| #667 |
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2003 |
Perilous 667 Its almost exactly ten years since the time when UK hardcore became jungle. And so it seems logical that a mini-revival of that ultra-chopped up amen sound would be happening right now. Interestingly its happening at the slightly more nerdy end of things. Mike Paridinas’ Planet Mu label is issuing a compilation of Remarc releases from the 93-95 period, Tigerbeat 6 offshoot Violent Turd has just dropped US-based producer Soundmurderer’s splendid 60 track mix CD Wired For Sound which reprises all the best ragga jungle moments from 94-96, and Rephlex has just released the first two parts of Luke Vibert’s Amen Andrews ‘tribute to ragga jungle’ project. Add to that the noisier compilations of Ambush and DJ Scud material, and the new Brooklyn Beats compilation and jungle is back. All this is particularly interesting because of the way UK garage has now totally left behind the shimmering champagne set (who have moved into straight US r&b) and become some dark UK rap hybrid. Dizzee Rascal’s Boy In Da Corner album has just received local release through Remote Control and bring some truly devastating beats and rhymes in a style that has been quickly gathering the name ‘grime’. Its bleak stuff from life on the estates and makes The Streets pale into insignificance. Made precisely for an era where Britain has no positive direction under a supposedly Labour government and things have gone into deep decay with no way out. Rhymes about teenage pregnancy, loveless sex, and no hope, no escape are the core themes; and unlike US rap where conspicuous consumption - the bling bling – is promoted as an escape from the ghetto, for Dizzee this is not the case. The first single I Luv U is still the standout track with its deadly stomach punch 909 kick. Indeed this track has far more in common with the DJ Scud, Brooklyn Beats or even gabba than it does with old notions of garage. The beats are all half speed although the rhymes are delivered double pace and the overall effect is pretty disorienting – is it hip hop? Likewise the digital stripped back nature of the beats and sounds owes more to techno than to anything organic. Exiting stuff – but not necessarily a pleasurable listening experience. Seemingly operating in an entirely different universe is the new Kid Koala album, Some Of My Best Friends Are DJs. Due out on Ninja Tune in a few weeks, this new album is notable for its brevity. Clocking in at just 35 minutes this record is best listened to in one sitting like a mixtape rather than a series of individual ‘tracks’. Dixieland jazz, American folk and blues, Pacific exotica and spoken word are all cut up and manipulated over Fat Albert breakbeats. Unlike Q-Bert’s high speed futuristic Wave Twisters or DJ Shadow’s precision sampling it’s very raw with rough pitch bends and scratch inaccuracies being persevered adding a certain edginess and endearing wobbliness to the album. Like his Nufonia Must Fall comic book (out a few months back), there are strongly themes of reminiscence and love, and the album feels like it is calling on these old certainties to cope with an unfamiliar modern time. Quaint. Up at Frigid on August 24 we launch the new local compilation Motion with live sets from guitar minimalist Oren Ambarchi, laptop noise maker Pimmon (whose new ‘beats’ album is finally out on Tigerbeat 6), and Magmafinder plus visuals from Mark Gowing. Motion is an important and beautifully designed and executed compilation bringing together experimental electronics with the best non-dance floor oriented local electronica. Yellow Peril (www.snarl.org)  Goto
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