Emerging from the streets of London, Mike Dadio has brought the rhythmic drums of his Ghana home to the brewing cloup rap scene. Featuring Nigerian rapper Romel and Hurricane Hunt, who has collaborated with the likes of Wretch 32 and Avelino, ‘Fake N Dat’ fuses cultures to inject afro-beat baselines and African drum rhythms into the track’s cloud rap production.
Letting the synths and drums guide him, Mike doesn’t allow himself to be boxed into a genre. Taking influences from Wiskid, Davido and Burna Boy, his main aim is to have his tracks resonate with listener in a way that it talks of the real problems of real life.
For Mike, music is a form of escapism and this is demonstrated in the upbeat, absorbing nature of Fake n Dat. Following the release of his track ‘No Limit’ in December, ‘Fake n Dat’ is the first track from Mike to be released in 2019 and undeniably sets an exciting precedent for more music to come from one of London’s up and coming go-to producers!
Last week gave us the visual release of Alex Dutty’s infectious single Emoji. Taken from his debut album ‘Knock Down Ginger‘, the track features the reggae style vocals of Black Rose and with its consistent heavy-bass beats, rhythmic dancehall undertone and catchy chorus, the track is one to play on repeat.
Choosing to avoid the stereotypical ‘guns, drugs, money and hoes’ content, Alex delivers brutally candid and relatable accounts of his childhood and life in London. After being influenced by UK sounds like Garage, Grime and Drill, Alex mixes that with his love of Toronto style production, his R&B and rap influences from the nineties and Reggae Dancehall with a touch of Afro Beat.
Having garnered support slots for the likes of Kano, Ghetts, Wiley and Bashy, Alex is no stranger to grime royalty and the buzz of the support slots and his DIY work ethic saw the rapper sell 60,000 copies of his mixtapes collectively – earning him a nomination at the coveted Official Mixtape Awards two years running.
Gaining influences in both music and his raw reality of growing up in a broken home, Alex infuses these to produce the diversity that is Alex Dutty and balances this whilst creating a very unapologetic but unique soundscape.
With spacey vocals that resonate those of Nao and Mura Masa, Becce J has paired up with grime royalty D Double E to create one of the catchiest tracks to come out of 2019 so far with Timing. The track indulges hypnotic bass lines and chilled loops, with a consistent beat that gives the track an infectious rhythm.
Hailing from Preston, Lancashire, Becce J’s journey to release Timing would have seen many others give up at the first hurdle and her struggle rings true in the track lyrically with her inspirational message to carry on pursuing your dreams despite life’s ups and downs.
D Double E’s own journey has seen him hailed as one of the founding fathers of Grime, beginning with N.A.S.T.Y Crew and then the seminal Newham Generals – Newham now becoming as synonymous as the great bases of US rap, with the headlines relating to 21 Savage’s up-bringing.
With its crisp beats, memorable chorus and of course, D Double E’s trademark rap, Timing is a necessary good-vibe soundtrack this weekend.
From small town Owings, Maryland Rasha Jay’s music is a storm of blues based alt-rock fueled with emotional vocals, powerful rock instrumentals and atmospheric beats and this is illustrated best in her new single Red Coat.
Lyrically the song is about protecting yourself from love and the heavy bass, strong guitar riffs and raw soulful vocals mirror the dark, murky and conflicted notions that come with the harder side of love. With her forthcoming EP High Dive to be released later this year, Rasha Jay comments that the EP will be a continuation of this exploration into love and the tangled mess of relating to each other – the title ‘High Dive’ referring to the times when it is best to dive in or jump out and the audience that is always there waiting to see what happens.
Taking influence from musical mavericks such as Prince and rock royalty like Foo Fighters, Rasha Jay creates innovative music that bulges real honesty and daring genre-spanning sounds.
Watch out for her forthcoming EP and click on the links below to check out more Rasha Jay!
Though coming from an Indian background, Californian, Hitha, is as in love with Western pop music as much as any teenager her age (just 13!) With a maturity which belies her years, her second ever release, Special, introduces some of her cultural influences, without, thankfully, making it feel clunky or forced. In particular, the flute plays a prominent role in the track, giving a an added layer of texture without resorting to the expected studio trickery.
Though the lyrics to the track celebrate the unsung roles played by loved ones in everyone’s life, the real appeal of the track is that the artist is speaking to people of her own age largely. Teenagers actually speaking directly to teenagers seems to be the lost thread in the musical fabric, with other artists Hitha’s age usually more eager to sing about subjects beyond their experience. Check out the video below.
Scotland-based DJ and producer Andy Anderson has unveiled his innovative ‘3D mixes’, gifting listeners with a completely new aural experience: all without needing to buy any specialist equipment!
As witnessed on the mix of his latest track ‘Live For A Dream’, the 3D mixes work with any headphones or earphones, making this something of an egalitarian technical development. Anderson’s mixing technique—which he is keeping tightly under-wraps—distributes the sound unevenly in the ear canal, having a 360 effect.
To understand this, we recommend listening to the 3D mix for yourself but if that is not possible imagine being stood in a small circular room with speakers covering every inch of the wall while you’re stood in the middle and you’re pretty much there.
R.Seiliog presents ‘Opal Drift’, a deep-flowing ambient techno cut from his forthcoming LP ‘Megadoze‘ out 30th of November on Turnstile music.
Welsh producer R.Seiliog aka Robin Edwards returns with his new LP ‘Megadoze’ a subtle shift from the sonic palette of critically acclaimed ‘In Hz’ and 2016’s ’Shedhead EP’. R.Seiliog creates a gentle stir from darkness, coaxing ambisonic visions of the void with synth-driven tides. ‘Megadoze’refined prologue surges through visceral tapestries of static and haze merging ambient techno, musique concrète and field recordings.
Astounding lead track ‘Opal Drift’ with its enveloping structures builds through ambient textures and a bricolage of half-remembered techno and synth waves, it’s like the evocative sound of flowing water softly sculpting the rocks of the Black mountains. Second track ‘DC Offset’ weaves intricate sci-fi soundtrack layers bubbles, babbles and skitters with otherworldly presence echoing homage to the finest work of Brian Eno, its followed by the incredible ‘Obsidian’ its deep-glitch woven journey unfurls into an awe-inspiring interlude of sonic revelry in its final portion. Meanwhile the ambient hauntings and glacial washes of ‘Vitamin Filter’ are a masterclass in the melding of field recordings and motorik electronic beats, it’s equally the soundtrack to chilling-in, or going out.
‘Zemlya’ resonates and chimes with harmonics that conjure echoes of the percussive music of different continents from India to Africa, underscored by contrasting hues of sub-bass driven beats, crunchy granular glitch with instrumental swathes. The ambient drops of ‘Nectar Phase’with its viscous swells and fluxing breakbeat possess a timelessness. The glacial ‘Chalk Fields’ mirrors the sound of a rising sun casting cosmic beams onto your face as you lie in a dew-speckled field, samples of birds chirruping, streams flowing, a distant voice and stunning ambient textures arise into a moment of unified clarity.
Sonically daring and sewn with intricate genre-blurring levels of detail, each cut remains connected to the heart of nature in its elemental force, ‘Megadoze’ is perhaps R.Seiliog’s finest record yet.
R.Seiliog emerged from the pine coned hills of Peniel, North Wales. Releasing the warm analog psychedelia of 2012’s ‘Shuffles EP’, and his debut long player 2013’s ‘Doppler’ which was a wide-eyed homage to Krautrock. Manic Street Preachers were so inspired by his debut album Doppler that the band entrusted Edwards to remix Manic Street Preachers’ single ‘Futurology’.
In 2014 the release of his critically acclaimed second album ‘In Hz’ a masterful work of convoluted drone and electronics. Which led Thump to herald it as “So good it hurts” and Mojo Magazine to say “R.Seiliog presides over a subtle, imaginative record that transcends many genres.” R. Seiliog’s work has received airplay from the likes of Huw Stephens, 6 Music – Mary Anne Hobbs, Radcliffe and Maconie and Lauren Laverne.
Regulars on the Paris music scene, Pink Fireball describe their music as ‘Pop Psychedelic Blues Rock from space’. Whilst a bit of a mouthful, its pretty on the nose.
Their debut album ‘Strange Voices’ displays Pink Fireball’s free-spirited and experimental approach to style and songwriting, reminiscent of the music of the late 60’s and 70’s. The album functions flies you through a solar system of genres, from the catchy and uplifting rock of ‘Red Flowers’ and ‘Turn Around’, to the darker, bluesier trips of ‘Strange Voices’ and the psycho-billy inspired ‘First Class’.
This is a band that is carving out a new frontier. Not content to merely fit in with existing aesthetics, Pink Fireball seek instead to bring something idiosyncratic to their myriad of influences. The result is truly out of this world.
It could well be that you’re only just crawling back from a warehouse rave that started in 1991 anyway but if you’re one of the many music fans who missed the ever-exuberant strand of the dance evolution. Worry no more as Middlesbrough-based artist Jonny Morello has spent FOUR years and dozens of edits to bring you “Why Can’t We See”, an anthemic slab of uplifting house featuring the vocals of Manchester singer, Gabi. Have a listen below!
Uno Prism, aka Emma Welsby, had until recently been a employed as a percussionist for hire, playing across Europe for brands and bands, utilising her classical training to demonstrate her skills for the likes of Harley Davidson.
Her first original music releases only hint at this side of her musical talents, with Into Place, her debut track, fitting into several different fields, from nu-jazz to down-tempo to the kind of electronic dance music with smarts, as exemplified by artists such as Nightmares on Wax, DJ Food and Cinematic Orchestra.
It’s music designed to create atmosphere, not to whistle along to (though you’re more than welcome to try); it pretty much insists the listener sits down to listen to, or at least feed from in some kind of subliminally spiritual way. Emma’s vocals, though extremely assured and appropriately wistful, feel almost unnecessary, or at least just adding to the existing layers and textures.
It perhaps says a lot that Emma’s usual go-to instrument is the vibraphone, not an especially “trendy” member of the orchestra but one which offers a very unique tone, sometimes almost imperceptible but able to transmit, as the name suggests, vibrations which an audience feels as much as hears. By using fundamental understandings of her instrument, as well as the years spent as part large orchestras, Uno Prism’s track has a majestic feel to it – there’s no sense that it’s following well-travelled tropes or simply aiming to please by going taking the easy options, it’s controlled electro-jazz feel is both unpredictable yet accomplished enough not to put off those who are new to the idea of combining different styles and techniques. A shame only one track is available to judge – well worth keeping an eye on.