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Mac Miller, Earl Sweatshirt i Lil Ugly Mane su izdali nove pjesme. Nas izdaje novi album na ljeto, Lil Wayneov bus izrešetan mecima nakon nastupa u Atlanti i izašla je tracklista za Snoopov novi album BUSH.

Na moje veliko iznenađenje grime, engleski podžanr repa, trenutno uživa veliku popularnost. Koliko je meni poznato to je uglavnom zbog Skepte, grime repera iz Birminghama, koji trenutno radi velike stvari sa svojom karijerom. Od nedavnog nastupa s Kanyeom do toga da trenutno surađuje s brojnim američkim reperima ne može se ignorirati njegov pridonos nedavnom uzrastu popularnosti Grimea. Priznajem da grime nikada nisam slušao, a ono što sam čuo mi nikada nije bilo osobito drago pa sam u potrazi za nekakvim uvodom u sve to naišao na ovaj kratki vodič kroz povijest Grimea koji je više manje odgovorio na sva moja pitanja pa mi se učinilo zgodno da, umjesto da se pravim pametan i sve ovo objašnjavam ispočetka, ga copy-pasteam ovdje za sve vas koji su znatiželjni i ne znaju gdje početi. Sve pohvale autoru koji je očito veliki poznavatelj i ljubitelj engleske muzike. Tekst sam pronašao na redditu na ovom linku pa možete i to malo pogledati.

To start from the very beginning we must take a journey down to Jamaica. With the rising popularity of Reggae, Dub, and Sound System culture, an essential part of the music became the MC. The MCs would “Toast”, sing, and rhyme over the selectors picks of tunes.

Now over to England in the 1990’s, Rave culture is dominating the underground and party scenes. The sounds of Jungle, Breakbeat, Rave/Hardcore, and Drum and Bass, are blasting through systems and pirate radios all over the country. This music, especially Jungle (also known as Ragga Jungle, /r/raggajungle), began to incorporate many aspects and influences of the Sound System culture. A major piece was the MC. Rave MCs kept the party in tact, as well as provided occasional lyrics and vocal lines.

Towards the late 90’s Rave culture started to simmer down, and the focus moved to intimate club settings. The music also slowed down, tempo wise, and UK Garage became the soundtrack of the streets. Garage also made use of Jamaican musical stylings, again, especially the MC. In Garage the MCs would play a role outside of the club, by having full features and collaborations with the producers. The popularity of the MC led to the formation of several crews that now are considered to be the foundations of Grime, Pay As You Go Cartel, Heartless Crew, So Solid Crew, and Ruff Sqwad.

At the end of the 90’s and the early 00’s Garage’s popularity was slowing down, but only because it was evolving, and going down two different, but very similar paths, Dubstep, and Grime. A large part of the Garage sound was its 135~140bpm standard, and the shuffling 2 step beat, both of which were building blocks of Dubstep and Grime. Some producers loved the Garage sound but thought that it should be darker, weightier, and more brooding. This resulted in Dubstep, which for the most part, didn’t rely on MCs outside of the club. On the flipside, we have many MCs and producers still clinging to the Garage days, but wanting to expand and grow. The primary figure of this movement was Wiley.

In the early days, Grime, also known as Eskibeat and Sublow, was figure headed by Wiley. Wiley was a member of the Pay As You Go Cartel and had been known for MCing in the Garage and Jungle scenes in recent years. Wiley’s unique production style of Garage-esque 140bpm music, was self described as Eskibeat. The success of Eskimo, a Grime and Eski classic, sprung Wiley, Grime, and his newly formed Roll Deep Crew, into the underground massive, through pirate radio, records, clubs, and clashes.

Grime grew and multiplied along side its Dubstep sister-part. The creation of new crews like Roll Deep, N.A.A., Slew Dem, SLK, andMeridian Crew, which eventually split into Bloodlines and Boy Better Know amongst others.

Some of the most critically acclaimed Grime albums were released at this time. After leaving Roll Deep in 2003, Dizzee Rascal released the hit album, Boy in da Corner, which garnered attention outside of the Grime scene. Wiley had released Treddin’ On Thin Ice in 2004 which incorporated more of his Eski sound and showcased fellow Roll Deep members, Breeze, Riko Dan, and Tinchy Stryder. Kano, a former member of the N.A.S.T.Y. Crew, put out Home Sweet Home in 2005, which blended Grimey, Eski, and well produced Poppy beats, which gave the album an accessible sound and large popularity in the UK music scene.

Jammer, a member of Roll Deep, Neckle Camp, and Boy Better Know, founded the Lord Of The Mics, which was a Grime event in which MCs would clash, perform, and show appreciation for Grime culture. Jammer and LOTM were also large roles of Grime growing throughout London. Early LOTMs featured classic and groundbreaking clashes, like Wiley vs Kano, Skepta vs Devilman, Scratchy vs Footsie, and Crazy Titch vs Bruza.

In the late 00’s and early 10’s, Grime fell backwards to the underground when it’s companion, Dubstep, reached the mainstream and shifted focus to the loud, abrasive, testosterone fueled festival fodder that is more correctly labelled called “Brostep”, quite a terrible name but it shared few of the elements of Dubstep that the Garage Heads loved and cherished in their new creation. Some grime MCs and producers experimented with “Brostep” sounds.

During this time Grime also went through some other changes. Artists like Skepta, Wiley, Tinchy Stryder, Chipmunk, and previously Dizzee Rascal, left Grime and began to make pop oriented music. Wiley even released an album that he went on to disown. Many of the people left in the Grime game began to incorporate elements of hip hop and trap into their beats, while still keeping to the basic elements of 140bpm and a 2 step beat.

In the 10’s to present, Grime has made its comeback, for many reasons. Dubstep or “Brostep” has fallen from its mainstream status, allowing the other underground UK genres to breathe and resurface. Many of the artists who left Grime came back with their newly found popularity, bringing Grime into the mainstream attention, although to mixed reviews.

The return of Grime heroes, stylistic changes toward trap oriented beats, noise making events like LOTM, and the recent recognition from hip hop stars, has just about brought Grime to the worlds eyes, or ears I should say. (Hehe)

Last year especially brought on a multitude of growth and attention to the scene. Artists like Skepta, Meridian Dan, Wiley and P Money found success with modern breakthrough Grime hits. Also, LOTM 6 saw a highly anticipated clash of P Money vs Big H which lead to controversy. Big H walked off stage, demanding more money for more bars, and causing unnecessary tension. It resulted in a large beef that was ongoing through out 2014.

Grime has a very detailed history, abundant with artists, events, beefs, and transitions. So referencing back to my comment that started this, it does bother me a little that all that is being seen is the larger names appealing to the masses like Skepta, Jme, and Dizzee, (whom I all have the highest respect for and enjoyment of their music), while the rest of Grime’s past goes unnoticed and unmentioned. The downfall of Dubstep was devastating to many Heads, but it is being rebuilt and resurged from “Brostep’s” ashes. The risk of this happening to Grime is exciting and terrifying. Seeing Grime go to new heights is wonderful and promising, but the risk of losing its history and culture is quite saddening. Grime has more of its roots and culture in Reggae, Rave, and especially UK 2 Step Garage than it does in Hip Hop, which may be misleading to new listeners.

So there you have it! My take on the history of Grime! I hope that many of you will come to love Grime as much as myself and many others do!

autor: petar, 01/05/2015

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