kano - new album 'london town'
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*sigh* "Educate yourself," yourself Mr Cheerful.
Look back at what I said again Logan. I said the mixtape was designed for "grime fans", not that it was his "grime mixtape". Ie it was a mixtape aimed at his underground fanbase through underground channels, not his video-backed, Craig David-featuring main 679/Warners album-fanbase.
I can tell this "not grime" issue is your big fight right: I just wandered into it - you mention the issue with every MC that comes on your show. And I can see why: you're a grime DJ who wants to beatmix so hip hop records at a lower tempo are no use to you in clubs. The thing is the rest of the grime audience and acts dont care as much as you (otherwise the MCs wouldnt do it).
Thing is, the genre's primary medium is now mixtapes and second radio (and only really Kiss and Rinse represent). Clubs are a lowly third, which means the focus on tempo and danceable energy is reduced.
Also the argument is so futile, it's hair splitting.
Grime MC + grime producer @ 140 = definitely grime
US MC + US beat @ 100 (or whatever) = definitely hip hop
But what about the middleground? this is where is becomes futile.
What about when Dizzee and Wiley did slower grime tunes, like "U Were Only"? ie "wrong" tempo?
What about when the production doesn't sound like "grime?" Ie Scorcher's Sandpit or Goodz' version of a Coki beat?
And if Kano's comeback single with Craig David isn't grime, so why are you opening your shows with it?
To me this all comes back to the moment Dizzee and Wiley said "we're not MCs, we're artists". At this point grime became a culture not just music. If you choose see it as a community and not just music as then things are much clearer. Large parts of "Boy in Da Corner" might be at different tempos, but they're still part of grime.
And as you say "Black boy from london rapping DOES NOT equal Grime" - I agree. But if you see grime as a culture, then you can distinguish grime from UK hip hop, as it's a member of the grime community MCing versus the backpack brigade.
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i disagree that grime fans dont care about the artists not making grime. just look at all the posts on the rwd forum over the years about the subject. its not just people on dissensus that are bothered about this.
theres always going to be a bit of a gap between what the artists think of what theyre doing vs the fans (esp hardcore fans) but to say that 'the real grime fans and artists' dont even consider this argument seems a bit false - theyre both conscious of it.
artists just 'diversify' cos they wanna prove they can 'do it all' and cos the model of album making in hip hop over the last ten years has been one of 'something for everyone' (ie more chance of commercial success) while the fans want the artists to make something that sounds different to whats already out there.
lots of artists have commented on people making 'hip hop sounding' tunes though, from plasticman to skepta. and the reason i think its such a bugbear for a lot of people is cos in the beginning grime artists would slate uk hip hop artists for that sort of thing, but then just do it themselves.
but yeah, it *can* be a tricky line to negotiate - what is grime and what isnt. but sure, BIDC had slower songs, but they were still using post-garage sounds, not really using familiar hip hop rhythms, etc.
theres always going to be a bit of a gap between what the artists think of what theyre doing vs the fans (esp hardcore fans) but to say that 'the real grime fans and artists' dont even consider this argument seems a bit false - theyre both conscious of it.
artists just 'diversify' cos they wanna prove they can 'do it all' and cos the model of album making in hip hop over the last ten years has been one of 'something for everyone' (ie more chance of commercial success) while the fans want the artists to make something that sounds different to whats already out there.
lots of artists have commented on people making 'hip hop sounding' tunes though, from plasticman to skepta. and the reason i think its such a bugbear for a lot of people is cos in the beginning grime artists would slate uk hip hop artists for that sort of thing, but then just do it themselves.
but yeah, it *can* be a tricky line to negotiate - what is grime and what isnt. but sure, BIDC had slower songs, but they were still using post-garage sounds, not really using familiar hip hop rhythms, etc.
Logan Sama
BestThereIsAtWhatIDo
You really have no grasp of what Grime is. At all.
Garage is a bpm. Grime is not a bpm. I dropped the bpm restriction 4 years ago when I got the 1st Dizzee album. I've said it in many many interviews as well. So educate yourself.
If you were implying that Kano was appeasing his Grime fans with a mixtape with 2 Grime tunes on it, then either he is an idiot or you are. I'd probably give Kano the benefit of the doubt, because he actually knows what the Grime audience wants. You never have.
Large parts of Boy In Da Corner and Treddin On Thin Ice are outside of the 135-145 bpm bracket. Some of those tracks are still Grime. Some aren't. Grime is not a tempo. Never has been. Do you listen to my show? Do you listen to my interviews with people like Bashy and Wretch 32 when we spent a good 10 minutes discussing producers exploring different tempos?
Grime is not a BPM. A lot of it is built around a certain BPM, but making music at that BPM and spitting on it does not make it Grime. This Is The Girl is 139bpm. It is not Grime. Wifey Riddim is 143bpm. It is not Grime. Kanye West and Neptunes have made beats played by Grime DJs on sets and vocalled for freestyles by MCs around the 140bpm mark. They are not Grime tunes.
Loads of people are incredibly vocal about artists making "bait hip hop". Educate yourself. I even have to defend certain artists and certain tracks which have other influences in them but are still Grime from many people who bemoan "bait hip hop".
Scorcher's Sandpit track is a hip hop beat. Coki's track is most definitely not Grime. Although it is part of a number of Dubstep tunes which are very reminiscent of Grime. That is why people say nothing about people vocalling Dubstep. The scenes are brother and sister.
Grime artists can vocal any beat. But just because a Grime artist vocals it, does not make it a Grime tune. 2 of the tracks on Kano's mixtape are Grime. And that has nothing to do with the BPM.
You really really don't understand Grime. You never have displayed anything in any of your work that I have read that indicates that you grasp either the culture or the music. Even down the embarrassing use of slang in your Roll Deep article. Garage; I know you do. Dubstep; I know you do. Grime; I think you are lost. And saying this mixtape in ANY way appeases Kano's 'Grime fans' further enforces that belief in me.
You can distinguish the artist based on their origins, the channels they have come to the publics' attention and their back catalogue. You cannot distinguish a piece of music as Grime just because of who vocals it. That is the most ridiculous thing I have ever heard.
Kano's album sampler also has no Grime on it. But then that was to be expected because there is only 2 Grime tracks on his "underground" mix CD. I put underground in quotation marks because the artists who originally vocalled those beats sold more albums than most major label acts in this country sell.
Do you even listen to my show? Why do I open my show with This Is The Girl? Have a listen to my show and then answer the queston for yourself. You know, after you educate yourself. Cheers
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Noah Baby Food
Well-known member
I was going to write a long reply here, or be facetious here, but there's no point. Suffice to say, putting this in the politest way possible, you came across REALLY BADLY there Logan. Having a sharp tongue sometimes means you end up cutting yourself.
Quite. I think what's always been one of the appeals of grime is that there aren't stringent requirements something has to meet to be it, you can just tell if something's grime or not. It doesn't necessarily have to be hard, or done in a certain tone, or at a certain tempo, it just has to be grime. I know that sounds abstract, but it's actually pretty clear when something's grime or merely made by grime artists (see 'Uptown Girl'). And yeah, there's going to be certain grey areas, but those exist in all forms of art.
Whether something's grime or not shoudn't be the main focus anyway, not when Kano (and this is hypothetical, rather than an opinion on his album as I haven't heard it yet) could make something that isn't grime and doesn't compromise the authenticity of the music. Whether it's any good or not should be.
Logan Sama
BestThereIsAtWhatIDo
Hook line and sinker into proving you actually don't know much about the music? Ok. Cool
I don't really mind how I come across. I merely come here to state facts about Grime music, and my opinions on other things.
If you would like a definition of exactly what Grime is then I shall do my best to give you one:
Grime music is a genre which has evolved from the sound pushed by the second generation of Garage producers. People like Wookie, So Solid, Deekline, Masterstepz and Groove Chronicles have all had big impacts on aspects of Grime music. As well as outside producers such as Zinc, Timbaland, Roni Size and any number of Dancehall producers
Many of the sonic aspects of Grime are things which have been done before in other genres. A good example of this would be the double time drum programing which was such a big part of Timbaland's productions in the mid 90's. However the often discordant combination of these influences has resulted in a music which has a distinct vibe and sound to it. With the emergence of stripped down instrumentals built for MCs of growing lyrical content, producers such as Wiley, Target, Danny Weed, Jammer were making beats in East London which were being played alongside productions from people from West London such as Jon E Cash and Musical Mob. As the style of minimal, looped up, dark Garage beats began with So Solid in South London, it is really a style of music which is not relegated to just East London as is often reported.
Whilst in modern music it is very difficult to develop a discernible style which is unique, I believe Grime has some characteristics which are commonplace. A majority of instrumentals are made within the 135-145bpm range, which is inherited from the music's roots in garage. Garage, as a dance music, is determined by the +-8% pitch adjust, ergo it must fall within a specific range. Whilst most Grime is marginally faster than Garage, it also mainly adheres to the functionality of residing within a certain bpm range so it is mathematically possible to mix the tracks into each other. However, with every characteristic of Grime, it is not essential that it holds true to this 'law'. There have been a number of tracks made, for example several tracks on Wiley's first album and some B Sides on white label releases, which are around the 160bpm mark but are still clearly made using all of the same signature Wiley sounds and played in the same style as his 140bpm beats.
Another characteristic of Grime has been the up-tempo, double-time drum programming. As with Garage, the predominance of energy present in beats makes for the musics great success in club venues. It also lends itself to encouraging the MCs to flow at incredibly fast speeds, rather than the laid back single-time stylings of many Hip Hop rappers who have vocalled tracks in the same bpm range. Again, double time drums are not essential. Wonder's track 'What' and Wiley's track 'Fire Hydrant' both are half-time drum patterns, yet are still clearly Grime tracks.
Synth driven melodies and big bass lines are often frequently visible in many of the most successful Grime records. Two of the most famous Bass samples used are the pre-set Fruity Loops bass 'JRBass' and the Korg Triton's 'Gliding Square'. These were both used extensively in the formative years of Grime by producers such as Skepta, Wiley, Jammer and Rapid. However there are many tracks around which are no driven by a Bass line, such as Ice Rink, No Bass and FWD Riddim.
Often, instead of a synth bass, producers frequently used 808 drum kits, which again came built into many producers' first software Fruity Loops, to give a bass note punch to their tracks. Dexplicit being one of the best examples of this.
Whilst a lot of Grime is entirely synth produced, many producers have draw on their own collection of Hip hop records and tried their hands at sampling. Whilst Wiley and Jammer were very crudely looping up entire 4 bars of songs back in 2002, today you have a younger generation of producers who have been inspired by people like Just Blaze and Kanye who attempt to use that chopped up 'Chipmunk' style of pitched up vocal samples and riffs. Whilst superficially they are similar techniques, often due to the limitations of equipment used (I know only one person in Grime who uses an MPC) we find different patterns and styles of sampling occurring. As with the drum programming, you will often hear the sample being used as a rapid attack weapon rather than a draw out smooth backdrop. Producers such as Virgo and Lowdeep have been most successful in using samples to make a different sound of energetic Grime music.
Your average Grime beat will be arranged in 8 bar loops, it will have a drop, it will have double time energetic drum programing, it will be driven by a bassline as well as drum pattern, it will use mainly synth sounds. However, not ALL of those are a requirement for a Grime track. What is, and is not a Grime production is entirely subjective on the listener and if enough triggers are fired in your brain from a track to remind you of Grime, or put you in the frame of mind similar to that of listening to Grime, then it is a Grime track. However, I often come across people claiming tracks to be Grime when they are merely oblivious to the sources of influence on the production. There are many young people who thought Skepta's Serious Thugs was an original production. There are many people who thought Still Tippin instrumental was a Grime tune. Many many people hear an MC spitting on a beat at 140bpm and assume it is Grime. Unless it has an obvious 4/4 kick drum pattern, which is very rarely used in Grime, it is easy to identify many tunes as Grime when in fact they are not.
So what is Grime? Grime to me is a production which evokes enough triggers in my mind to make me mentally place it next to other Grime records without any confusion or without enough influence from other genres to make me question whether the producer was simply trying to copy something he heard somewhere else.
Plastician's Still Tippin? A Grime mix of a Hip Hop tune. It is not an out and out Grime record.
Wifey Riddim? A Grime producer's attempt at making an RnB beat. It is not an out and out Grime record.
This Is The Girl? Again, a producers attempt at making an RnB beat. It is not an RnB record.
It is VERY dfficult for me to tell you what is a Grime beat and those rules apply to every Grime tune, because there is such a wide variety of styles. But if you know Grime, you know a Grime beat when you hear one. It's very distinctive next to most other genres of music. It is far easier to deal with beats on an individual basis, and this is what I try and do, and remain as consistent as possible.
If Grime has no sonic identity it just becomes something which doesn't really exist. It does just become a Community based music. And that would see the end of the recognition of the innovative style which was pioneered in this scene between 2001-2004. And to me that would be a tragic loss to the music world as it didn't even get the change to spread itself properly.
When I say something is or is not Grime, I am not judging the quality of the music, I am merely making a quantitative statement. Not a qualitative one. Kano's track with Craig David is a good record. It might be a bit middle of the road and very 'safe'. It has a complete lack of anything new, exciting or innovative to it. But none the less, for what it is, it is a good record. It will do exactly what it is made to do, and that is bring in people to buy his first single and then hopefully his album.
If anything Blackdown, I am always accurate and coherent. Especially when it comes to something which I have a knowledge of akin to the back of my hand. And whilst you began your argument stating "I am not getting into a debate about what is and isn't Grime", which CLEARLY implies you thought the mix CD was in fact Grime by the way, you ended it by attempting to deflect actual discussion on the points raised and began prattling on about bpms and how I want to be able to mix tunes.
My response to that clearly showed you that bpm never played any part in my decision about what is and is not Grime. My response coherently displayed that Kano's CD full of America hip hop beats and Neptunes sound alike productions garnished with 1 skepta beat and 1 Scandalous beat was in no way a Grime CD nor did it appease any of his Grime fans.
And whilst I have TREMENDOUS respect AND appreciation for all the hours of work you have put in writing about the music I dearly love, and being in a position to put said music in the pages of publications who would otherwise ignore it, that doesn't mean I actually think you know what you are talking about.
I don't really mind how I come across. I merely come here to state facts about Grime music, and my opinions on other things.
If you would like a definition of exactly what Grime is then I shall do my best to give you one:
Grime music is a genre which has evolved from the sound pushed by the second generation of Garage producers. People like Wookie, So Solid, Deekline, Masterstepz and Groove Chronicles have all had big impacts on aspects of Grime music. As well as outside producers such as Zinc, Timbaland, Roni Size and any number of Dancehall producers
Many of the sonic aspects of Grime are things which have been done before in other genres. A good example of this would be the double time drum programing which was such a big part of Timbaland's productions in the mid 90's. However the often discordant combination of these influences has resulted in a music which has a distinct vibe and sound to it. With the emergence of stripped down instrumentals built for MCs of growing lyrical content, producers such as Wiley, Target, Danny Weed, Jammer were making beats in East London which were being played alongside productions from people from West London such as Jon E Cash and Musical Mob. As the style of minimal, looped up, dark Garage beats began with So Solid in South London, it is really a style of music which is not relegated to just East London as is often reported.
Whilst in modern music it is very difficult to develop a discernible style which is unique, I believe Grime has some characteristics which are commonplace. A majority of instrumentals are made within the 135-145bpm range, which is inherited from the music's roots in garage. Garage, as a dance music, is determined by the +-8% pitch adjust, ergo it must fall within a specific range. Whilst most Grime is marginally faster than Garage, it also mainly adheres to the functionality of residing within a certain bpm range so it is mathematically possible to mix the tracks into each other. However, with every characteristic of Grime, it is not essential that it holds true to this 'law'. There have been a number of tracks made, for example several tracks on Wiley's first album and some B Sides on white label releases, which are around the 160bpm mark but are still clearly made using all of the same signature Wiley sounds and played in the same style as his 140bpm beats.
Another characteristic of Grime has been the up-tempo, double-time drum programming. As with Garage, the predominance of energy present in beats makes for the musics great success in club venues. It also lends itself to encouraging the MCs to flow at incredibly fast speeds, rather than the laid back single-time stylings of many Hip Hop rappers who have vocalled tracks in the same bpm range. Again, double time drums are not essential. Wonder's track 'What' and Wiley's track 'Fire Hydrant' both are half-time drum patterns, yet are still clearly Grime tracks.
Synth driven melodies and big bass lines are often frequently visible in many of the most successful Grime records. Two of the most famous Bass samples used are the pre-set Fruity Loops bass 'JRBass' and the Korg Triton's 'Gliding Square'. These were both used extensively in the formative years of Grime by producers such as Skepta, Wiley, Jammer and Rapid. However there are many tracks around which are no driven by a Bass line, such as Ice Rink, No Bass and FWD Riddim.
Often, instead of a synth bass, producers frequently used 808 drum kits, which again came built into many producers' first software Fruity Loops, to give a bass note punch to their tracks. Dexplicit being one of the best examples of this.
Whilst a lot of Grime is entirely synth produced, many producers have draw on their own collection of Hip hop records and tried their hands at sampling. Whilst Wiley and Jammer were very crudely looping up entire 4 bars of songs back in 2002, today you have a younger generation of producers who have been inspired by people like Just Blaze and Kanye who attempt to use that chopped up 'Chipmunk' style of pitched up vocal samples and riffs. Whilst superficially they are similar techniques, often due to the limitations of equipment used (I know only one person in Grime who uses an MPC) we find different patterns and styles of sampling occurring. As with the drum programming, you will often hear the sample being used as a rapid attack weapon rather than a draw out smooth backdrop. Producers such as Virgo and Lowdeep have been most successful in using samples to make a different sound of energetic Grime music.
Your average Grime beat will be arranged in 8 bar loops, it will have a drop, it will have double time energetic drum programing, it will be driven by a bassline as well as drum pattern, it will use mainly synth sounds. However, not ALL of those are a requirement for a Grime track. What is, and is not a Grime production is entirely subjective on the listener and if enough triggers are fired in your brain from a track to remind you of Grime, or put you in the frame of mind similar to that of listening to Grime, then it is a Grime track. However, I often come across people claiming tracks to be Grime when they are merely oblivious to the sources of influence on the production. There are many young people who thought Skepta's Serious Thugs was an original production. There are many people who thought Still Tippin instrumental was a Grime tune. Many many people hear an MC spitting on a beat at 140bpm and assume it is Grime. Unless it has an obvious 4/4 kick drum pattern, which is very rarely used in Grime, it is easy to identify many tunes as Grime when in fact they are not.
So what is Grime? Grime to me is a production which evokes enough triggers in my mind to make me mentally place it next to other Grime records without any confusion or without enough influence from other genres to make me question whether the producer was simply trying to copy something he heard somewhere else.
Plastician's Still Tippin? A Grime mix of a Hip Hop tune. It is not an out and out Grime record.
Wifey Riddim? A Grime producer's attempt at making an RnB beat. It is not an out and out Grime record.
This Is The Girl? Again, a producers attempt at making an RnB beat. It is not an RnB record.
It is VERY dfficult for me to tell you what is a Grime beat and those rules apply to every Grime tune, because there is such a wide variety of styles. But if you know Grime, you know a Grime beat when you hear one. It's very distinctive next to most other genres of music. It is far easier to deal with beats on an individual basis, and this is what I try and do, and remain as consistent as possible.
If Grime has no sonic identity it just becomes something which doesn't really exist. It does just become a Community based music. And that would see the end of the recognition of the innovative style which was pioneered in this scene between 2001-2004. And to me that would be a tragic loss to the music world as it didn't even get the change to spread itself properly.
When I say something is or is not Grime, I am not judging the quality of the music, I am merely making a quantitative statement. Not a qualitative one. Kano's track with Craig David is a good record. It might be a bit middle of the road and very 'safe'. It has a complete lack of anything new, exciting or innovative to it. But none the less, for what it is, it is a good record. It will do exactly what it is made to do, and that is bring in people to buy his first single and then hopefully his album.
If anything Blackdown, I am always accurate and coherent. Especially when it comes to something which I have a knowledge of akin to the back of my hand. And whilst you began your argument stating "I am not getting into a debate about what is and isn't Grime", which CLEARLY implies you thought the mix CD was in fact Grime by the way, you ended it by attempting to deflect actual discussion on the points raised and began prattling on about bpms and how I want to be able to mix tunes.
My response to that clearly showed you that bpm never played any part in my decision about what is and is not Grime. My response coherently displayed that Kano's CD full of America hip hop beats and Neptunes sound alike productions garnished with 1 skepta beat and 1 Scandalous beat was in no way a Grime CD nor did it appease any of his Grime fans.
And whilst I have TREMENDOUS respect AND appreciation for all the hours of work you have put in writing about the music I dearly love, and being in a position to put said music in the pages of publications who would otherwise ignore it, that doesn't mean I actually think you know what you are talking about.
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That's basically what I said. Completely agree.
Thing is Logan, you're talking about facts and opinions: just because you're a grime DJ doesn't mean that when you mentally place something as grime it should be the bench mark that all other grime fans have to set their watches to. Music triggers different emotions in different people, which is why it's so great. What you view as grime Blackdown might not view as grime, and it doesn't mean either of you are necessarily wrong. You can fight your side (that's why forums like this exist) but it's hardly good form to be doing it in such an obnoxious way.
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Logan Sama
BestThereIsAtWhatIDo
Sir.
Me saying Wifey riddim may or may not be Grime for example is COMPLETELY different from me saying Kano's Cd isn't Grime. Listen to it. Even Kano will tell you there is only 2 Grime tunes on there.
There is NO WAY that a bunch of American hip hop instrumentals, and Mikey J hip hop beats are Grime. It's not even debatable.
Please, listen to the CD, it's not hard to find online for 'review' purposes.
Me saying Wifey riddim may or may not be Grime for example is COMPLETELY different from me saying Kano's Cd isn't Grime. Listen to it. Even Kano will tell you there is only 2 Grime tunes on there.
There is NO WAY that a bunch of American hip hop instrumentals, and Mikey J hip hop beats are Grime. It's not even debatable.
Please, listen to the CD, it's not hard to find online for 'review' purposes.
Logan Sama
BestThereIsAtWhatIDo
I'm going to find you some of the reviews of it when it dropped on the RWD forum. There were no arguments about it there. None at all.
rockypoppy2
wtf?
that was a great resume of what is grime musically, but you completely neglected the social side of the sound, the more abstract aspects of the music which attract people to it - like inner city deprivation/anger/the youthful search for individuality/aggressiveness.
these abstracts blur the distinctions between what is and what isnt grime a little more than you describe. Musically i agree with your depiction - but it has no soul = and grime is a highly emotive genre built from highly emotive situations.
when blackdown says grime is more than just a genre of music i can completely see where hes coming from
these abstracts blur the distinctions between what is and what isnt grime a little more than you describe. Musically i agree with your depiction - but it has no soul = and grime is a highly emotive genre built from highly emotive situations.
when blackdown says grime is more than just a genre of music i can completely see where hes coming from
Logan Sama
BestThereIsAtWhatIDo
You cannot gather any of that information from listening to an instrumental piece of music, ergo it has no place in a description of what a Grime record sounds like.
MATT MAson
BROADSIDE
But the cultural aspects of grime are important Logan, and shouldn't be overlooked.
I think you and Martin are both right - what grime is or isn't is a very subjective question.
I think this argument should be taken outside Gentlemen. This is the only proverbial pub car park where we can settle this question like real men.
I think you and Martin are both right - what grime is or isn't is a very subjective question.
I think this argument should be taken outside Gentlemen. This is the only proverbial pub car park where we can settle this question like real men.
Poisonous Dart
Lone Swordsman
He ain't lying.
The mixtape has been in my iPod since it's "leaklease" and there are only about 2 or 3 joints you can consider Grime...it's still pure fire and I'm looking forward to "London Town" dropping so it can occupy a spot next to it in my iPod as well.
The Craig David featured single is a sort of grower for me...Dizze's song with Lily Allen is garbage (Common's collaboration with her was MUCH better).
One.
The mixtape has been in my iPod since it's "leaklease" and there are only about 2 or 3 joints you can consider Grime...it's still pure fire and I'm looking forward to "London Town" dropping so it can occupy a spot next to it in my iPod as well.
The Craig David featured single is a sort of grower for me...Dizze's song with Lily Allen is garbage (Common's collaboration with her was MUCH better).
One.
Logan Sama
BestThereIsAtWhatIDo
Cultural aspects, while important, do not in any way allow you to identify a Grime production by ear.
And I agree PD, the Lily Allen collab with the Bugsy sample makes baby Jesus cry.
I understand what you want to say but I don't get how it is supposed to go. Is the idea that grime consists of anything I can play in a grime set/together with a bunch of `other' grime and not have it sound out of place? Disregarding the fact that this is circular (first we have to know what other grime is, well we have some benchmarks so thats fine), couldn't other genres fit into grime sets or whatever without sounding odd? certainly I have heard plenty of dancehall productions that would fit in with grime, and vice versa.
mos dan
fact music
ysee this is why it's a fucking nightmare trying to write a one line intro to what the genre is when writing about a grime artist for the mainstream press.
one small blessing is that no-one outside of this forum and djs gives a crap about bpm, so you don't even need to refer to that issue.
someone should blates sort out the wikipedia article.
one small blessing is that no-one outside of this forum and djs gives a crap about bpm, so you don't even need to refer to that issue.
someone should blates sort out the wikipedia article.