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Thread: top piece from Blackdown on Pitchfork

  1. #1
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    Default top piece from Blackdown on Pitchfork

    Last edited by appleblim; 26-05-2005 at 07:57 PM.

  2. #2
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    yep he's quite right about the dmz night i can't wait till the next one.
    it's really kick started a real sense of optimism about this music and a great deal of other stuff at the moment and i'm so excited i can hardly sleep at night.
    his latest blog entry about scenes and mixing it up is excellent too. http://www.blackdownsoundboy.blogspot.com/

    btw have you heard the new terror danjah 12"s - they are soooo goooood, taking on so many evolutions and quantum leaps so naturally as are the dmz boys in other directions.

    and the jam pie record by wiley - fuck me its insanely good, so catchy and very lovely.

    also on a hybrid tip, any one heard that 7" by various productions called hater?
    it takes a kind of skeletal dubwise dubstep kinda bassline as its main riff with a gentle female souly/folky vocal, basically singing about how she's not perfect and quite nasty and whoever its aimed at can fuck off, as a vocal its got strange parallels with the merking side of grime but thru the lens of a male female relationship. its a bit like a lo fi devil mix in a sense.
    it's boss.

  3. #3
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    Various Productions as in the Chain Reaction dude?

  4. #4
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    Quote Originally Posted by Blackdown
    Various Productions as in the Chain Reaction dude?
    no it seems it's a cartel of producers under one name, quite an exciting concept in itself.

  5. #5
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    what a brilliant article.

    excellent work.
    GIGS: 3/21 - GourmetBeats Radio
    AFFILIATIONS: BreaksFM | GourmetBeats | 2CharmingCrew | DubWar NYC

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    Wiley didn't make "Jam Pie"

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    that ep with a wiley mix and the 2 extra tracks including the riddim to neckle - that one - is that wiley - it's wicked

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    The side with 2 instrumentals are both by wiley.

    Murkle Man instrumental and a tune called Tunnel Vision.

    The other side is produced by Lewi White and vocalled by Ruff Sqwad and guests.

  9. #9
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    i thought the piece was really good and accurate, but i dunno, the idea that grime cant be moved onto the album format without losing what makes it so good on pirates is a bit cynical i thought, seeing as boy in da corner did a pretty good job of it, without making blatant concessions to hip hop. also, i dont think theyre selling out per se, and even though they might have taken it upon themselves to go in their new direction, it doesnt mean its less of a compromise, even if it is self inflicted. i find it a tad dissapointing personally in light of the stuff both wiley and kano were saying prior to the album coming out that they wouldnt go a more commercial or at least, a more well-trodden path when their albums came out. also, the idea that they couldnt sonically assault the top 40 with innovative grime tunes (i dont need it to be aggi really or full of gun talk) when i luv u and stand up tall both got in the top 10 and top 30 respectively doesnt seem to add up. hopefully kano and roll deep will do well (kanos album is easily the more interesting of the two), but the issue of whether the doors wil later stay open or shut to them seems to suggest that the doors are only going to be open for those who basically make more standardised, or at least more tried and tested hip-hop.

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    Grime can be moved into an album format but you need a handful of tracks with a far less abrasive sound and therefore a more widespread appeal.

    It is a softly softly process.

  11. #11
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    Quote Originally Posted by Logan Sama
    Grime can be moved into an album format but you need a handful of tracks with a far less abrasive sound and therefore a more widespread appeal.

    It is a softly softly process.
    i know it was over 15 years ago, but did public enemy need a less abrasive sound to have widespread appeal?
    or more recently, boy in da corner was varied, modern, brand new, pretty abrasive, raw, uncompromised etc etc etc and still sold pretty well for what it was. and more than sales and pop chart positions, its made dizzee kind of a worldwide ambassador for grime, he gets to tour the globe, is respected by most, and gets to make whatever music he wants and has a career now.

    im thinking that maybe some grime MCs just want to be popstars if all they want is widespread appeal by any means necessary. i dont get how people diss R&G for watering grime down cos theyre worried it will go commercial and soon enough grime MCs wont be interested in the hardcore stuff, yet theyre ok with the MCs making softer (or less/non-grime) music themselves and musically leaving the scene behind. its weird, i read interviews with various grime artists and none of them seem to want to claim part of grime, theyre all 'im not a grime artist, dont call me a grime artist!' im starting to wonder if anyone actually likes the music theyre making!
    Last edited by gumdrops; 27-05-2005 at 02:17 PM.

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    Public Enemy were a gimmick act signed up by an established label which dealt exclusively with Hip Hop. There are no Grime labels.

    The Roll Deep and Kano albums, if we are going to use Hip Hop parallels are akin to Sugar Hill Gang and Grandmaster Flash. So wait a few years before you can shift into the EPMD, NWA, Public Enemy era

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    And the 2 most "successful" tracks from Boy In Da Corner were both pretty generic Hip Hop beats.

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    Quote Originally Posted by gumdrops
    i read interviews with various grime artists and none of them seem to want to claim part of grime, theyre all 'im not a grime artist, dont call me a grime artist!' im starting to wonder if anyone actually likes the music theyre making!
    Mind if you tell me who you saw say that?

  15. #15
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    calling PE a gimmick act: sacrilege!

    there needs to be some grime labels.

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