taking ‘Purple’ back to its grimiest origins and displays versatility making it perfect in the dance or at home.

The B side comes loaded with two new riddims. ‘Stealth Mode’ is a dubstep influenced banger where nasty bass lines meet intimidating percussion. Though plastic thugs like Caspa try to sound menacing they seldom (if ever) reach the intensity of Danjah’s production as displayed here. ‘Sidechain’ is simply a hidden gem. Taking a tough 4x4 beat and loading it with synth stabs and LFO effects Danjah produces a hypnotising track complete with a multiple of 4 bar break downs. It’s an emboldening track that sounds not unlike Dexplicit jamming with the Neptunes- heavy but simultaneously well-made, hedonistic and uplifting.

Whilst Joy Orbison will no doubt get the column inches Terror Danjah has quietly released 4 astute tracks of intelligent urban dance music. Well recommended.

Stealth Mode
Zumpi Hunter (V.I.P Mix)

Techno Road Documentary Mark II

News just in that Swiss/Chilean uber-producer Luciano will, like sometime collaborator an long-term friend Ricardo Villalobos, be releasing a film. Unlike Vilallobos Luciano will be giving away his effort for free to in special edition copies of his forthcoming 'Tribute to the Sun' album. The movie (directed by Raphaela Sibilla) clocks in at just under an hour and chronicles Luciano's recent tour of South America.

Check the trailer: