The track itself is firmly rooted in grime, accompanied by a beat that has strong dubstep influences. It's a really moody piece of atmospheric music. I love the way it features a bassline that alternates between 2 notes, held for about 4 beats. It feels like it keeps the track centered and is duplicated with a higher sounding synth playing the same notes. The whole beat is centered, giving JME a chance to tell his story, which is what I love about the track. I have always been aware of his existence since he emerged back in the mid 2000's as a member of the Boy Better Know crew, but what I find particularly intriguing is the bits where he talks about his dealings with major labels, when he had a hit with "Serious" in 2006, which is from around 2:30 in the track. With a more animated flow than he displays at the beginning of the track he details such experiences as "bare meetings with pricks". With Skepta reaching the top 20 and the performance that Kanye West put in at the Brits, featuring a number of prominent grime MC's it could be a very interesting time for the genre. But another truth is that it could lead to a rush of labels eager to sign young MC's, many who are building up their following through their YouTube plays, rather than the pirate radio days where Boy Better Know established their following. Is it strange that Kanye West's performance reinvigorated the genre's mainstream cache? (I say this as if you hear Skepta's track "Shutdown", it features a sample of an outraged critic who was intimidated by the visual of a gang of young men all on stage in black). I think the answer to that is probably.
Showing posts with label Boy Better Know. Show all posts
Showing posts with label Boy Better Know. Show all posts
Thursday, 7 May 2015
JME - "Integrity"
JME's new album "Integrity" was released earlier this week, approximately 2 months after the video for the title track from the album appeared online, accompanied by a sparse, but effective video, which features JME rapping with a determined intensity to a single camera, surrounded by a hefty collection of records.
The track itself is firmly rooted in grime, accompanied by a beat that has strong dubstep influences. It's a really moody piece of atmospheric music. I love the way it features a bassline that alternates between 2 notes, held for about 4 beats. It feels like it keeps the track centered and is duplicated with a higher sounding synth playing the same notes. The whole beat is centered, giving JME a chance to tell his story, which is what I love about the track. I have always been aware of his existence since he emerged back in the mid 2000's as a member of the Boy Better Know crew, but what I find particularly intriguing is the bits where he talks about his dealings with major labels, when he had a hit with "Serious" in 2006, which is from around 2:30 in the track. With a more animated flow than he displays at the beginning of the track he details such experiences as "bare meetings with pricks". With Skepta reaching the top 20 and the performance that Kanye West put in at the Brits, featuring a number of prominent grime MC's it could be a very interesting time for the genre. But another truth is that it could lead to a rush of labels eager to sign young MC's, many who are building up their following through their YouTube plays, rather than the pirate radio days where Boy Better Know established their following. Is it strange that Kanye West's performance reinvigorated the genre's mainstream cache? (I say this as if you hear Skepta's track "Shutdown", it features a sample of an outraged critic who was intimidated by the visual of a gang of young men all on stage in black). I think the answer to that is probably.
Anyway, the JME album called "Integrity" is well worth a listen. The thing I appreciate most about JME's flow is the controlled intensity. That is featured throughout the album. I'd love for it to be a mainstream hit, showing you don't have to compromise anything to sell records. It won't, but I certainly appreciate his work and with some of the excellent reviews the album has received I imagine many more will check out his work.
The track itself is firmly rooted in grime, accompanied by a beat that has strong dubstep influences. It's a really moody piece of atmospheric music. I love the way it features a bassline that alternates between 2 notes, held for about 4 beats. It feels like it keeps the track centered and is duplicated with a higher sounding synth playing the same notes. The whole beat is centered, giving JME a chance to tell his story, which is what I love about the track. I have always been aware of his existence since he emerged back in the mid 2000's as a member of the Boy Better Know crew, but what I find particularly intriguing is the bits where he talks about his dealings with major labels, when he had a hit with "Serious" in 2006, which is from around 2:30 in the track. With a more animated flow than he displays at the beginning of the track he details such experiences as "bare meetings with pricks". With Skepta reaching the top 20 and the performance that Kanye West put in at the Brits, featuring a number of prominent grime MC's it could be a very interesting time for the genre. But another truth is that it could lead to a rush of labels eager to sign young MC's, many who are building up their following through their YouTube plays, rather than the pirate radio days where Boy Better Know established their following. Is it strange that Kanye West's performance reinvigorated the genre's mainstream cache? (I say this as if you hear Skepta's track "Shutdown", it features a sample of an outraged critic who was intimidated by the visual of a gang of young men all on stage in black). I think the answer to that is probably.
Sunday, 17 August 2014
New Cross Music Crawl/The British Class - 28th August 2014
New Cross Crawl/The British Class by Johnni Lightning on Mixcloud
On Thursday 28th August 2014 at 9.30pm at The Amersham Arms, 388 New Cross Road, London, SE14 6TY it will be the launch night of The British Class club night! This will be the after-party of the New Cross Music Crawl, which will be an amazing night of music. So to celebrate and promote this I have composed a 30 minute mix. Here's some details: Track 1: Billy & The No Mates - "Dreadnought" - One of the acts that will feature at the Crawl. A garage-rock/jams band. Track 2: Soundacity - "Mama Aura". This group is based in London, but their music is a fusion of Colombia, Andean music, nature, rock and digital sounds. Felipe Duarte will be performing an acoustic set on the night. Track 3: Edit/Select - "Palm" - This band will be concluding the Crawl at The Amersham Arms. They are an alternative/indie band from SE London. There is something uplifting about "Palm" which made me want to highlight it on this mix. It then segues into... Track 4: Basement Jaxx - "Where's Your Head At" - They are the band I have watched in concert the most. They are such a great example of British music. So diverse, so much energy. If you have caught them live, you'll know that this track is a real energy moment! Track 5: Audio Bullys - "We Don't Care" - There's a punky attitude to this track, in a similar vein to "Where's Your Head At?" I love the delivery of the vocals. Track 6: The Prodigy - "Breathe" - If you're going to make a mix of British music, you need The Prodigy! They're another act who have such an amazing live performance. "The Fat of the Land" was the first album that Keith Flint provided vocals on. It was also their international breakthrough album, reaching number 1 in America. Track 7: Plan B - "Ill Manors Remix" - Plan B in my opinion is the greatest British rapper of all-time. And an amazing singer. "Ill Manors" is amazing, but The Prodigy remix adds a little extra to it. Track 8: Boy Better Know - "Too Many Man" - So many times this is a sentiment I've felt in the club! The fact this track has a great sense of humour with a banging beat makes it quintessentially British! Track 9: Calvin Harris - "The Girls" - There is a kind of Benny Hill feeling to this track, the way the different types of girls are listed. But it's an example, when British artists do tracks about getting lots of girls, it's done in a playful way! Track 10: Cooly G - "What Airtime" - Highlighting the fact Britain has superb female producers this track is off Cooly G's Hyperdub album "Playin Me". The way I'd describe this track is dark UK funky. Track 11: Jessie Ware - "Running (Disclosure Remix)" Jessie Ware is one of those singers whose wonderful voice seems to have been featured in so many places recently, including on Disclosure's "Settle". I have a soft spot for Disclosure as they grew up in Reigate, like I did. Plus they make amazing music! So there it is. An explanation of my mix. The British Class launch night will be a great night. Make sure you come down to The Amersham Arms to check it out!
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