Bit late on posting this. This is from late March. Ghetto's album is just plain scary.
MUSIC EXTRA
Homegrown hip-hop/grime releases
The urban underground, in particular hip-hop and grime, has proved a bountiful source of talent (Dizzee Rascal, Kano, Sway, Lethal B, Estelle, Wiley) in recent years. The success of these aforementioned artists means there are more British rappers and MCs than ever out there.
Sway’s a Mercury-nominated and award-winning (MOBO and BET) artist but it hasn’t stopped the North London rapper from releasing a free mixtape The Dotted Lines (via www.myspace.com/swaydasafo). Littered with comical skits (Ron Burgundy, spoof Ghana Airlines ad), radio appearances (including a terse chat with veteran US rapper Sway) and freestyles, the glue that binds it is Sway’s trademark sharp, dry wit.
Sway’s versatile, effortlessly switching his flow whether rapping over jaunty ska (Madness), dubstep, pop (Lily Allen’s LDN) or hip-hop (Dizzee’s Old Skool). His ability to combine poignant insight with humour (for example The Deportee Song with Sway as MC Charlie Boy an illegal immigrant) is what really grabs you. A tantalizing hors d’oeuvre for Sway’s Signature LP (May), that’s scheduled for release in America on Akon’s Konvict label, no less.
MOBO-nominee Tinchy Stryder’s currently touring with Jack Penate and Cloud 9 demonstrates he’s developing quite nicely. Grime productions often overpower the MC, but not here as Tinchy ducks and dives between hectic beats: Sick In The Head calls out desperate street hoodlums, while My 95s describes Tinchy bopping around Bow drawing inspiration from – and cleverly referencing - scene pioneers Roll Deep and Heartless with fake friends and enemies circling as his star ascends. Tinchy pulls off a respectable slow jam (Thump) and five tracks are three minutes or under, suggesting he’s packaging grime in a digestible, accessible format; perhaps the bravado of his debut LP’s title, Star In The Hood isn’t misplaced.
Ghetto’s Freedom Of Speech, exposes the brutal environment, tough choices and socio-pathic characters that some inner-city youths face. Ghetto veers between detached, ice-cool menace and intense anger as he puts ratchets, car boots and flick knives to multiple uses. Ghetto’s ‘aggy’ souped-up patter is bewilderingly impressive, as he explores his mind’s nihilistic recesses, but it’s only towards the end you realise he’s not glorifying thug-life but reflecting his reality. It’s discomfiting, disturbing listening, and middle England’s worst nightmare. British rap fans have helped make global superstars out of American gangsta rappers - the question is when it’s as close to home as Ghetto, is it too close for comfort?
Griminal’s a part of NASTY Crew (alumni include Kano, Jammer) and free mixtape Its Not Just Barz [sic](via www.myspace.com/griminalmc), is a retrospective of his work. The bouncing, celebratory Dance sees Griminal thrillingly rouse the dancefloor over Prodigy-esque ravey-breakbeat, though the highlights are two ferocious ten minute plus radio freestyles, one of which has the ever-excitable Westwood proclaiming ‘It’s a problem, it’s a problem!’ The off-the-cuff freestyles (‘I’m from a bad manor/that’s why I have a bad manner’) and clashes are so raw and vivid it makes you wonder whether aspects of grime can ever be truly captured and represented in a proper album format.
