grimey hip hop??
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Preppy Raver
- eNation crew
- Posts: 1131
- Joined: Jan 19 2003 07:34 pm
- Location: With him.
-
Preppy Raver
- eNation crew
- Posts: 1131
- Joined: Jan 19 2003 07:34 pm
- Location: With him.
-
Preppy Raver
- eNation crew
- Posts: 1131
- Joined: Jan 19 2003 07:34 pm
- Location: With him.
If you like the streets and are looking for something very differant but still UK check this out. http://www.breakbeat.co.uk/player/simple.asx?ID=8338
You may have to cut and paste the link into WMP...
You may have to cut and paste the link into WMP...
dandmantra wrote:PS. I think you're both asshats. carry on with your pissing match.
I just thought of a few more that you should check out.
Dizzee Rascal
Wiley
Bruza
Sticky
I have not heard the last two. My freind Keven is in the UK right now on tour with his live IDM show. This is the type of stuff that is non-US but still big. Dizzee Rascal not bad. I am wish that I could help a bit more but that is not really my style of hip hop...
Dizzee Rascal
Wiley
Bruza
Sticky
I have not heard the last two. My freind Keven is in the UK right now on tour with his live IDM show. This is the type of stuff that is non-US but still big. Dizzee Rascal not bad. I am wish that I could help a bit more but that is not really my style of hip hop...
dandmantra wrote:PS. I think you're both asshats. carry on with your pissing match.
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Guest
Roll Deep Crew
Lady Sovereign
Wiley
Kano
found this on a blog hope it helps
ey, I’m Simon from silverdollarcircle blog and below are 10 grime tracks that you should own. They’re not necessarily my favourite grime tracks, but rather a selection that should give those who have heard little or no grime a good idea of where grime’s coming from and where it’s going.
Grime is very much a London sound at the moment, growing out of UK garage, and it can be seen as the result of teenagers trying to create a music that combines the tempo of UKG with other musical obsessions: crunk and dirty south hip-hop, the riddim culture of dancehall and the white-heat insanity of jungle. At its best, grime is the pretty much the most fiercely inventive, raw and exciting music around: a music of careening rhythm and noise with breakneck-speed MCs furiously and joyfully tearing into the tracks.
You’ll note that there’s no Dizzee Rascal in the guide below. His music is easily available and can be uniformly recommended.
PAY AS U GO CARTEL- KNOW WE
There’s some debate as to whether this is actually grime or not. Certainly, the beats owe something to early 21st Century So Solid dark, “tower block” 2-step, but for sheer influence on the grime scene this track has to be included. PAUG are still spoken of in awe as perhaps the greatest MC crew ever to come out of London. The members all went on to great things: Wiley, MC in PAUG, is now the undisputed Godfather of the grime scene, and fellow MCs God’s Gift and Maxwell D are also major players, while DJ Slimzee could, before he moved away from grime in 2003, determine the fate of new grime tracks by deciding whether or not to play them on his weekly show on London pirate Rinse FM. “Know We” was one of the biggest PAUG tunes, and still gets played frequently on cutting edge grime pirates. With this track, a complete and lasting break was made with the glossy sensuality of 2-step, as a crude, punk sound, revelling in harsh noise and killer riffs emerged. It’s an awesome statement of intent, with God’s Gift singing the hook like a battle cry over a mercilessly strident string sample. This is an absolutist sound, a sound of no compromise and total conviction, which seems to burn out of the speakers. It’s vital and lurid, with the MCs spitting lyrics so fast they don’t ever seem to pause for breath. Wiley has never sounded better, and delivers his final line with a never-since-matched level of focus and belief, “My time’s near or a wouldn’t be here, phase one, first stage of my career”.
WILEY- ESKIMO
Wiley’s self-prophesy was proved correct as he went on to produce what is, it’s fairly uncontroversial to say, the definitive grime riddim. “Eskimo” is one of those tunes that has an anthemic, unforgettable quality about it that means that everyone falls in love with it when they hear it, or at least acknowledges that they’re in the presence of Something Special. Eskimo is like the “Smells Like Teen Spirit” of grime. And like, “Teen Spirit” it’s based around one of the greatest riffs ever. I think it’s important to see that grime is, very often, a riff-based music, which sets it apart from hip-hop, jungle and dancehall, and perhaps reflects the influence of early 90’s UK and Belgian hardcore echoing down the London pirate sound. “Eskimo”’s riff is an almighty one-finger, 4 note stomp, that introduced the famous “Wiley bass” to the world. A plastic, hollow, weirdly textureless whump, that’s been likened to the sound of blowing over the top of a bottle, it’s still one of grime producers’ favourite sounds. Wiley pushes and twists the riff into wildly different keys, creating a sense of forward momentum that’s like a ghetto “In the Hall of the Mountain King”. The beats are minimal clinks and clunks that frame the riff rather than lead the track. Perhaps the oddest moment is the breakdown where the beats and the riff drop out as a sliced up Oriental melody comes twanging in, over robotic murmurs and sighs. “Eskimo” blew the rules apart and created an environment where just about anything goes, musically.
MORE FIRE CREW- OI
“Oi” was one of the first grime MC tracks, and also its biggest commercial hit to date. The MCing isn’t the best, with all three of More Fire sounding strangely awkward, and there’s little indication of the great things that Lethal B would go on to in this track (he’s now one of the very best grime MCs). But there’s still something addictive about this track, in its militant synth line that manages to sound somehow gloopy and elastic, yet taut and wiry. And the cold, dislocated sampled “hey’s” achieve the same odd trick of “In Da Club”, by making the groove so irresistible precisely because it sounds so alienated, inhuman and colourless.
KANO AND JAMMER- VICE VERSA aka BOYS LUV GIRLS
“Boys Luv Girls” was the pirate anthem last summer and made Kano one of the biggest MCs in grime. Jammer produces one of his best ever tracks here, a heavenly soft pop-ambient chamber piece of brittle beats and clicks, with a delightful, joyfully cartoonish melody in the chorus. Imagine Warp Record’s Plone trying to write a “bubblecrunk” tune. Everyone fell in love with Kano’s voice when they heard this track. He sounds like he’s rapping through a smirk, but he’s so smoothly charming with it. I don’t think his voice has sounded so light and agile since. The garbled chorus manages to be mind-melting in its verbal dexterity while remaining as catchy as the Venga Boys. And check those lyrics: “OK, it’s a date, I ain’t payin’ though!”, and the pantomime sigh of “It’s a shame I know the game / And every girl’s the same”! As Kanye might say: why’s Kano so cool? Cuz he’s an asshole.
J-SWEET- GUTTER
One of the best ever true 8-bars (in which there are two alternating beats, repeated for 8 bars each). From the opening screech of the alarm siren, you know it’s going to be hardcore. Then that brutalist one-note stutter comes pummelling in, buzzing like a thousand starving locusts, and things kick off properly in gabba-garridge fashion. The other 8-bar sequence is a nicely dark piece of drum n bass-ish gelatinous synth but really, it’s just there to build up anticipation for the other, more mentalist, beat to come in. A slice of the really nasty, adrenalin crazed side of grime. Love it like cooked food.
NASTY CREW FEAT. RIKO AND CRAZY TITCH-COCK BACK
Grime often has a fairly pornographical obsession with firearms, and “Cock Back” is perhaps the ultimate gun-man tune. Terror Danjah of Aftershock Recordings is on the buttons, producing a skeletal beat made from the sound of guns firing and, uh, cocking back. An irregular, bitty synth line sounds like it’s showering down on the track in little droplets of melody that keep suggesting and hinting at a tune which, tantalisingly, always stays just out of reach. Riko takes the hook, and I’ve never heard an MC sound so frighteningly, thrillingly, authoritative as he does when he spits, “In East London we COCK BACK!”. His verse is also perhaps the most perfect bit of Grime MCing you’ll ever hear.
LETHAL B ETC.-FORWARD RIDDIM
After being dropped from their major label deal in 2003, the members of More Fire returned to the underground and started to become a pretty much inescapable presence on London pirate radio. In this period, Lethal B went from being a fairly good MC, the best in More Fire, to being one of the best of any crew. Setting up his own record label, Lethal Bizzle Records, his first release was the “Forward Riddim”, which is probably the biggest grime track since “Eskimo”. Apparently, DJs at this year’s Notting Hill Carnival couldn’t play more than 4 bars of it, as the crowd near-rioted whenever it came on. It’s grime distilled to its purest essence: the 808 handclaps which have been a grime staple since Youngstar’s “Pulse X” are stapled together into a bare-bones beat, with an ultra-minimal melody of string stabs laid over the top. However, “Forward” has a manic, feral energy about it that prevents it from being just a dull, formulaic genre-exercise. The MCs: D Double, Nappa, Flo-dan, Jamakabi and Lethal B himself amongst others, each deliver a few bars of their best known, most crowd-hyping lyrics then pass the mic on quickly. This is perhaps the best-recorded example of what a live grime MC pirate show sounds like: hysterically angry, thick with testosterone, and totally compelling.
D DOUBLE AND SHOLA AMA- SO CONTAGIOUS
Grime isn’t just angry boys shouting over clattering beats, though. There’s a softer, R & B influenced, side to it that’s been called “Grimette” and is spearheaded by Terror Danjah of Aftershock and Davinche of Paperchase Recordings. Here, Terror does his trademark futuristic shiny but grimey production thing, sounding like El-P raised on dub and rave. Synth lines swoop, twist and curl round each other like post-coital cigarette smoke, while the grimey edginess is kept in view by the metallic, clinking delay applied to those crunching beats which always remind me of walking in the snow. Shola Ama is a fantastic on here as always, sticking to the tune and not doing the hateful Mariah-warble like so many R & B singers. And that moment where the music drops out and she sighs, “onhhhh”, like she’s both trying to regain composure and throwing herself straight in to love and passion is probably the sexiest thing you’ll hear all year (on record that is, what you get up to in your private life is your business). And the mighty D Double’s on it as well. What more can you ask for?
RUFF SQWAD- MISTY COLD and MISTY COLD RMX
Really, you should get every Ruff Sqwad release ever, as they’re all amazing. On their latest tunes, producers Rapid and Dirty Danger (who are also pretty tidy MCs) have created hyper-dense electro-grime symphonies of sweeps and swirls of heartbreaking melody. “Misty Cold” is an old Ruff Sqwad track, and quite different than their recent output, but it’s still one of my favourite grime riddims ever. Its genius is in its harmonious simplicity and willingness to use sounds that others would reject: just an insanely danceable accordion (I think) riff, with a few icicles of a descending piano line. There’s something so perfectly formed and graceful about it: this track is haiku-grime. There’s also a remix out, although I’m not sure who’s done it, which transforms “Misty Cold” into a downbeat, crushingly and upliftingly sad piece, with a hazy, sobbing piano melody forming the broken centrepiece.
RIKO and TARGET- CHOSEN ONE
There’s a sub-genre within grime of inspirational, conscious tracks focusing on self-belief and self-reliance. “Chosen One” is probably the best of these, with other examples being Wiley’s “Pick Yrself Up” and Roll Deep’s “I Will Not Lose”. Producer DJ Target, of Roll Deep, performs a strange trick on this track, where it sounds very lush, thick, even orchestral, but if you listen closely there’s actually very little going on: just a few sketches of intersecting samples of synth and string-led melody, which suggest a much fuller sound, leaving your mind to fill in the gaps. The tune also has a wicked shimmery, delicate quality, sounding like it could fall apart at any moment into a million diamonds of sound. Riko hits you deep with the chorus of, “Stay calm, don’t switch your composure blud / Use your head then battle through cuz you know you’re the chosen one”. Total belief and determination. And it also features one of my favourite lyrics ever: “Soon gonna see me on satellite / On Saturday / On Saturnight…wait, Saturnight, that ain’t right / But I told you before I’ll say what I like!”. Kids should study Riko in school
Lady Sovereign
Wiley
Kano
found this on a blog hope it helps
ey, I’m Simon from silverdollarcircle blog and below are 10 grime tracks that you should own. They’re not necessarily my favourite grime tracks, but rather a selection that should give those who have heard little or no grime a good idea of where grime’s coming from and where it’s going.
Grime is very much a London sound at the moment, growing out of UK garage, and it can be seen as the result of teenagers trying to create a music that combines the tempo of UKG with other musical obsessions: crunk and dirty south hip-hop, the riddim culture of dancehall and the white-heat insanity of jungle. At its best, grime is the pretty much the most fiercely inventive, raw and exciting music around: a music of careening rhythm and noise with breakneck-speed MCs furiously and joyfully tearing into the tracks.
You’ll note that there’s no Dizzee Rascal in the guide below. His music is easily available and can be uniformly recommended.
PAY AS U GO CARTEL- KNOW WE
There’s some debate as to whether this is actually grime or not. Certainly, the beats owe something to early 21st Century So Solid dark, “tower block” 2-step, but for sheer influence on the grime scene this track has to be included. PAUG are still spoken of in awe as perhaps the greatest MC crew ever to come out of London. The members all went on to great things: Wiley, MC in PAUG, is now the undisputed Godfather of the grime scene, and fellow MCs God’s Gift and Maxwell D are also major players, while DJ Slimzee could, before he moved away from grime in 2003, determine the fate of new grime tracks by deciding whether or not to play them on his weekly show on London pirate Rinse FM. “Know We” was one of the biggest PAUG tunes, and still gets played frequently on cutting edge grime pirates. With this track, a complete and lasting break was made with the glossy sensuality of 2-step, as a crude, punk sound, revelling in harsh noise and killer riffs emerged. It’s an awesome statement of intent, with God’s Gift singing the hook like a battle cry over a mercilessly strident string sample. This is an absolutist sound, a sound of no compromise and total conviction, which seems to burn out of the speakers. It’s vital and lurid, with the MCs spitting lyrics so fast they don’t ever seem to pause for breath. Wiley has never sounded better, and delivers his final line with a never-since-matched level of focus and belief, “My time’s near or a wouldn’t be here, phase one, first stage of my career”.
WILEY- ESKIMO
Wiley’s self-prophesy was proved correct as he went on to produce what is, it’s fairly uncontroversial to say, the definitive grime riddim. “Eskimo” is one of those tunes that has an anthemic, unforgettable quality about it that means that everyone falls in love with it when they hear it, or at least acknowledges that they’re in the presence of Something Special. Eskimo is like the “Smells Like Teen Spirit” of grime. And like, “Teen Spirit” it’s based around one of the greatest riffs ever. I think it’s important to see that grime is, very often, a riff-based music, which sets it apart from hip-hop, jungle and dancehall, and perhaps reflects the influence of early 90’s UK and Belgian hardcore echoing down the London pirate sound. “Eskimo”’s riff is an almighty one-finger, 4 note stomp, that introduced the famous “Wiley bass” to the world. A plastic, hollow, weirdly textureless whump, that’s been likened to the sound of blowing over the top of a bottle, it’s still one of grime producers’ favourite sounds. Wiley pushes and twists the riff into wildly different keys, creating a sense of forward momentum that’s like a ghetto “In the Hall of the Mountain King”. The beats are minimal clinks and clunks that frame the riff rather than lead the track. Perhaps the oddest moment is the breakdown where the beats and the riff drop out as a sliced up Oriental melody comes twanging in, over robotic murmurs and sighs. “Eskimo” blew the rules apart and created an environment where just about anything goes, musically.
MORE FIRE CREW- OI
“Oi” was one of the first grime MC tracks, and also its biggest commercial hit to date. The MCing isn’t the best, with all three of More Fire sounding strangely awkward, and there’s little indication of the great things that Lethal B would go on to in this track (he’s now one of the very best grime MCs). But there’s still something addictive about this track, in its militant synth line that manages to sound somehow gloopy and elastic, yet taut and wiry. And the cold, dislocated sampled “hey’s” achieve the same odd trick of “In Da Club”, by making the groove so irresistible precisely because it sounds so alienated, inhuman and colourless.
KANO AND JAMMER- VICE VERSA aka BOYS LUV GIRLS
“Boys Luv Girls” was the pirate anthem last summer and made Kano one of the biggest MCs in grime. Jammer produces one of his best ever tracks here, a heavenly soft pop-ambient chamber piece of brittle beats and clicks, with a delightful, joyfully cartoonish melody in the chorus. Imagine Warp Record’s Plone trying to write a “bubblecrunk” tune. Everyone fell in love with Kano’s voice when they heard this track. He sounds like he’s rapping through a smirk, but he’s so smoothly charming with it. I don’t think his voice has sounded so light and agile since. The garbled chorus manages to be mind-melting in its verbal dexterity while remaining as catchy as the Venga Boys. And check those lyrics: “OK, it’s a date, I ain’t payin’ though!”, and the pantomime sigh of “It’s a shame I know the game / And every girl’s the same”! As Kanye might say: why’s Kano so cool? Cuz he’s an asshole.
J-SWEET- GUTTER
One of the best ever true 8-bars (in which there are two alternating beats, repeated for 8 bars each). From the opening screech of the alarm siren, you know it’s going to be hardcore. Then that brutalist one-note stutter comes pummelling in, buzzing like a thousand starving locusts, and things kick off properly in gabba-garridge fashion. The other 8-bar sequence is a nicely dark piece of drum n bass-ish gelatinous synth but really, it’s just there to build up anticipation for the other, more mentalist, beat to come in. A slice of the really nasty, adrenalin crazed side of grime. Love it like cooked food.
NASTY CREW FEAT. RIKO AND CRAZY TITCH-COCK BACK
Grime often has a fairly pornographical obsession with firearms, and “Cock Back” is perhaps the ultimate gun-man tune. Terror Danjah of Aftershock Recordings is on the buttons, producing a skeletal beat made from the sound of guns firing and, uh, cocking back. An irregular, bitty synth line sounds like it’s showering down on the track in little droplets of melody that keep suggesting and hinting at a tune which, tantalisingly, always stays just out of reach. Riko takes the hook, and I’ve never heard an MC sound so frighteningly, thrillingly, authoritative as he does when he spits, “In East London we COCK BACK!”. His verse is also perhaps the most perfect bit of Grime MCing you’ll ever hear.
LETHAL B ETC.-FORWARD RIDDIM
After being dropped from their major label deal in 2003, the members of More Fire returned to the underground and started to become a pretty much inescapable presence on London pirate radio. In this period, Lethal B went from being a fairly good MC, the best in More Fire, to being one of the best of any crew. Setting up his own record label, Lethal Bizzle Records, his first release was the “Forward Riddim”, which is probably the biggest grime track since “Eskimo”. Apparently, DJs at this year’s Notting Hill Carnival couldn’t play more than 4 bars of it, as the crowd near-rioted whenever it came on. It’s grime distilled to its purest essence: the 808 handclaps which have been a grime staple since Youngstar’s “Pulse X” are stapled together into a bare-bones beat, with an ultra-minimal melody of string stabs laid over the top. However, “Forward” has a manic, feral energy about it that prevents it from being just a dull, formulaic genre-exercise. The MCs: D Double, Nappa, Flo-dan, Jamakabi and Lethal B himself amongst others, each deliver a few bars of their best known, most crowd-hyping lyrics then pass the mic on quickly. This is perhaps the best-recorded example of what a live grime MC pirate show sounds like: hysterically angry, thick with testosterone, and totally compelling.
D DOUBLE AND SHOLA AMA- SO CONTAGIOUS
Grime isn’t just angry boys shouting over clattering beats, though. There’s a softer, R & B influenced, side to it that’s been called “Grimette” and is spearheaded by Terror Danjah of Aftershock and Davinche of Paperchase Recordings. Here, Terror does his trademark futuristic shiny but grimey production thing, sounding like El-P raised on dub and rave. Synth lines swoop, twist and curl round each other like post-coital cigarette smoke, while the grimey edginess is kept in view by the metallic, clinking delay applied to those crunching beats which always remind me of walking in the snow. Shola Ama is a fantastic on here as always, sticking to the tune and not doing the hateful Mariah-warble like so many R & B singers. And that moment where the music drops out and she sighs, “onhhhh”, like she’s both trying to regain composure and throwing herself straight in to love and passion is probably the sexiest thing you’ll hear all year (on record that is, what you get up to in your private life is your business). And the mighty D Double’s on it as well. What more can you ask for?
RUFF SQWAD- MISTY COLD and MISTY COLD RMX
Really, you should get every Ruff Sqwad release ever, as they’re all amazing. On their latest tunes, producers Rapid and Dirty Danger (who are also pretty tidy MCs) have created hyper-dense electro-grime symphonies of sweeps and swirls of heartbreaking melody. “Misty Cold” is an old Ruff Sqwad track, and quite different than their recent output, but it’s still one of my favourite grime riddims ever. Its genius is in its harmonious simplicity and willingness to use sounds that others would reject: just an insanely danceable accordion (I think) riff, with a few icicles of a descending piano line. There’s something so perfectly formed and graceful about it: this track is haiku-grime. There’s also a remix out, although I’m not sure who’s done it, which transforms “Misty Cold” into a downbeat, crushingly and upliftingly sad piece, with a hazy, sobbing piano melody forming the broken centrepiece.
RIKO and TARGET- CHOSEN ONE
There’s a sub-genre within grime of inspirational, conscious tracks focusing on self-belief and self-reliance. “Chosen One” is probably the best of these, with other examples being Wiley’s “Pick Yrself Up” and Roll Deep’s “I Will Not Lose”. Producer DJ Target, of Roll Deep, performs a strange trick on this track, where it sounds very lush, thick, even orchestral, but if you listen closely there’s actually very little going on: just a few sketches of intersecting samples of synth and string-led melody, which suggest a much fuller sound, leaving your mind to fill in the gaps. The tune also has a wicked shimmery, delicate quality, sounding like it could fall apart at any moment into a million diamonds of sound. Riko hits you deep with the chorus of, “Stay calm, don’t switch your composure blud / Use your head then battle through cuz you know you’re the chosen one”. Total belief and determination. And it also features one of my favourite lyrics ever: “Soon gonna see me on satellite / On Saturday / On Saturnight…wait, Saturnight, that ain’t right / But I told you before I’ll say what I like!”. Kids should study Riko in school
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Sleazemore
- Househead
- Posts: 52
- Joined: May 23 2002 07:48 pm
- Location: SanFrancisco, Berlin
-
Preppy Raver
- eNation crew
- Posts: 1131
- Joined: Jan 19 2003 07:34 pm
- Location: With him.