it happens for a reason

staying up late is easy.

Tuesday, April 04, 2006

LISTENING SINCE THE PREVIOUS POST:

LUOMO- VOCALCITY.
YUMMY BINGHAM- 'COME AND GET IT'.
SOME RUBBISH LOUNGE-JAZZ RADIOHEAD COVER (WHAT IS IT WITH RADIOHEAD COVERS THEY'RE EVERYWHERE AT THE MOMENT!)
GHETTO, SLICKS, SCORCHER, MERKSON- FUCK RADIO VOL. 2
ROLL DEEP RINSE SET FROM LAST SUNDAY
FEB. 2006 RUFF SQWAD SET COURTESY OF JEZMI @ DISSENSUS.

apologies for the tha lack of posting yesterday. 2 days in and it's already gone to pot ha ha. the reason for my absence was that i was seeing 'who's afraid of virgina wolff', which turns out to be a long and gruelling play. so it was straight to bed for me afterwards, instead of writing here. (you should see this play btw. kathleen turner is excellent in it and the actor who plays her husband in it is like an older david byrne).



anyway, enough excuses. who heard roll deep last sunday? oh my diddy it was a weird one. there seems to be a massive conversion to dubstep going on in their ranks if this set is anything to go by: there was a full 20-25 minute section consisting solely of dubstep selections from dj maximum. and, what's more, proper dubstep, rather than 'grimm' : heavy on the reggae samples,- i think i even heard the ghost of horace andy wailing away in there some where (i know he's not dead, but still)- and with a liquid ease of movement about it, quite removed from the lurch of, i dunno, youngsta's sets or something. and even when they moved away from the dubstep, almost all the grime tracks they played were really heavy, bassy cuts: more akin to what dj tubby plays on the newham generals shows than the typical eski sound.

if this is more than a one-off, then it could have pretty huge implications for grime: where roll deep go, other's follow. and roll deep, on this evidence, seem to be becoming interested in leaving the very physical mid-range melodic brutalism behind, and moving in to more heady, gloopy bass meditations (wiley has already been MCing on kode 9's rinse show of course). i imagine jammer and lewi white would be well up for going down this route as well. so, perhaps things are going to get a little less dirty south and a bit more south london from now on in grime. i guess it could be a natural progression. these guys aren't getting any younger, and there is perhaps a natural age limit at which you no longer want to go on radio and shout yrself hoarse over dystopian computer game madness sounds.

and the roll deep MCs sound good over this kind of stuff. Trim's at his skewed, alien best when he has a lolloping bass heavy track underneath him- Request Line is a perfect compliment to his MCing. Flow-dan's got dub deejaying in the dna of his MCing, and slots in perfectly to dubstep tunes- the added edge that comes from also having a grime background helps to lift and energise the tracks as well. and wiley can often sound a little uncomfortable on the really full-on grime cuts; he lacks the quick silver dexterity of some one like ghetto or manga to keep up with the twists and turns. whereas on the tightly controlled and non-exuberant dubstep tracks his rigid, stern flow sounds very natural, and gives structure to the spacier tracks. and he comes from a reggae sound system back ground: i guess he was always going to make his way back to the sub bass frequencies eventually.

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walking through london at sunset while listening to Luomo is pretty great: that time of evening when there's a very soft, dreamy light goes well with the half-submerged vocal whispers of 'vocalcity'. things going down, down, down, into the night...

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god i love Yummy Bingham. partly because of her name, obviously. if and when i get another cat, this name is the number one contender for it. but i also love her voice; there's this kind of teenage freedom and rawness to it that i haven't heard in much R n B. 'come and get it' is my favourite song of her's that i've heard. if this was made 40 years ago, it'd be a soul classic. as it is, she our generation's aretha franklin, and i'm glad we've got our own aretha franklin. i love the horns on 'come and get it', because i love walls of sound. and i love her singing on the tune, because she sings in the joyous high register that sounds likes she just singing in the shower for herself.

4 Comments:

Blogger nebbesh said...

no comments yet?

welcome back simon! i can't believe no-one has thought about doing a musical blogging diary. to me, it's the best way to read about music, to find out how others live it, and it really fits in well with your london sense-impressions.

oh, and is the blog title a wiley reference?

ian

7:07 AM  
Blogger signaltonoise said...

Hello Simon, I used to really enjoy reading Silverdollarcircle, good to see you're back--- and really exciting news about grime heading Sth Londonwards- its where the excitement is, therefore naturally I think things will head in a Dubstep-wards direction. Also if you look at the new rinse schedule, its heading majorly towards the dubstep sound.

10:16 AM  
Blogger simon silverdollar said...

thanks you two. yeah the name of the blog is a wiley reference. it's also about the way that when you choose to listen to a certain piece of music at a certain time, there's a reason for that, and that's what i'm going to try to make this blog about.

12:21 PM  
Blogger ana patrĂ­cia said...

those comments on Yummy Bingham are absolutely spot on.

also, great concept for a blog.
really happy to have you back. that's a fact.

9:15 AM  

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