Post-Grime

Just finished up my first proper mix… On that MC-to-DJ ting. Some cool down vibes via sub-bass pressure reverberating your mental; sans the midrange wobbles. Any trigger happy LFO tunes in my mid-levels are replaced by ace vocals. Blends of easy ‘purple’ vibes, deep half-step rollers and neo 2-step grime riddims, all laced up with 140 vocalists; be they rappers or singers. I decided to call this “Post-Grime” for multiple reasons. But before that, let me start of by saying this label isn't a label, just the title of the mix. It's simply a term to describe something; a pattern. So don't take it as a re-label fashion at all, it's just art, yo. Although these styles crossover into different classifications... for all intensive purpose, "post-grime" is really just "grime" music... please understand this foremost.

Now, my motive for the post-grime statement: First, the obvious derivation coming from the recent influx of a “post-genre” branding which has been heavily used in particular reference of the 140 offshoots of UK garage; dubstep, grime, 2-step, bassline-house, UK funky, and most recent, the ominous “future garage”. In some ways, this mentality recalls the spirit of dubplate culture, which speed garage and then later 2-step, had inherited from the jungle days when they shared two-room venues. Unfortunately, the influence has gone wayward in the digital age with the decline of vinyl dubplates, but also a lack of the cultural understanding by people who simply liked the music, and saw no cultural connection or any need for a connection. A shame, but no fault of theirs. All aside, the principles of anti-traditional, forward thinking production values remained from the dubplate-era, and is further enhanced by the vast amounts of musical influences and sonic technologies interacting with one another nowadays.

“Post-Grime” also speaks to a more musically inclined definition of the same concept. As mentioned, all the 140 genres have been cross-pollinating amongst each other, and it has only accelerated of recent. Where grime has always been very vague in the definition of what constitutes “grime”, the emcee was always the deal-breaker. Not any emcee mind you, a grime MC. Put a grime artist on UK funky, dubstep, ‘purple’, and even some hip-hop or reggae… it can be labeled grime to a certain degree, and hence the crossovers begin. This idea also holds true to this mix. It’s interlaced with various different, yet related-genre styles, with constant vocal features by an array of diverse grime emcees. Think, “Post-Genre with an MC”.

Now amongst the classifications of “post-genre” branding, grime is the least likely to be considered so. These “post” labels are typically applied when its predecessor has collectively lost its way, as most music styles and cultures inevitably do. In fact, grime is probably the most healthy it’s been since its inception in the early-2000s. Of course, the same can be said for its sibling sister dubstep. But while the Croydon star child is enjoying mass success, it has completely transformed from its original production principles. Think, “Jungle to DnB without the name alteration.” If that's success to you, then we just belong to different schools of thought. ‘Niche’ aka Bassline-House, another UKG offspring of the Midlands UK, has all but fallen off. But artists brought up through the grime scene have had more chart-tunes this past year than ever before. Skepta, Tinchy and Chipmunk all had massive years, though not always putting out grime, they are indeed a legacy to be lauded and supported. The grime-bred pop-stars are best epitomized by Tinie Tempah’s global chart success, have just recently received the BET award for best international artist.

Grime’s not just in the pop charters either. Dubstep’s massive appeal on the airwaves has also helped grime artists and producers, such a the respective P-Money and True Tiger, gain exposure in the at massive festivals, raves and cubs. The rise of the Butterz label, run by Skilliam and Elijah, have given grime its vinyl back, and the imprint is building a quality discography and paving the way for more instrumental releases, which were sorely lacking in the emcee dominated mixtape-era just a couple years ago. And just last year, finally a North American, Tré Mission out of Toronto, ascended the implausible act of breaking out within the UK scene domestically. But there are reasons as to the aversion of the grime label…

I wanted to avoid a general application of “grime”; again for multiple reasons. Foremost amongst them was my audience. I’ve decided to push ‘this sound’, whatever you want to call it. And as opposed to my success in pushing dubstep for a few years now **Note: strickly as an MC//Promoter**. I’m not really aiming for those ravers either. This shit for the hip-hop heads. I’ve immersed myself in this enticing, fresh 140 BPM hotbed for over 3 years now, and have pretty much stopped listening to hip-hop. Even before my style altered, my taste already had. Hip-hop just seemed to have lost the edge it always had as I started to feel I had heard it all before in some fashion. But I never stopped loving hip-hop. That's because, as KRS-One proclaimed, “I AM HIP-HOP”. Any music I listen to applies this urban street culture I’ve always been apart of, and it always will. So instead of trying in vain to expose the grime scene to Americans, it's better to start it off fresh, for the time being. Pushing "grime" just isn’t effective, and usually loses more listeners than it gains. For some odd reason, grime is a tainted name. I think it may have something to do with the abrasive, raw production style and hardcore, violent wordplay. But I actually believe it’s because it’s marketed (usually in vain) to the EDM ravers, especially stateside. (That's why as an introductory mix, I'm attempting to appeal to new listeners by I avoiding the harder, raw, high-energy grime tunes). True, dubstep and jungle both have solid roots in hip-hop, but only to a certain level… but grime pushed those boundaries between EDM and hip-hop further than ever before. With that, EDM ravers also tend to not be hip-hop heads either… there is only so much subculture to go around in one’s life. So fuck the rave, this that street bump shit. Night crawlin’ riddims. Not to say that you can't skank out on this, cause that's what grime is too! Keeping it raw and street, while still keeping people breaking out on the dance-floor. This is the beautiful balance of grime music.

But it’s not just that behind my “Post-Grime” concept. You see, similar to jungle music before it, grime isolates itself to its central hub, London. It cannot realistically be accessed by an outsider… you almost have to be brought in by the existing establishment; the controllers. So essentially, I will begin to expose this music stateside --not just through DJ sets, but through original productions, vocals (without British accents), and events. But with my status, I will never be accepted amongst the meaningful, core artists in the grime scene. Upholding this LDN isolation, I truly believe this to be one of grime’s biggest detractors, and has unfortunately limited a music that had so much potential on the outset. So “Post-Grime” attempts to avoid the grime label, while still remaining true to the culture, even if in an oppositional way. If they want to close themselves off to outsiders, then I’d rather not call my style “grime” in return. I’ve come to believe this will help break the sound transnationally, as listeners here will inevitably trace back to the UK original sound. Also, as I try to introduce this new style to all my hip-hop heads, many of which just do not get down with dubstep or other EDM --myself often included-- a vague, temporary label will help facilitate its own forward progression, with no strings attached.

Expect much more of this sound… cause I’m going all in. Currently working on some tunes with a few producers in South Cali. I wanted to use this mix as the kick-off for my stateside “post-grime” push. Mixes will get a bit hard and more "grimy", but I wanna ease it on ya, get me? All I ask of you, the listener, is keep an open-ear and an open mind. Even though it’s quite a divergent and unaccustomed sound… I just know you’ll feel it. So let this mix introduce you to my wonderful world of “Post-Grime”, cause this is just the beginning. P.E.A.C.E.

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*If your vibezing off this, and want to know more about grime, check out rebel-elite's intel, here.

**The Post-Grime mix has been taken down on my SoundCloud and replaced with Post-Grime:DEUX. However, here is a download link to the original concept mix.

Post-Grime by Hoodzpah

Hoodzpah - Pop Prospectus (Mix)

**Proto-Practice Mix**

So I got the oppurtunity to record my 2nd mix today. Still a proto-mix get learned on this tip. Check the 1st one, here. Recently, I've been entranced with those fringe, shifting boundries between commerical, mainstream urban music and the indepdenent, underground realm; the latter of which I'd always been a fervent endorser. Having ridden the wave of dubstep for a few years now, the observable success of the genres standing in popular culture has been incredible, primarily because it ascended on it's own. The impact of dubstep has hit the the charts heavily in the UK and now steadily seeping in to the US market (Google trends: Skrillex v. Skream). The list of massive bass acts at Coachella was daunting. The multi-day festival is as one of America's largest, and most influential; still regarded as an all-popular music platform. Now, aside from the phenomenal success being enjoyed by these dubstep heroes (or foes if you like), dubstep is not generally DJ'd in the club-oriented, popular fashion. It's either dropped to close out electro sets, or other various styles/speeds of pop music, or rather, it's played with horribly-produced remixes that are selected and championed because of the sample choice of the original. However negative I view this trend, the general public, (generally listening on desktop speakers as well), eat it up. As consequence, average up-and-comers find an easy route to popularity virally via YouTube and blogosphere outlets... and the cycle continues. The other tacit delivery of club-oriented dubstep, is the traditional form of straight bangers and anthemic raters for the bro childrens. This hardcore style is what I'm avoiding as I'm already a participant in that scene, and looking to promote other aspects of UK urban bass music from which dubstep derives and provide to it people who are normally put off by dubstep. Now, with enough danceable 140 bas tunes in the top 100s, I'm inclined to try a different style. It's actually surprising different, since it revolves around very popular tunes. I think coming from an underground background enables for it, Fruther, being an emcee; my obvious trend toward vocal oriented bass music, which typically chart over instrumental product. Talk dubstep's prominence all day, but the transgression of grime emcees becoming pop-stars has been equally impressive. Despite the degradation of those artists' original fan-base, they quickly embrace swaths of followers in the commerical atmosphere.

My recipie: I sought to combine all the previously mentioned types of popular music belonging to, or influenced by dubstep and grime's rise into the spotlight. I used other types of top tunes and half-step bass charters (predominately from the UK charts). I also used remixes; however my remixes are by well-respected, ace producers in the scene. When I used a popular wobble track, I found more harmonie in the overall tone of the set by excluding many of the heavier dubstep drops. This sound idiotic I know, but some of those tunes are very well structured, until the mid-range wobble drops and destroys any subtle beauty. Intertwined with the other types of Bass-Pop tracks I've employed, it creates a darker appraoch to club music, yet maintaining a very familiar Pop-appeal throughout. Whether or not this is something people would be interested is beyond me, but this being only the 2nd mix I've done, my technical ability probably overshadows my track selection and execution. Anyways, understanding this concept, I hope you'll enoy the selections regardless of my nascent abilities. I'm just an emcee, yo! Also, Kate Middleton and Prince William finally got hitched eariler today, becoming the Duke and Duchess of Cambridge, which happens to be the former stomping grounds where I discovered the wonderful world of dubstep and grime. I wanted to give my sonic congratulations, and as these are predominately UK-Pop tunes currently hitting the charts, I felt it was appropriate. Please enjoy the selection as well as your weekend.

Pop Prospectus by Hoodzpah

Artist Feature #3 - Durrty Goodz

Earlier this year, the UK network MTVBase aired a special about the UK’s best emcees of 2010, which was determined through a panel-points system. It was widely publicized and developed into quite an event, and rightly so, considering the UK's urban talent pool is finally being recognized globally. Twitter and blogs went abuzz with all-out rejections of certain people, as well as new suggestive lists written up. Of the new entries, there were expectedly a few constants. Ghetts, Kano and Dot Rotten fans appeared on forums with severe expletives as to why they should have been put on. Ghetts even took it further releasing a music video dissing the panel and the selected. But another name also surfaced with regularity: Durrty Goodz. The difference with him, however, was a lack of ludacracy on those same forums regarding his omission. It wasn’t surprising; in fact, it's almost become expected.

Doogz has been the most underrated artist since grime had artists of recognition to begin with. Personally, I’ve never understood this. One factor may be his rapid-style which may lose listeners; yet I find it to be one of the most punctuating and clear dialects within British grime. Maybe it’s his refusal to sacrifice his musical style for money, having rejected numerous label deals. Perhaps it’s his output consistency, which is relatively minimal in the hungry-for-moar mentality of grime fans. This would seem to be the best hypothesis, however no one can really knock Doogz' work ethic. That’s because when his releases are put forth, it’s a fucking mad ting. The quality-over-quantity discussion runs ramped over the waves, and Goodz is the primary example of the former. Whatever the reason, it has become standard practice to deny Durrty Goodz the due recognition. But every time ‘a season, man comes out of seclusion to shake up the scene and silence all critics. It’s these moments of musical reverence as to why I maintain that Goodz is the most underrated of artists, the best MC alive on the planet, and maybe single most talented rapper since Tupac. There I said it. Now let me give a run down on why this is the case.



First, if you haven’t read my initial review on Goodz back in early 2009, check it here. As a stated then, Goodz uses banging dubstep and grime tracks to bestow himself to listeners. Though whereas many grime emcees use pop or house beats to gain favor, Goodz does it on the flip-side using ace producers of grimey, bass-heavy, dark-sythed tracks. This has allowed the rapper to stay true to himself, while bulding a dedicated following, primarily asserting himself as a grime artist. Meanwhile his counter-parts tend to be percieved as selling out toward commercial ends. His speed, clarity, and variance define him as an undisputable top-rated lyricist in the trade, sans national borders. What makes a good emcee overall, and especially in the grime scene, is all brought out in Durrty Goodz.

WAR: In recent years grime has moved away from the battle antics that made it so popular to the public eye, as it illuminated the skills of unheard British talent. Wiley’s infamous Eskidance event was one of the single most popular showcases of grime talent. Wiley steady built his reputation clashing, and annihilating emcees on his own platform. That is, until Goodz came along to become the only emcee to clash Wiley and win outright. The years after that, war dubs toward the emcee became more difficult as he regressed off the radar. Even then, if put to the test man will clash and beat anyone. Props.

VERSATILITY: Doogz has demonstrated his versatility time and time again. He has said he considers all of the urban music genres to be hip-hop, in its original sense. And like so, he released his album last year to critical acclaim. KRS-1 vocal samples litter the album, which features appearances from Steve Marley, Caron Wheeler, and Goodz brother Crazy Titich. Goodz also released it as a free giveaway online. The album’s depth solidified Doogz as not only a grime emcee, but a lyricist all his own. Prior to that, his Axiom EP had him riding DnB tempos with ease, as well as the legendary “Switching Songs II”, which had him changing his delivery and style over classic garage riddims. The follow up release “Ultrasound” was equally versatile featuring tracks of 4/4 electro (mocking the scensters), R&B, grime and dubstep.



DEPTH: Goodz' music runs deep. His musical references substantiate this, having the anthemic tune “Give Me The Music” arranged with a single corus, put at the end. Blackdown revealed in his column that this was an homage to Stevie Wonder, demonstrating Goodz’ perspective of musical history in the youth-built grime scene, whom often seem to disregard those transcendental, street-expressive experiences of the past. “Switching Songs Pt. II” showed a methodical equilibrium between Goodz’ ‘versailty-as-concept’ and the song as a variable, interdependent canvas. Dot Rotten’s hidden production “Real Talk” runs deep emotionally as well. The incarceration of Goodz and his brother is one of grime’s most tragic tales. Goodz was put on trial alongside his half-brother, Crazy Titch for murder. Doogz was to be acquitted while his brother, a rising star within the nascent grime scene, was given a life sentence.

As a result to his tribulations, Goodz has grown into a true artist creative a substantial message to his listeners. While a lot of his counter-parts relish in negative street portrayals of bare hype, Goodz calls for an end to this negativity, which underlie the real talk and imagery his music evokes. True to form, Doogz again gets deep into creative procedure with “Jail Tales”, in which he draws comparisons of the music industry and it’s glorifications of illicit lifestyles and imprisonment, to those of his own honest reflections of jail and it’s repercussions. His BBC video freestyle is a must watch. Though his singing isn’t his status marker, his conceptualization and delivery is top-notch with metaphors and similes sublime.



Now Goodz is back. And when it seems he can no longer elevate his status, he drops a fucking bomb on the entire grime scene with hype in excess. Seemlessly integrating all the previously covered qualities of Goodz, recently he has remarkably showcased them all in one tune. In an impromptu session, Goodz had put it out there on Twitter he wanted to come into Sama’ show. Sama was actually not planning on going live that night, but with Goodz being quite the rarity, appropriate accommodations were arranged. But listeners tuning in to ear some live bars from Goodz wouldn’t get such. In promotion of his upcoming release, “Overall”, due out in early May, he came through with a few teasers tracks from the album. Included was his just released single “Oi, What You Looking At?”, which featured a well produced, if bizarre, video set in a futuristic, hobbesiean environment with Goodz at the top of the food chain. The tune that shook the Kiss studios, however, and stirring far bigger waves was “Battle Hype”. The entire interview can be played, below.



Those characteristics of depth, conceptuality, versatility, and war with a fervent lyricism, become apparent in this massive 11+ minute sonic-event. First kick it off, he bigs up “all the artists featuring”, saying they are critical to the grime scene. Then all hell ensues. Riding a simple Silencer riddim which harkens back to the old days of battle sets, Goodz’ intro set’s up a battle amongst grime’s elite; an epic battle featuring Skepta, Ghetts, Wiley, Dizzee Rascal, Kano, D Double E and Crazy Titch. At first the radio quality diminished the sound, but it wasn’t quite clear who was spitting. Then I realized it was actually Goodz. All the featured artists were Goodz. He was impersonating the emcees, used their staple flows and vocal tones to recreate a conceptual battle with the scene’s top talent; including Goodz paring himself. Matching various artists up with one another, Goodz incredibly executes these artists with accuracy. His versatility changes command with each series of bars exchanged. Then Crazy Titch to close it out?! Maaddd ting.

The beautiful aspect of Battle Hype is that he wasn’t directly aiming at these artists. He even reiterated with Sama that he was giving a nod of respect to these artists. Even so, 'he was sending' came the rebuttals… the ambiguity is fascinating. Following Ghetts’ “Who’s On The Panel” release just one day after the MTVBase special, Ghetts made a sly marketing move by releasing a tune w/ video the very next day. Likewise, Goodz knows the time is right for grime, and causing a stir like this with an indirect, passive-aggressive, but no less damaging manner, was simply genius. Further, it’s well known no one wants to directly send for Goodz. So even if someone did respond back, they would still have an uphill battle, and with Goodz off radar being an actual artist, as opposed to tweeting 24/7, there is little to take charge with him personally.



The fact he utilized so many emcees in his tune, while being a sort of relative-outsider within the top ranks (but no doubt still within them), he’s enabled himself to puppeteer a massive par without being clearly able to retaliate effectively, while by design also building massive internet hype for his forthcoming album. Genius. Seems Durrty Goodz once again is on point to elevate his stature as a music artist. It may seem a bit overzealous to suggest he’s the best rapper since Tupac, but that’s simply because he’s also the most underrated… so you just done know. So make sure you cop the new album "Overall" in May; guaranteed to be a certified banger. P.E.A.C.E.

Durrty Goodz Interview + Battle Hyper Debut on Logan Sama (Radio)

Hoodzpah - Grime-State (Mix)

**Proto-Practice Mix**
So I’ve finally gotten around to recording my practice mix. I recently acquired CDJs and thought it was time to throw some tunes together. No, unlike half the male populace between the ages of 16-26, I’m not trying to promote myself as a “DJ”. Mind you, these are the same people espousing the “every one’s a rapper” doctorine of the early 2000s. Now it’s on them. But unlike a lyricist, technology has leveled the playing field within the required skill set. There is no longer a breaking-point between those who have an ear for music, dance floor fluidity and so forth, and those who would never develop technical or beat-match skills, and the subsequent dance-kinetics involved, if they didn’t have a visual on their computer showing them how and where to do so. That said, even though advances in music technology have enabled a massive influx of people attempting the DJ thing, they can still rock a dance-floor, simply because of that technology (and also because ravers/club-goers typically couldn't give a fuck). So I’m not trying to knock the techs or the DJ. Keep doing it, I love the fact more people can now have more access to music, and sharing it. What I'm saying is, the past notion and prestige that a the “DJ” label once had, should be erased from our culture hence forth. It’s just not special anymore. So if your one of these mans, please stop putting yourself on a pedestal cause this ain’t 1997, and most you have no actual talent; your Serato developers did... but by all means, keep pushing and power to you. And actual DJs, try and lighten up on the tech-savy newer entrants... you can't change the inevitability of human advancement. Using enhanced technology in divergent, original ways is a step forward, as opposed to just bitching.
As for my mix here, I was getting to a point where listening to music was less enjoyable, knowing full well I had the ability to manipulate it to my own ends. I chose to get CDJs for their practicality over vinyl in regards to accessibility, and foremost so I could bypass the use of a computer, learning to beat-match solely on sound. Further, being a dubstep emcee I often watch these “DJs” --most actual, some fabricated-- rinse out the latest bro-step bangers, I'd become wayward with genre. Being above all else a fan of the genre before any sort of participant, I was quickly disheartened and put-off by the “robots fucking dinosaours” noise, which had so massively mutated the scene since I had left England in 2008. So this particular mix holds true to myself as dubstep emcee, as it is a grime-step mix. There are plenty of bangers, with a softer touch toward the end. The underlying theme being an obvious grime/artist centric aspect. Now I’m not saying I wouldn’t accept a booking as a DJ, but it’s mainly to show all these other bitches that making a simple mix ain’t that hard, and many people should stop fronting like your on some next level magical shit; the typical DJing thing. Cause it ain’t no moar… real talk. Props to the real selectas still, a shame it's become so sordid. Don't think these words are in any way geared towards you. If I did play a live set, it would be to emcee over my own selections, cause as I said, the brostep just ain’t pleasurable for me as it is for those robots. Emceeing over my own selections would be a step DJs should note: If your going to try and penetrate this day in age, you need to develop originality and unique ability in your sets. Otherwise, it just come down to marketing which, it seems, the less artistic and less musical people seems to thrive at. So best get to innovating. For my particular role, this day in age I view emcees still keep it analog while all the DJs gone digital, and I got something to say about that. So just enjoy the mix for what it is… good music. P.E.A.C.E.

Grime-State by Hoodzpah

Artist Feature #2 - Tré Mission

© Tré Mission // LaunchPad

"Okay, okay." I've been tracking a Toronto talent’s moves for the past year, and with a drive for progress with an intellect to achieve it, man is on an impressive mission. At first, my initial draw to the Toronto emcee/producer, Tré Mission, was based upon the novel-appeal that he’s a Canadian grime artist. What would it sound like? What could it sound like? For those without knowledge of grime, this is a heads-up to yous. Grime is commonly acknowledged as one of the most complex and broadly defined genres in modern music, with a wide range of musical styles and production techniques. Blackdown’s “hyper-evolution” idea is solid, suggesting the inventive approaches in the early 2000s, by DIY youths in LDN, allowed such drastic innovation by forgetting the larger, historical music continuums, and simply began inventing on a limited musical breadth to its influential development. Whether this was a positive or negative effect to grime overall is irrelevant. Grime’s hyper-activity in regards to a forward thinking, anti-traditionalism, remains the reason for such exponential growth and experimentation. With a blank canvas, doing away with standard hallmark sounds, grime quickly developed a sound that would ascend to it's own unique, self-standing horizon. This understanding is critical in regards to ascertaining the broad scope of the grime definition as it begins coming out of occultation to listeners abroad after a tumultuous, but nonetheless incredible 10 years of music.
Sadly, most Americans still don’t get it. Even with the explosive influence and recognition dubstep has given all UK urban music in the past few years, grime’s reception remains blurred. In all actuality, this is understandable. First, because Americans think they grasp everything, so the concept that grime can't really be replicated outside of it's cultural havens is beyond them. It's part of what makes American people so outwardly successful, we think we can do anything. To suggest we are exempt from something... we ain't having it. Also, accurately articulating the essence of grime is difficult, thus attempts to explain any conceptual nature of the genre's sound or cultural aspect, comes to no avail. *(disclosure: I’m American). Also, since grime changes so much, the interpretation is never clear. Dizzee and Lady SOV’s earlier exposure came in the form of hip-hop. With the continued EDM revolution, and the trend of grime emcee’s jumping on dubstep, is restructuring grime's image to outside observers. So at the moment, I’m forced to observe with a shake of the head, a continued misconception of grime. Aside from the old-school bass heads and selectas, the new dubstep mibbies tend to simply catch an MRK1 set with his Virus mandem, and instantly brush-off everything else within the audio puzzle that is grime. Now, --laughably but notably-- the ravey, Manchester "grime-step" influence has shed light on grime to a new generation, however marginal that sub-aesthetic is to the whole genre. Interestingly, this has now become an undocumented, yet popular American perception of grime as opposed to the hip-hop affiliations it once garnered comparisons to.
The complex breadth grime holds in its name only facilitates more confusion. In America, I fear grime is dangerously close to being incorrectly labeled as a sub-genre of dubstep with falsely classified; “fast” or “double-time” emcees spitting over dubstep (not sure about Canada). Although it once frustrated me, I’ve now come to simply grin and bear it in reservation, as my stellar passion is whitewashed in overzealous wobbles, often distorting some phenomenal rapping. Don’t get me wrong, the grime-step sound is absolutely welcomed, (I spit grime bars primarily for my 805 dubstep clique, Santa Babylon). But grime as a label has implications to its image. And this is a culture too. So “grime-step” is beneficial as long as it respects the first-half of its nominal title.

(Tré Mission rippin' up a Rude Kid beat with a freestyle for SB.TV)
The other, far more relevant misconception garnered by an American’s perspective is that grime is foremost a culture, much like hip-hop in its day; before eroding itself through commercial interest seeping of ignorance, and decaying the less profitable ‘roots as culture’. This is understandably what makes grime so difficult to comprehend to someone on the outside listening in. In all its ambiguity, there has been one constant in grime’s experimental expanses: It’s maintained a limitative, localized nature to its UK origins. Grime even had difficulty expanding beyond London at its initial conception, and most other facets of British life, LDN still remains the creative hub for creativity for grime, as northern MC’s preferred to hop on Niche and now UKF. Until rather recent --now aged the span of a decade-- it remained almost exclusively, a nationally-bound, indigenous subculture. Well, not so exclusive anymore thanks to Tré Mission.
As I earlier alluded, it becomes so difficult to export the grime sound outside of its epicenter, LDN. This is primarily because of its strong tie to culture. Nonetheless, like all good yet marginalized music, the reception of grime abroad undoubtedly does occur, however benign that regional impact. But what’s more impressive than a good UK artist having a relative hit in N. America, is for an individual listener to receive it, explore it, adore it, then innovate relentlessly upon it. This is made possible regardless of national borders, being made possible by internet 2.0; blogs, social networking, and production-software proliferation in which globalization enables. This is the track Tré Mission has wisely chosen. If done properly, an artist can create a product which can successfully be imported back to the UK without sacrificing any authenticity in calling it grime. So the reason having a Canadian breakout is well, just straight up exciting for one of the world’s most interesting sounds of the 2000s and into these coming years. Because even though grime is intrinsically British, the subculture’s principles composed within its general definition does not disqualify it as executable abroad, if the artist is able to understand and then genuinely assimilate to the subculture. Similar to Australian ex-pats of Britain who have brought grime to Australia, --although Ozzie hip-hop is leading the way down under, not its grime. In this rapid, accelerating global-socio climate, it’s no different than any former-national emigrating to take up residence in a different culture.

To boot, subcultures are becoming ever stronger in terms of identity, often having a national origin but no national bounds. The internet has become a global diplomatic visa. Logan Sama defines grime (as I do), as “a culture and an ethos”… and "as long as artists retain the attitude, vernacular, style, and slang [of grime],” to this influential Kiss100 DJ, holding to those principles still qualifies as ‘grime’. To those outside grime's realm, his show is the single-most influential, being the only premiere, legal radio show dedicated to the cult sound. And in the past weeks, Sama be droppin’ Tré Mission on the regular. Now back on the artist, [I covered the idea of international grime in depth, here, referencing the brief but crucial Sama piece, here].

© Tré Mission

So visiting GF last spring, I came upon Tre’s free promo mixtape “Don’t Think”, released in May 2010. As an American trying to innovate upon my own experience with grime heavily at that time, I had to give this an immediate listen. To be completely honest, a sensation of angst came over me, as I hadn’t been aware of any grime artists in N. America, and this would definitely set the bar for my personal attempts to come. Props to Eligh’s effort “The Brother’s Grime”, but I don’t consider that album grime really at all. Created with an innovative perspective rooted in the UK sound, it fails to capture the critical cultural aspect that grime inherently is> Like other N. American attempts, the output “formula-ed” --to quote Loefah-- as dubstep has sadly managed to do. Whereas dubstep’s spirit resided in its culture at one point, it has now since divorced itself of the musical style as genre. The former dubstep culture then found an undefined and multifaceted direction and is all the happier for it.
© Tré Mission

For dubstep's sibling, on the other hand, grime maintains pride through its culture and strives to keep its title, even when an artist is entering commercial ends. It’s important not to disaffect their initial support base, as the scene is quick to reject any pseudo-output. With the harsh reactions of grime fans, I was surprised by Tré’s welcomed reception amongst the UK heads on GF. He labeled it grime accurately, where so many N. American attempts have failed. Established American DnB emcees, many whom have transitioned to dubstep, have for the most part understood this and stayed away from the grime label. Unfortunately, some still mistakenly do so, which only adds to my concern that the grime label in America will may be degraded as its popularity grows stateside; with exception to the possibility of an authentic representation gaining ground and establishing grime’s spirit, depth, and reality that makes grime so uncompromisingly special. (Again, I don’t speak for Canada, mais je suis Québécois).

Tré can safely be labeled as a true pioneer for transatlantic grime, in addition to some of productions of Philadelphia’s Starkey. Although interspersed with hip-hop, Tré’s initial promo clearly overshadowed my just one in the chamber --as grime. But in that blurry definition of “grime”, Tré is absolutely a grime emcee where mine may be debatable. Instead of solely critiquing Tré Mission in the fashion of a journalist (like most bloggers have and will continue to do), my perspective allows for me to conduct a comparative review. To promo the Toronto emcee properly, I can approach it from a contrastable level, since Tré is a similar case-study to my approach. Moreover, man straight slews me on all principles of Sama’s attributions “about what makes grime… grimey”: Keeping intact the slang, vernacular, style and attitude of grime. This can only be accomplished by authentic entrance into the cultural aspect of grime, which is difficult to do… it almost comes to you, as opposed to finding it.


(Video for Tré Mission hit tune prod. by Deeco and put out "Don't Think") © Tré Mission

First off, Tré Mission is a producer, which as RZA says, “…you must master the technology, if not then you’re either a slave to the technology itself, or a slave for the ni**a’s you need to run it for you.” On top of that, his Bang Society and SSTAR affiliations exposed him to grime productions in closer proximity than myself, in which my reliance rests on experimental dubstep producers. This will be critical for Tré as he develops his sound toward elevating within the ranks of the grime’s heavy hitters. He also produces hip hop (“Blackberry Livin’”/”Name Tag”), which the “Don’t Think” promo offers. Despite the initial grime success, his hip-hop should not be overlooked either. As a Canadian, his slang comes naturally in correlation with his UK counterparts. Where I picked up my slang after more than a year of living there, in contrast, Toronto carries a similar argot which made grime a natural candidate for the rapper under Sama’s characterization of the music. Let’s not forget, however symbolic and worthless the titles, British Columbia is still under the dignified head-of-state role of Queen Elizabeth back in Westminster, as Canada is a common-wealth state much-like Australia. Just saying. Now fast-FWD nearly a year, I’m sure Tré has long forgotten his promo. Unlike many rappers at large, Tré’s unique position allows for further growth and implementations of grime in his experimental ‘genre-via-location’ boundaries he’s pushing. This effect is allowing him more diversity and innovation in his bars: he’s becoming “grimier.” This is why the established stateside hip-hoppers (as I referenced to Eligh earlier) are hamstrung by making authentic grime… they already have their identity.

Tré is 19, and like myself, is still improving and innovating upon a style that is totally different, yet strangely familiar to our own accustomed urban sound. In Tré’s case, this became evident of recent as his precisely timed releases to the scene started leaking systematically. He just dropped a free 5 track mix-tape last week, “The Practice Mission” which demo’s his progression as a grime emcee. Taking advantage of dubstep bangers (“Blood"/"Slang”) and pure grime instrumentals (Hello, Good Morning Remix) his style as a grime emcee is set, retaining an innovative Toronto flare separate from the obvious accent difference. The accent is pivotal though as it’s what ignites an initial interest, and can be attributed to his recent success back in Britain. The foreign sound of his Toronto style sets him apart from UK emcees, and can makes him arguably more grime than some of the UK counterparts. Reason is, grime is simply a huge experiment in itself; he is adding a fresh flavor while still retaining himself as an undeniable grime artist. That notion of DIY innovation which Tré sustains is a huge part of what grime really means.

At 19 years old, he’s getting play from Sama (Kiss) and MistaJam (Radio1). He’s just gone to LDN and is appearing on Sama’s show this Monday with JME. In addition to an interview, Tré dropped an exclusive featuring Wiley that will be given away with the purchase of his first release “Maxin Everything”, (out February 20^th). He’s also currently in LDN for his first gig headlined by Tempa T and Scorcher. In an interview with an SB.TV affiliate, Tré revealed how he and Wiley linked up, with the godfather of grime flying out to Toronto to work with the up-and-comer. He’s also forged alliances//friendships with JME and Skepta as well. Seemingly unstoppable in these coming weeks, he’ll also be releasing an instrumental EP of Canadian grime productions in which he’ll have a host of UK talent jumping on. Riddim version?? We can only hope. In the spirit of defining grime, this adds to Tré’s vernacular. Still steadfast in representing his Canadian heritage, his UK vernacular as a requisite for grime is further attained in an authentic fashion, allowing the Toronto rapper to transcend one of the hardest parts for a grime artist to achieve if they are representing outside of Britain. To do so genuinely and without living in the cultural motherland requires an open-mind and intellect that commands massive respect.
First UK showcase in Brighton, England. 2.11.11. © Tré Mission

For myself, I maintained my level of the vernacular as it became routine from my dwelling in urban Britain. [Big up Simbad Fresh and Restoration-Camp CB1]. Naturally, it comes along faster when living in the setting, especially as I purposefully immersed myself in exploring the scene. For Tré, a lot of his use in Toronto slang actually derives from vernacular in urban Britain. But the more he maintains connections and rapport in which he’s been building with stars like Wiley and BBK, he can only get more grime. In this theoretical sense, once again Tré is actually able to get more “grimy” as he continues his creative growth, in the terms of vernacular at the least (as well as non-assimilated UK slang). This cannot really apply to the British grime artist at a comparable level, as they tend to already be ‘grime or not’ from a youth. Perhaps artists like Plan B have similar shifts in vernacular as they grow into an artist, but compared to Tré Mission, not so.

Examining Tré’s attitude and style is the most interesting aspect of his foray into becoming the top Canadian grime emcee, as it opens up another avenue for him to project himself with grandeur, aided with a voice carrying the very apparent accent differential which instantly piques one’s attention. One of grime’s primary attitudes is “reppin”. Originally reserved for East-LDN where grime was pioneered, it quickly spread throughout the UK where the further outside the center, the harder to rep. Tré Mission’s recent release features a song “Canada” in which he reps the obvious. H.E.N.C.H. and Virus Syndicate sent out grime waves once coming out strong for Bristol and Manchester, respectively. But making a grime tune reppin’ all Canada, and in proud opposition to America as the hook suggests, Tré can create a far bigger impact for reception. Currently it’s rather unrecognized, but it’s actually an interesting juncture in the whole history of grime, one of those moments which can be epitomized through one artist.

Although a Canadian grime artist teaming up with some of the UK’s elite to further his exposure is great, conversely, their also looms opportunities to successfully tap the North American market for those globally-marginalized legends which have been relegated strictly to UK popularity. They are also collaborating for a chance to capitalize on a very unique juncture in the N. American reception of grime, allowing a fresh way to market outside of their domestics. This route hasn’t really been tried effectively before. Skepta and Jammer teaming up with Shadetek was a light in the tunnel which quickly faded from view, although I still rate “Reign” as one of Skepta’s finest. Now a prospect of return seems possible... BBK in N. America?? Bros better know.

Tré’s style on the “Practice Mission” demonstrates his creative ability as a lyricist. Eventually he says this will transcend into on-coming development in productions, concepts and songwriting with grime. With all the cards he has to play, Tré is definitely the one to keep your eye on, and leaps ahead of anyone else this side of the Atlantic. The impact of his combination of beats and vocals are a force to take into consideration on a mass scale for the close-knit grime community. His first release was originally a single, “Maxin Everything”. However, a pushed backed release date will now include a few remixes of “Maxin Everything” as well as his collaboration with Wiley “Can’t Be Controlled”, all will be available at a low-cost because, as Tré says, “I love the fans”. Keep track of his forthcoming releases such as the instrumental project as well as “The First Mission” via his Twitter and Facebook accounts: @TréMission. Also check his people at SStar TV. Or see www.nosuchthing.ca. Please support the “Maxin Everything” single-pack, available through digital distributors, February 20^th. You’re not just supporting an artist, you’re supporting a movement. P.E.A.C.E.Tré Mission - Canada

Love, Actually?

(Yup, that's me, still on that baggy, saggy jeans tip, haha. London, 2008).

Love at first sight? Ha. Certainly not. Recently I'm feeling like the idea of true love between people is just an expressive conduit we just label as truth because it fits so well. Perhaps those vividly brilliant moments of happiness, so often haphazardly swept upon us, are a reflection of the environment and personal reception with those we shared them with at the time. As for myself, such a particular experience came from an unknown city in a foreign culture. But this phenomenon may manifest at any occurrence of a shared, elated experience. A place that blossoms a sentiment of love toward one, or even multiple individuals. I would never usually believe in love at first sight. Standard. But c'est le vie... and it's one big trip. Those who have garnered a flash of instant attraction, which was then built upon into an ensuring relationship, and eventual eternity may seem so. After all, such an extended scenario undoubtedly seems meant to be. But I'm no high, late-night cynic blogger. I have experienced love at first sight... I think.

An instant, though no less strange attraction occurred absolutely. I was never to know if I loved her. Regardless of my inconsistent feelings that will continue to shift from yesterday into tomorrow, I know there was definitely love involved. If you haven't noticed already, my personal expression of love in the present has shifted with each word scrawled in this post. I should probably stick to music where I can relay those sentiments much better. No worries, there is plenty soul-striking music in this one 'ere.

Now back to my original concept about love initiated, or even just developing, "at first sight". My ambiguous idea (as if I can think straight on this) suggests those heart-felt moments of love are more so based on the connection of 'loving life' (happiness), and allowing that to transcend into a connection with those people you're surrounded by and sharing such energy. That's quite obvious on itself. But that undeniability reels out of control when the idea of a soul-mate style love between two individuals is put in the spotlight. Could cupid really aim efficiently on a crowded, smoke-and-laser filled dance floor, in a dark labyrinth after downing a couple pints of pilsner? Really??

So then the hasty memory proceeds. Dancing to some dirty bass after being surprisingly swept off a back-alley concrete curb by what seemed like a sleek vampire in true fashion who likes to watch things burn. Super sexy in her dancing threads; black pants, on black skate shoes, on a black top. So simple. Her true physical elegance was yet to be witnessed... like goddess status-- no joke. With barely words spoken we kissed. There was no emotion at all. But my drawl toward her remained. "Who the fuck is this?", kept leaping through my head. After that night, her image would be a primary thing revolving in my mind for weeks. However, I was giving little concern to the environment I was in. A U.S. kid in a foreign country connecting in a wordless world of the illest-electronic beats on the planet, and sharing this moment with another foreign stranger carrying the attitude of a Russian bad girl in her graceful 2-step. A multiculturalist named Rozé, who was actually quite sweet when tastefully sampling life's nectar on her own terms. She owned her element and anyone that tried to step into it. Being used to plastic Cali girls in my native upbringing, this one was everything I never got to see and single-handedly changed my perception on my type of woman. Her other hand was holding a cocktail.

Without getting easily carried away with my recollection, I can't help but feel it actually derives from the particular time and space I was in... and a blessed nostalgia that continues to follow. That personal place in the world that will never be replaced and can never be brought back. That was the love I was longing for and that I found in her. That's perhaps why I feel such strong feelings for someone I met 3 years ago. I barely even knew her. I had much longer and"intense" relationships (in the traditional-contextual sense of the word) around the same time period, but Rozé had the ability to erase all of those lovely women in a heartbeat. Little did I know our last kiss that night would be one of the very few in our ever so strange relationship. Two planet's colliding but only one takes the hit. Her lukewarm reception was blatantly evident, often frustrating and mind-bending at times. Yet I was allured by it, never really knowing if I even warmed to her. But to not be requited didn't matter in the end. It was that illicit pleasure I craved for. I mean, for no one else could I imagine buying my own packs of cigarettes, which happened to be her favorite brand, just to share one with her... and I don't even smoke. Because just like a cigarette, I wanted that momentary high with complete disregard for the consequences.

All I know is those memories of that city will never be the same without her. I don't think I loved her, but then again I've contradicted that numerous times already in this story. For someone who enjoys controlling a situation, this adorable and perplexing creature was the most interesting, exciting and enticing person I've ever met... and I had absolutely no grasp. Who will come next, Jah only knows. But that city I love so much, and those people I also cared for so dearly, which created moments in time that will never be completely captured; these are all encapsulated in Rozé. So if that's what love a first sight is, then it most definitely can happen. And it ain't no long ting, trust me. Bless.

- - -

Below is a song I've been hooked on ever since I was shown it earlier this summer. Definitely my favorite joint so far this year. The rapidly rising artist, Theophilus London via Brooklyn, NY generates sounds of earlier hit genres like funk, eletro, soul and punk, melding them into progressive reusability, while maintaining that be-easy signature hip-hop vibe. Certainly not one to take your eyes off in the near future. A charming man indeed. My south-coast creepers can catch Theophilus London at HARD Summer 2010 this Saturday, August 7th in Los Angeles.

In pure rhythm with my post, his spectacular video "Humdrum Town" is about how going back to a certain place -- a country, a city, a street -- can and will be forever altered once that one you loved it with is gone. I originally got into this tune in Brooklyn coincidentally. Authentic yes, but I'd I'll prefer to take it back to the CB-1 and blast my headphones on a badboy BMX. Thinking of her it's a different city, but change is the only thing that's constant.... so ride on. P.E.A.C.E.


This video says everything I can't...



Felt - Woman Tonight

The Real Queen of Britain

Many were recently disheartened to hear about the upcoming departure of BBC Radio1's experimental bass host, Mary Anne Hobbs. Anyone who knows me personally, knows I'm a heavy fanboy of hers. Normally I'd reject with embarrassment and complete deniablity such a label. But with Mary Anne, I can't hide the truth: I absolutely adore her. I most definitely would not be in the subcultural realm I am today without her weekly guidance on global bass music. So let me tell you the story of a naive kid stranded on a far away island...

After moving to the UK, I was actually introduced to dubstep that first week in January 2008. At the time, it was quite unavoidable in Britain as opposed to the US, which was en route to materialize to the almost comparable level it is today. A friendly stranger whom I'd met dropped off a copy of Kode 9 and Spaceape's "Memories of the Future". Although I liked it for exposing me to those deep, dark, tripped-out qualities, I still think it was a bit heavy as an introduction to dubstep from an American novice. (I now rate it as one of my top bass albums ever). After coming to love those plowing, guttural basslines I still tended to treat it as strictly party music. Which was totally welcomed at the time, especially dwelling in the authenticity of urban Britain. Where a bit of acid or ketamine made even the most deep and desolate of dubstep feel like "party music.

It wasn't until August of '08 that dubstep would become entrenched in me. That same stranger whom blessed be with the sound, had by then become my best mate. He gave me a mix which he explained that I just had to check out. The normally articulate, expressive rollerblader didn't even have words for it... just left it for me listen. That mix was the now infamous "Generation Bass" on Mary Anne's show. For the those unfamiliar, in 2006, the now trademarked dubstep pioneers of today had come together on MAH's show to produce a legendary set known as "Dubstep Warz". In tandem with Mary Anne's heavy work with Barcelona's Sonar Festival, this show became one of the pivotal moments in dubstep's still burgeoning history, helping precipitate it's ignition to eventual world-wide stardom.


(Mary Anne Hobbs @ Sonar Festival Barcelona, 2010).

Anyways, for summer 2008, MAH had gathered all of the same producer-DJ's of Warrior Dubz; Mala (Digital Mystikz), Skream, Kode 9, Vex'd, Hatcha, Loefah and Distance. She asked each of the preceding to choose a special up-and-coming artist to champion. A symbolic torch passing if you will; the hype for this show was eagerly anticipated and massive recognition would surely follow. This one-off two hour event -- all alone underneath the stars with a spiff in hand-- single-handedly made me a full-throttle bass head. An eclectic line-up indeed. Joker and Kulture became and still are my favorite producers, one respectively introducing the "purple" sound to the world, as the latter rescinded into poet irrelevance; albeit with true unsung classics under belt. Not an old-school UKG head till way later, Oneman's garage overtones opened and blew my mind. Chef, although not producing at the time, went on to mix the classic Dubstep Allstars series and is still a ascending internationally. Starkey rocked Maida Vale studios, making the transcontinental trip and representing the rising US scene. Cyrus (Random Trio) closed it out creating a deep, nightmarish environment just as dubstep began moving away from those traditional qualities.


(Mary Anne Hobbs @ WMC Miami, 2010).

After that show I began tuning in weekly. I remember leaving the clubs a bit early on Wednesday nights just to come home, spark up, and post-party with MAH woman. When I was unwilling forced to come back stateside in 2009, having withdrawals and cultural re-shock, Mary Anne gave me two hours of solace. When I'd miss a show I'd feel at a loss as if missing an important doctor's appointment. She always kept everyone ahead of the game. Her gentle laugh intoxicating, her voice as soothing as the deep dubplates provided. When she ventured back to Cali, where she used to reside years earlier, her West Coast Rocks special with XLR8R demonstrated her foresight ability of sonic aesthetics by producers that broke the rules and re-energized the global movement. Exposure of LA's Low End Theory boys and SF innovators like Lazer Sword began a powerful exchange of ideas back to the origins of the UK, and infecting everywhere else along the way. It was undoubtedly taking place without Mary Anne, she simply provided her audience with a panoramic lens to view the global, subcultural movement of bass-weighted material.



When I inevitably made it to Low-End Theory, I was finally granted the opportunity to see her live. Down from SB, I was alone in LA on a Wednesday night after leaving my credit card and passport with the bar at S.M.O.G. the night before. It was a random occurrence that also happened to coincide on birthday. Finally meeting Mary Anne and induced by her gravitating personality and warm, congenial manner, only solidified my admiration for her. The set was outstanding. And when I mentioned I had come down from SB and it was my birthday, the queen granted me a sweet kiss on the cheek... best B-day gift ever.


(Mary Anne Hobbs and Hoodzpah @ Low End Theory, 2010)

Now she's moving on... as she posted a full statement on her MySpace this week:

"Last week I resigned from BBC Radio1, after an amazing multi-dimensional 14 year career. The great freedoms the BBC have given me as a broadcaster, have allowed me to help break so many confrontational artists as diverse as Slipknot and Skream, and of course, the whole genre of Dubstep in recent times. My current Experimental show is in peak condition, it’s never been stronger. And although it’s a very emotional decision to leave the show that I love so much, it’s also an optimum moment to bow out, at the very top of my game. My work for Radio1 on the Breezeblock, Rock Show, many fascinating documentaries about everything from David Bowie to Dubstep, on daytime, at festivals and award ceremonies, has been exceptionally rewarding. These have been glory days not just for me, but for all the artists who have shared my BBC platform, and of course, the listeners everywhere from Beijing to Berlin, Baltimore to Blackpool, who shared a great passion for future sound. I will continue to DJ live, work in film, and curate at Sonar festival in Barcelona. I have also accepted a new job mentoring and teaching students at the University of Sheffield’s Union Of Students radio station, TV station and the newspaper that operate out of their superb Forge Media Hub, which presents me with a really exciting new challenge. My last show on BBC Radio1 will be broadcast: September 8th>>9th … Wednesday night >> Thursday morning… 2-4am www.bbc.co.uk/radio1/maryannehobbs Thank you so much for listening." --Mary Anne Hobbs

No, thank you, Mary Anne. Your show became a staple in my life for a good spell. It will be sad not to hear that lovely, gratifying voice, but we all wish you the best in your future endeavors. You mean the world to so many people, the world over, personifying our passion for music and culture so unique and unparalleled. Can't wait to catch you back in LA for some live action! P.E.A.C.E.

Straight Lynched

Political flurry has exploded across Britain with the May 6th elections. The stoic people of this industrialized island nation, so used to dwelling in the traditional platform of a 2+ party system with an even more traditional political system, are watching this years election with special interest. Due to the rise of the Liberal Democrats over the past weeks --based on stellar performances in the first ever televised debates, from their fresh, articulate leader, Nick Clegg-- political efficacy has soared in Britain. That was demonstrated yesterday when Brits took to the polls in the closest-fought election in a generation, with a voter turnout of 65.2%. The outcome is even more surprising, having officially been declared a "hung Parliament." Not since 1974 has a hung Parliament occurred, in which no party has overall control of the Commons (326+ MP seats). Now the parties must create a coalition government with one another, which can be an uproarious task, especially noting the marked differences in ideology and policy in a diverse political culture.



The election has upended long-standing political certainties. What appeared to be a Conservative (Tories) victory has become a defeat for the reforming, energetic leader David Cameron. The centre-left Liberal Democrats did even worse than pre-polling indicated, but their pivotal role in forming a coalition still makes them the kingmakers to be appeased. And tarnished Gordon Brown could remain Prime Minster even though Labour has incurred its work electoral showing in decades. Queen Elizabeth, as head-of-state, is charged with the task of ultimately inviting someone to become Prime Minister. As a simple figure head, the Queen must tread lightly on political issues. With no written constitution, history deems the Queen allow the sitting PM to try to form a government first. ('Government' in Britain simply translates as cabinet or administration). But a massive public back lash against Gordon Brown, who was obviously obliterated after 13 years of Labour rule, may fuel discontent toward Britain's adored Queen. I'm sure she wants no part. Despite the media hype attributing the Tory and Lib Dem's rise to their young, charismatic leaders, I believe it's more a back-lash against Labour who has dominated the political environment since the '90s. But perhaps Britain's unreformed political system and the ideological divisions with in it, could lead to continued Labour rule. Following the aftermath of selecting a new PM, my hope is that they nice up US-UK immigration. I gotta get back, son!

Taking you lot back with a grime classic from Manchester representative and Virus Syndicate affiliate, Skittles. Although the Mankunion hit "Blair" is a bit dated targeting the now-ousted Tony Blair, it seems fitting for the moment. As he says, "So we're seeing the end of Blair, yeah? But know this is for all you politicians." Skittles is without a doubt one of the most under-rated grime artists in the scene. Using his music with a keen ability to translate messages into true substance, Skitz does away with the tired hype-talk of a typical grime emcee. If you haven't heard this throw back from a few years, just kick back with a spliff, heed the outstanding lyricism, and watch the political turmoil unfurl. P.E.A.C.E.

Skittles - Blair


^Give that a listen; grafted off his debut LP "Two Pints of Brandy and a Packet of Skittles." But also check this little ghetto-fab video which actually came out dope. The audio quality on the vocals is a bit distorted, so if your not familiar with N. English accents or grime flow cadences, check the above track first, then load up the video. It's got a slight difference in instrumental composition, so it's a fresh sound on a classic tune. Not to mention the video subject matter, featuring Skitz himself, is straight wicked.

Lose Control @ CONTROL 3.19.10

Aww man... Hoodzpah just found out one of the UK's newly illuminating stars will be igniting the Avalon tonight in Los Angeles. Unfortunately, a banging event with my Santa Babylon clique must be dealt with. Mandatory bass business. However, for all my LA people who aren't rolling up to SB tonight, I would highly recommend catching this set from one of Sheffield's finest. It would make for a nice warm-up the night before Beyond Wonderland for all you massive goers. For those of you who don't know Toddla or Sheffield -- it's alright, most Brits couldn't even clue you in on the 'stick city' culture. Toddla T is a moniker he picked up indicating his youth when starting to DJing at 14. No longer a younger, Toddla is quickly putting Sheffield on the map and personally becoming a massive force within the UK urban scene.

Recently becoming a fixture on BBC Radio 1's "In New DJ's We Trust" lineup, his prominence will only rise. His debut album, "Skanky Skanky" released on 1965 records last May was without a doubt the most impressive LP I came across in 2009. Collaborating with some exceptional artists in the process, including a list of amazing and diverse vocalists from Mr. Versatile, Tinchy Stryder, Roots Manuva and Benjamin Zephaniah. Toddla exposes, then proceeds to explode the genre limitations of those consistent with Jamaican dancehall and reggae with that of modern British electronic via 2-step, eletro-house and UKG. With his audio fusion techniques, Toddla demonstrates the possibilities as endless.

His recent mix for the Fabriclive series, #47 and accompanied with Serocee on mic, is also tremendously unique allowing for the dance floor to come to life in full bass effect. Now the City of Angles finally gets it's moment. His appearance at the Avalon tonight surely won't be his last on the west coast, but on the off chance it doesn't come around anytime soon, you must catch this British bass peddler clashing sonic boundaries in a most upbeat, harmonious fashion. Not to mention BBC's legendary Annie Mac! I can promise you wont regret a night out with Toddla T. Truly a new DJ to trust. P.E.A.C.E.

Event Link: www.avalonhollywood.net
Artist Link: www.toddlat.com

Toddla T ft. Herve & Serocee - Shake It