One of the best journalists in the underground diaspora Martin Clark a.k.a Blackdown talking about the uncompromising and engaging Trim on Pitchfork. I was fortunate to catch Simon Wheatley‘s real Don’t Call me Urban photo exhibition at the Richmix in Shoreditch a few weeks ago and there was an infamous picture of Roll Deep sitting in and around an ice cream van.
Trim was part of the collective at the time but the manner in which he looked away from the camera leaning in a lackadaisical manner at the back foretold what was to transpire. He’s been jumping on pulsating and at times penisive productions which most MCs wouldn’t with one dancehall-like example below. If you hit the exhibition link above and sift through the selection section,you’ll see what I am talking about.
Trim + Pritchard (50% of Africa HiTech) – ‘Kiss My Arse’ [Forthcoming on Planet Mu]
Whilst, Andrew Ryce of the well clued up Resident Advisor speaks to one of electronic music’s ‘ardest working figures in David Kennedy a.k.a Ramadanman,now more widely known under the pseudonym Pearson Sound (I’m struggling to keep up and all)
The feature has an insight into his all-time favourite records which unashamedly span Pendulum,LTJ Bukem and Beastie Boys to name a few. He also makes some interesting points on every “music fans” ire of underground artists selling out and a refreshing take on the current state of play.
Hessle Audio have steadily arisen to be one of those labels that resonate their labour of love from the studio to the (imported) bassbins of Pula.Pangaea and Ben UFO may not get deserved props but producing/mixing music as a flowing entity has a skilled quality to it which some say is dying. However, these young fellas know a ting or two when it comes to “dunning” the dance.
Listen to Ben UFO’s XLR8R mix below (which I banged out in the Templeman a fair bit)
and some classic 2-step,terse timbre lost nocturnal vibe from Pangaea for your ears to digest.
Shout out to the Hessleview man and Hyde Park gal.
BR #47 – Ben UFO at the Boiler Room
If you ask the common man (or woman) “who is James Blake?” most would either answer “he’s an American Tennis player or p*** off . Yet, the 21 year old singer and producer from London has drawn great acclaim in his short career thus far in the underground realm and is being championed by Radio One’s Zane Lowe.
His 2009 remix of Untold’s Stop What You Are Doing with it’s crunching synth and rising chord climax revealed an unconventional sound far removed from any wobble laden pop makeovers.In Springtime he released the CMYK EP which had 90’s r&b samples embedded such as Kelis’ Caught Out There and Aaliyah’s Are You That Somebody on the title track.
The versatility of Mr Blake’s production and vocal dexterity is readily apparent on his latest Klavierwerke EP. Klavierwerke is German for piano works and this classically trained artiste uses the instrument as a focal point around sparse drum loop patterns and haunting echoes on “ I Only Know (What I Know Now)” On “Klavierwerke” Blake’s alternating vocal pitch layers over a beat reminiscent of a five ball metal pendulum. The synth led “Don’t You Think I Do” remains stagnant amidst the vocal nevertheless it remains absorbing as the majority of his work is. Whilst, “Tell Her Safe” has a rolling clink reverberation which lacks the emotive encapsulation of the other songs on the EP and feels more like an album filler.
Blake’s songs build up in a measured but deliberate fashion and when that musical peak is reached you’re left intrigued as to what challenge awaits you next. The comparison with Burial would be easy to make as others have done. Yet, while the aforementioned producer was initially shrouded in anonymity James Blake is a personality not afraid of expressing or experimenting to the wider world his inner most feelings.
The Klavierwerke EP is out now on R&S Records.