grime
joe.muggs
Theartsdesk is a labour of love. Bloody-mindedly run as a co-operative of journalists from the beginning, our obsession with maintaining a daily-updated platform for good culture writing has caused a good few grey and lost hairs over the years. But it has also been rewarding – and looking back over the 10 years of Disc of the Day reviews has been a good chance to remind ourselves of that. One thing in particular that drew me into the collective when it was founded, and has kept me going throughout, was the understanding that artistic forms would be treated with equal respect and Read more ...
Nick Hasted
Immersively arranged and intricately lyrical, Ghetts’ third full album further boosts grime’s takeover of British music’s front rank. Aged 36, he’s a contemporary of Kano, and similarly still evolving.Last year’s eerily mesmeric single, “Mozambique”, shows how he now layers his music deep, helped by subtly supportive orchestration and potent deployment of a packed guest list. Chopping strings add classical gravity as synth police sirens stir, while on the hook, South African “future ghetto punk” Moonchild Sanelly trills rrrs hard as an Art Blakey press-roll (wanting “gr-r-reen dough”), over Read more ...
Thomas H. Green
Ten years ago yesterday, on Monday 14th February 2011, one of theartsdesk’s writers, Joe Muggs, reviewed an album called Paranormale Aktivitat, by an outfit called Zwischenwelt. It was the first ever Disc of the Day, a new slot inserted into theartsdesk’s front page design, where it still resides today. By the end of the year, we’d introduced the now-obligatory stars-out-of-five system, keeping in the swim with other reviewing media. Since then, Disc of the Day has covered approximately 2600 albums and, before COVID, when the tube trains were running, it gave me great pleasure to see those Read more ...
Harry Thorfinn-George
Slowthai’s debut Nothing Great About Britain was both strikingly intimate and anarchic. He rapped about his childhood and British inequality over grime beats that sounded as if they were falling apart around him. Here "abrasive" and "insightful" coexisted within the same songs effortlessly.On TYRON, slowthai divides these two attributes, splitting the album into a raucous first half and a sombre second. The caps lock is used to hammer home this overarching theme of dualism.The first half delivers the mosh pit energy that slowthai does so well. The dizzying instrumentals are excellent. On “45 Read more ...
Laura de Lisle
Edition 2 of Living Newspaper: A Counter Narrative, an experimental new piece of online theatre from the Royal Court, doesn’t mess around. Within minutes, a cry of "Tory scum" is echoing around the Jerwood Theatre – the refrain of an anarchic musical number presided over by a mannequin painted blue, wearing a shaggy blond wig. “Kids cant eat but They’re tryna tell/You its the statues that need saving?” raps grime producer Jammz, setting out exactly where the 27 creators of Living Newspaper stand. Those seeking apolitical escapism should look away now. But everything is political, Read more ...
Nick Hasted
You can’t ever go all the way home again, and for years Dizzee Rascal didn’t want to. His Mercury-winning debut Boy In Da Corner (2003) electrified with the shock of the new, its eccentric, genre-mashing sound topping juddering jungle bass with a voice which seemed barely to have broken, and jaggedly emotional raps describing dull, violence-haunted days in Bow, East London. When I interviewed him then, aged 18, he saw straight through the keeping-it-real shackles awaiting him. “The ones who go, ‘I’m not leaving the ghetto’, really it’s because they know they’re never going to get a chance to Read more ...
joe.muggs
It’s over ten years now since theartsdesk cited Tinie Tempah’s success as marking the start of a revolution for post grime black British rappers conquering the pop charts on something approaching their own terms. And it’s very nearly as long since we noted the bleak directness of what was then known as “road rap”, underground hip hop well away from the charts in a world of self-distributed mixtapes and YouTube videos, and charting the violence and rivalries of the class A drug trade. That revolution did happen and then some, and in fact it incorporated the grim Read more ...
joe.muggs
Given the collaborator list on this album, it should be a bit of a mess. Brit punks IDLES, Aussie woozy pop auteur Tame Impala, pumping bassline house producer Chris Lorenzo turning his hand to drum’n’bass, as well as Ms Banks, Dapz On The Map, Oscar #Worldpeace and a host of other UK rap talents all add their distinct musical personalities to the mix. Yet somehow, what Mike Skinner drolly called “really just a rap duets album”, put together while waiting for a film to accompany The Streets’s comeback album proper, is some of his most coherent work ever.It is sonically diverse, mind. In Read more ...
joe.muggs
Footsie might not have the profile of a Skepta or Wiley, or even his Newham Generals partner and recent IKEA advert soundtracker D Double E. But anyone halfway schooled in grime will know that both as MC and producer he's a key player from grime's original generation, and still a pillar of the scene. Amazingly, though, despite the fact he's released a couple of mixtapes and four compilations of his instrumentals, he's never made an official solo album until now. So given that, since his beginnings in N.A.S.T.Y. Crew, he's been in the game for some 20 years, there's quite some weight of Read more ...
Katie Colombus
For those wondering if performance poet Kate Tempest would be upstaged or introduced by either pandemic panic or International Women’s Day – know that a) she’s fearless and b) she practices equality always. As such, there’s no pre-amble, other than a hope that her gig will “resonate into the night and the days to come”.Kate gets straight into her post-Brexit narrative track “Europe Is Lost”, she heaves “'Cause it's big business, baby, and its smile is hideous; top down violence, and structural viciousness” slowing down to deliver the line “Jail him, he’s the criminal”, to whoops from the Read more ...
Jo Southerd
In 2019, music kept its place as a vital means for expression and escapism in an increasingly troubled and troubling world. Happily, there were plenty of brilliant albums to get lost in over the course of the year. Sharon Van Etten’s Remind Me Tomorrow was a masterclass in comeback albums. After her short hiatus from music, the record saw her trade in her folky roots in favour of synthesisers, elevating her sound to dizzying new heights while maintaining the intimacy and intensity that first stole her fans’ hearts. Remind Me Tomorrow provided a steady stream of great singles - "Jupiter 4 Read more ...
joe.muggs
This is a bittersweet recommendation to make. On the one hand, it is simply one of the mightiest electronic albums of the year, an exemplar of how grime continues to be a vital part of the British sound palette long after it was pushed aside as the only game in town on the urban airwaves by various other new rap and dance forms, the sound of a true pioneer at the top of his game almost two decades into his career. On the other, it’s now tinged with sadness as around the time of its release in late summer, Rodney Price aka Terror Danjah was taken ill and has been in a coma for most of 2019. Read more ...