It was only about a month a go that I brought you the first
in a trilogy of releases by UK producer Cheebo on Empty Hand Records. The
second EP in that trilogy is now dropping today and aptly named 3.2.
This release sees Cheebo aka Ollie Cheebo, continuing where
he left of with 3.1, using those raw, sample driven beats and the Akai MPC to
take you back to the nineties Hip Hop sound with five more instrumental beats
to get you reminiscing.
Let’s get straight into it…
All No More kicks things off with a proper head nob
beat blended with horns and vocal samples to get you moving. As you listen to
this one that faint jazzy horns take you back to the summers of the past, with
the setting sun illuminating the bubbles in you glass as they rise to the top
and then seem to pop in time to the beat. With you head still nodding and your
toe’s tapping in time to the beat, Listen Closely Now Switches up the
beat. Electronic vibes and 8bit sounds seem to drag you back beyond the 90’s to
80’s with a sound that smacks of those early computer games. This one invades
your mind, spinning you into somewhere between a digital computer world and bursting
beyond our atmosphere into deep space. It almost puts on a tipping point where
the old 8bit computer games where about to be overtaken by 16-bit and then
32-bit games of the mid 90’s.
911 drops with a deep chilled out beat over which is
this guitar sample that has a hint of the mariachi sound to it. The deep sound
has you moving as you listen to vocal sample. Here we find a man calling a
series of numbers to try and talk to someone to report a murder. There is this
kinda dark humour to this as he ends up by mentioning he is using a stolen
credit card to call, after repeated attempts appear to get him nowhere. He
then, finally gets connected…
Spy The Formula brings a chilled sound that has a
more funk edge to it with keys and bass vibes get you moving in a lazy kinda
way. As you listen to this one there is this air about it that feels all about
trying to find out what the formula is to create the perfect sound, the kinda
sound that not only gets you moving but, has a sound that seems to make you
quiver as it hits all the right notes in all the right ways. The EP closes with
Here You Are, the sound on this one has a pounding beat mixed with keys
and horns giving it jazz funk vibe with an almost mystic sounding edge. It
really puts you in mind of just kicking back and listening to all your
favourite tunes till the sun comes up, illuminating the world for a new day and
setting the stage for the final chapter in the trilogy.
Now, I know I have said it before, but I’m just gonna say it
again, there is something about listening to instrumental vibes like this. You
get a little tease that it is taking you back to the Nineties and so you have a
little expectation, but when it all kicks in, the music takes you off back to
those days. Not only that, but the sounds then feed off your memories of the
entire decade, bringing back some amazing memories of where you were, who you
were with and what you were listening to at any particular time, and that is
what I love about instrumental music like this. It takes you off down a rabbit
hole letting your imagination and memories run wild.
Cheebo creates another cracking release here which crafts
five short soundscapes that have you cracking a smile as you cast you mind
back. It takes me back to hopping on a train to London to check out the Oxford
Street or Carnaby Street, tagging the trains and buses as you went, finding it
hard to wait till you got home to split the wrappers on the vinyl’s, just
enough to get the wax out. Then swapping tapes with your mates and so on. These
and so much more come to mind as I listen, so I have to give huge props to
Cheebo for eliciting those memories with his incredible sounds. I think that if
I had the skills to make beats, these are the kinda sounds I’d be making.
Respect has to go out to Empty Hand Records too for
providing the platform for Cheebo to get this out there. It really gets you
hyped for what 3.3 will bring to the table.
This one might only take twelve, or so, minutes of your
weekend to listen to, but it will have you bringing up memories for years along
the way and way beyond too.
3.2 is out today so don’t sleep on this one.
My huge thanks to Speaks, the man behind Empty Hand Records
for dropping this one my way.
As I continue to rearrange things due to the pressures of
life right now, this week I am bringing you the latest release from the
upcoming label out of Australia, Empty Hand Records.
This latest release is an instrumental EP from UK producer
Cheebo, who hails from Bournemouth. This one promises to bring us some 8 bit
sounds that will take us back to the golden era of the 90’s. 3.1 is an EP that
forms the first of a trilogy of releases from Cheebo on Empty Hand Records too.
So there is much to look forward to.
Now, I do love a good instrumental sound as it allows me to
be a bit more flexible with my interpretation, something that I really enjoy
doing. I have to say that I’m not that familiar with Cheebo as a producer, so
this is gonna be a great introduction for me. So, I think the best thing for me
to do is to drive into this one and see where it takes me.
Let’s do this…
It all kicks off with 369 which is the intro to the
EP and this one has a nice, chilled sound that has a funky jazzy vibe that
seems to create this feeling inside that soon takes over your whole body making
you want to move. The vocal samples here also set the stage for the EP and give
you an insight into Cheebo as a producer and what inspires him to create the
music, he does. So, now everything is set up for us, it’s time to really get
into this with Get The Rolex. Here the drums and bass give us this funky
vibe, but over that is this electronic sound that just tweaks your nerves
enough to keep you focused and not drift off. There are vocal samples and cuts
here to that do take you back to those 90’s era sound where it was all about
the money and the status that items like the Rolex would bring. There is also
this little thought at the back of my mind that is saying to me that this
really feels like a great track to be blasting from your car, not sure why, but
its there all the same.
Next up is Track Thirty Three which has this deep
bass and drum sound that makes your whole body vibrate. There is this faint
backing vibe that has keys and strings giving it a light orchestral feeling
that reminds you of the seventies samples that have been used in Hip Hop over
the years. But, this one will not just get you nodding, but will fire you up,
getting those adrenaline levels pumping too and yes, I have to say it, this one
will definitely sound wicked bumping out of those speakers, in your car or
wherever you choose to turn the levels up. We are already hitting the EP’s
penultimate track now with Kick Hat Snare, a track that has a LoFi Hip
Hop sound that focuses on those particular drum sounds, turning them, with the
help of some other samples, into this chilled out sound that gives you a little
pause to sit back and just enjoy life for a few minutes. It really shows how
simple drum patterns have been the life blood of the Hip Hop sound, and if you
know how to use them correctly, there is little that can’t do with it, creating
any sound and vibe along the way. It already seems way to soon to be coming to
the final track of the EP, yet here we are with What I Do. This one has
this slick drum sound over which is this big sound that mixes organ notes,
vocal samples and more to create is big sound that seems to wrap you in its
energy. Once you are in there, those vocals just seem to be almost subliminal,
giving you uplifting vibes that point you towards looking for a future where
success is main aim and making something of yourself…
I have to say that this one seemed to be over way to
quickly, and yet, in that time it not only took you back to that 90’s era vibes
but, it encompassed a number of different vibes. From feelings of high energy
and bumping sounds loud in your car, to a more chilled element that was
uplifting and fuelled thoughts of personal growth and success. 3.1 did
takes me back thirty some odd years, but it also kept me rooted here in the
present, in way that made me think about those times and how far I have come
since. It had this underlying vibe that seemed to speak to you on different
levels, and without a doubt, it had me thinking what a ride it’s been since the
90’s.
Cheebo is certainly a talented producer who knows how to
translate what speaks to him musically, into something that will engage the
listener in a way so as to give them something to enjoy and will also elicit
deep thoughts about there own experiences. That is what I love about good
instrumental sounds, they take you wherever you need to go in the moment.
Cheebo also does a great job of taking a sound that is
rooted in classic Hip Hop vibes and then dropping these elements of funk, jazz
and even orchestral notes and sound that have that soundtrack energy about
them. He them mixes them all into tracks that take you back, hype you up and
then chill you out, all in the space of about fifteen minutes. Masterful stuff.
3.1 is another solid release from Empty Hand Records
and cracking introduction to the work of Cheebo. This one really sets up the
next two releases of the trilogy as something look forward to. I know I will
definitely be watching for what's coming.
My huge thanks to Speaks at Empty Hand Records for giving me
the chance to give my insights into this one.
Diggin In Outer Space marks the first time I have had KISTA
on the blog, and not before time too. Kista is a self-confessed vinyl junkie, producer,
and Graff writer. He is also the owner of Soundweight Records, on which this is
released. The album is his latest release in a career that spans the last two
decades and features many standout releases such as ‘Collecting Dust’
which he produced alongside US emcee Glad2Mecha, and the highly acclaimed ‘Songs
From The Sea’s Edge’.
His deeply rooted and traditional Graff style has seen him
produce work for many of his own releases and Diggin In Outer Space is no
exception. The cover, by KISTA himself (See above), features a number of different pieces
that show his name and demonstrate his broad but classic style. The cover also
has this cut and paste style to it and features Graff pieces that are
interspaced with images of legendary NYC Graff writers, images of vinyl
records, Hip Hop and other musical influences, plus just a hint of psychedelia
too. This stunning imagery more than mirrors the what the promo material says
about the album “From start to finish this album takes you on a timeless
nostalgic trip of all this hip hop, record digging, graffiti, drum breaks,
spoken word, 90’s mix tapes, and Skateboarding”.
Now, I have always been a lover of the cut n’ paste style
mix and so I am truly looking forward to deep diving on this one. So, let’s not
hang around one more second. It’s time to join me as we turn the clock back to
the Mid-eighties and early 90’s for a journey into hip hop, dedicated to the
one and only ‘The 45 King’, let’s go Diggin In Outer Space with KISTA…
We begin our journey, of two halves (or sides as it were),
by lifting off from planet Earth, into the void of outer space with the Intro
(Stereo Test). This is more than intro to the album, but also and intro to
vinyl records, how to play them and a hint at crate digging too. It all comes
courtesy of a vocal sample from yesteryear over banging drum break, with a dash
of some electronic vibes to boot. Now that the needle is in the groove and we
are suitably thrust into our seats for the ride it’s time to get the Correct
Technique, and we do this by listening, intently to the drum break and all
the various samples, as they come together to get our head nodding, and the
head nod sound is something that is always critical as it transfers the energy
from the music into your body. Especially so when you’re floating through the
void of space. Now, something that was always a huge part of the early Hip Hop
Electro sound was the fact that it had that futuristic computer sound, and that
also expanded into the Graff scene too with futuristic styles, and it’s time to
explore the Graff side of things on Computer Rock (Future Shock). Wicked
infectious bass guitar and a dope beat, really gets ya adrenaline flowing, just
like the kick of grabbing a bag of spray cans and markers and getting out onto
the dark streets and into the subway tunnels to get your name up, in the
freshest style. The sampled vocals from graff writers really takes you back to
watching documentaries, like Style Wars, for the first time. You would get a
huge kick from practicing your own tag, before heading out and getting up for
the first time. Computer Rock Pt2 (The Essence) takes us deeper into
something that is the essence of both a graff writer or an emcee, and that is
the technique; each has to have their own individual style or styles of
creating their craft, from the tags and bubble, or wild style pieces, to the
wordplay and flows, you technique is everything and is up to the observer to
see if they can follow. Keep It on mixes up organ notes, xylophone
notes, and vocal samples over a wicked drum beat to give us a sound that almost
has a laid-back edge to it but, still has that banging vibe that keeps you
bouncing as our journey through the cosmos continues but, if you thought that
the link to planet earth was lost, you are mistaken as Solstice brings
that link to bear with a hypnotic sound that has these sampled vocals that seem
to speak to your unconscious, reminding you that no matter how far you travel,
you are always still close to nature and should always remain so. That idea of
remaining close to nature, even when surfing the cosmos leads us into Mushroom
Clouds where the beat is laced with hypnotic piano notes that allow us to
drift off into a different type of cosmos, one where some, possibly, natural
substances help us reach a cosmos of our own making. The organ notes and
guitars on Take You Higher find us inhaling more of those substances to
transcend that induced cosmos, before realising that sound and music also has
the capability to takes up to other places, and that is where we end the first
part of our journey into outer space.
One quick flip, and the needle is back in the groove, and
our journey continues, with just that little pause. Now we get things back on
track with the title track Diggin in Outer Space, which takes us back to
NYC. Here we get the low down on how a vinyl record is produced before breaking
into sampling, the MPC and more. This track is almost like a cut n paste mix in
itself as KISTA mixes in a wealth of vocal samples with switching sound along
the way as the focus of the vocal sample’s changes. It keeps you on your toes
and shows the work that goes into creating that physical product you love to
hold in your hand and then watch, mesmerized, as it spins on the turntable
bringing the sound you love to hear. Crescent Moon takes us into a jazz
infused sound with classic drum break with strings to give it a chilled air.
Then there are the piano and horns that really bring in that jazz sound.
Something that really came into hip hop music in the 90’s, bringing a sound
that was rooted in hip hop but, had this jazzy vibe that you could chill to,
showing that somethings just blended so well with that hip hop sound. Now, Walkman
Blues opens with a little soundbite that I can associate with as I had my
first introduction to Hip Hop by listening to a cassette of the latest tunes.
Here the beat, organ notes, claps and vocal samples all come together to create
this vibe that gets you reminiscing of the days you had a cassette Walkman, and
then a CD Walkman. I remember making my own mix tapes or putting the latest
albums on tape to listen to on my train journey to work. Later, I had the means
to do the same with CD’s. This one really takes me back, and the blues comes in
when you forgot to get back up batteries, or the tape massed up. Those were the
days. Xylophone notes bring us into Moon Rocks, where those notes mix
with organ notes over the beat to give you this upbeat sound that kind of
lightens the mood somewhat. It keeps that jazz vibe going once more but, in
more chilled way, and makes you think of bouncing around on the moon in low
gravity, looking back at the earth, the same way you might look back at music
that has gone before, how it has influenced you and how you might be able to
use it in the future. On the subject of musical influences, the Chrome Face
(Skit) brings in a short funk fuelled guitar sound, alongside a nice drum
beat that switches your focus to the equipment needed to take all of those
musical ideas, that are floating around in your mind, and getting them into a
usable form, recorded and ready for use. Similarly, your idea might be to take
a Stack of 45’s and produce a funky little mix out of them, and if that
is your idea, then you might just come up with something like this little
beauty. No more needed to say here just kick back and enjoy. The penultimate
sound on our little journey right here is Endless Summer, and this one
takes a pounding drum break and mixes in piano, horns and more to bring you a
sound that puts you slap bang in the middle of NYC, in the heat of the summer.
From the busy summer days to the rocking summer nights, this one takes you
there, as a little aside from travelling icy depths f outer space. KISTA rounds
things off here with the Space Cookie (Outro), a spaced out drum and key
infused sound that reminds you this journey is took you out into the depths of
the cosmos for a ride through the foundations of the Hip Hop sound and much
more. Now you are left with a little decision to make. Do you come back to
earth for more or do you stay floating, out there in deep space…
This has been some trip for sure, and it is not always easy
to review a release such as this because you hear so many sound bites, samples,
and more that you recognise that you question, do I list all these that I
recognise? Now, if I was to do that, we’d be here forever. So, what is best to
do is just give you the things that come to mind as I listen.
What this album did do was to take me back to those days of
old, to a time when I first heard Hip Hop, properly, when I knew what it was.
That old Cassette, that I still have, was my first introduction. Yes, I had
heard Rappers Delight on vinyl but, I didn’t know what I was listening too, at
the time and was only eight or nine years old. When I got to thirteen and was
told that this is Hip Hop, things blew up. I loved those times, trying to make
pause button mixes or listening to Double D and Steinski’s The Lesson series or
taping DMC mixes from the John Peel Show on a Monday Night. Now I wasn’t a
skateboarder, so I can’t comment on that but, I know it was a huge within some
in Hip Hop so, it definitely has its part to play. Hip Hop wasn’t just music,
it was Breakin’, it was Graff, and it was knowledge. I learnt so much from
listening to Hip Hop and researching what heard in the lyrics.
So, not only does Diggin In Outer Space take you back
to those early years, it encapsulates everything about that time. From buying
records, tapes and CD’s, to trying to write Graff, trying to be a Breaker, and
trying to Rap or be scratch a record (in the musical scenes). It brings all
that alive once more, putting you in touch with those feelings and reminding
you of what it was about Hip Hop that struck you, the oneness. You were part of
a movement, a culture, something new that was growing, and still alive today,
if you look in the right places.
KISTA proves, right here, and without the shadow of a doubt,
that he is one of the premo Hip Hop producers out there that still embodies the
roots of what Hip Hop is all about. Diggin In Outer Space takes you on a
trip that is seamless from start to finish. It is a rollercoaster ride that is
not just a great listen but, one that takes you to new or old places and
elicits emotions and adrenaline shots with every beat. KISTA has this instinct
that know exactly what beats, breaks and samples to use to convey the message
he is putting across, and that message seems to be that this is Hip Hop music
and this music can break down the walls and take you anywhere you want to go.
So, turn up the volume and feel the love for the music, the culture, and your
fellow brothers and sisters across the world.
For those of us who grew up in the 70’s, 80’s this one is a
nostalgic trip that will take you back and have you grinning from ear to ear,
and if you grew up in the 80’s and 90’s, it will have a similar effect. For
those of you hearing this who grew up in noughties or after, this one is going
to give you an insight into a time when playing with music and bringing fun and
good times was the name of the game and I hope it ignites a new flame inside
you to explore the music and bring that energy back, because we need that fun
energy to back into music and inspire unity beyond borders.
This has to be high on my albums of the year as it is a
stunning slice of Hip Hop that ticks all the boxes and proves, once and for
all, that Hip Hop is in the house, and its alive and kicking.
Diggin In Outer Space was release back in August and the
vinyl has now sold out. It is still available on digital though so, grab a
copy.
My huge thanks to KISTA for allowing me to bring this one to
you.
Anyone who is a regular reader of the blog will be familiar
with the Daniels work as I have featured his production on his instrumental
album Carmen Suite (2021) and his work alongside Anyway Tha God on Allow God To
Interject – Daniel Niles Remix (2021) and the single Mind Melt (2024).
This latest offering is limited edition cassette promo that
features six remixes that Daniel has produced. The release is strictly limited
to the cassette, with no plans to release them digitally. So, you might want to
grab one of these while they are still out there…
Reviewing remix projects is always a challenge, especially
if you are not familiar with all the tracks. So, as I want to give you my
honest opinion here, I am going to do my best to check the original prior to
reviewing the remix so that I can give you an idea of how they compare.
So, I’m gonna dive straight in with he first track, which is
Best Stop Ya Crying. Now I do know this track as it featured on Daniels
remix project for Anyway Tha God, Allow God To Interject. Now, I have
not been able to find a copy of the original but, here is what I said about
that 2021 remix from Daniel. The harmonica, piano, and drums on Best
Stop Ya Crying creates a sound that seems to tug at your nerves a
little and this whole track seemed to speak on how people react when things
don’t go their way. It’s like the old saying, don’t cry over spilled milk or in
our current society, don’t start complaining about the actions of a government
that you voted for. Here Daniel brings a far funkier sound, with head nod
drums, tambourine, other percussion sounds and this wickedly funky bass. All
this mashes together to bring a sound that gets you moving; while at the same
time not taking anything away for Anyway Tha God’s vocals which still have the
same impact and as they did several years back.
The second track comes from Billie Splyff (aka Mista Spyce
of The Brotherhood) and is Tek No Nonsense. Daniel produced the original
of this track which featured on 2021’s Sorry For The Wait album. The
original had a solid boom bap style beat alongside these organ notes that gave
the whole thing a quite mind bending sound. For the remix, Daniel has kept the
heavy drumbeat but, kept the mind bending sound with some keys and other sounds
that does mess with your mind, just like the original. Billie Splyff takes no
prisoners here as the track is all about, as the title suggests, taking no nonsense,
whether it is from scene or those who object to smoking a certain plant. The
wordplay reflects what the track is all about and this hot new remix is one
that is likely to be on more that a few playlists, if you can grab a copy that
is.
Up next, is another track that I know well and have
reviewed; High Noon by Montener The Menace featuring Masta Ace, Rah
Digga, Wordsworth and Fatlip, from the album Anyone Home (2021). My
review of the original went like this: Montener the Menace has formed a rag
tag group of Hip-Hop outlaws with Masta Ace, Rah Digga, Wordsworth (outlaws)
and Fatlip (sheriff). Now the line may blur as to which side of the law they
stand on, but they are gonna be letting off from all barrels or chambers on
those who have the nerve to cross them, as they stand for oppressed against the
oppressors. The straight up head nod beat laced with strings comes from Wounded
Buffalo Beats and really is a track that is more than just a posse cut and
could well be ‘The Symphony’ for a new era. For this new remix Daniel has
gone for a solid head nod drumbeat, which this track demands, and has backed
that with a bass note and a vocal sample that seems to have a middle eastern
sound to it. This changes the tone of the track, which at first listen I was
not sure worked but, the more I have listened, it has kinda grown on me. The
vocals still hit as they did on the original but, here the remix almost gives
the track a reflective edge, as if someone is reminiscing over an experience
past.
Clear The Space by Noddegamra is one I am not
familiar with and comes from the 2021 EP of the same name, which was originally
recorded back in 2003 by Slough MC Noddegamra and producer Big Chill. In 2021
Daniel, who is the nephew of Big Chill (R.I.P.), rediscovered the original
acapellas and remixed the eight track EP. That 2021 version is a proper boom
bap track with horns, that gets your head nodding. The track focuses on
Noddegamra bringing a bit of braggadocio on who he is and quality of his rap
game. The wordplay is solid too and it really surprises me that this one seems
to have gone over the heads of so many and deserves for attention, which could
well happen with this remix. For this new remix Daniel gives the track a real
heavy sound with a banger of a beat that ramps up the adrenaline levels and is,
if I dare say it, one of the highlights here. Not only should this one make you
want to seek out the EP and search for more from Noddegamra but, also Daniel
does a cracking job of paying homage to his uncle ‘Big Chil’ who sadly passed
away earlier this year, and I can’t think of a more poignant way for honouring
someone’s memory than this.
The penultimate remix here comes in the form of the track The
Phantasm Pt 2 from the album 7th(2022). Daniel had
originally been asked to do a remix for the 7th Remix Edition
but, when that remix didn’t quite make the final cut, he used the acapella to
produce this new remix. The original was produced by 7th Dan and has
a solid drumbeat that is backed by piano giving the whole thing this sound you
can’t help to vibe to while DSOTM create a track with cleaver lyrics and
wordplay that you the idea you have just become embroiled in a living
nightmare. Daniels new remix keeps that nightmare vibe with a heavy beat over
bass, horns, and electronic sounds that grab your awareness and toy with your
nerves once more.
The final remix here is Nile Flow from the DTN
Collective featuring Who Dat and Billie Splyff. The DTN Collective (Dantian
Collective) is comprised of KG-Chi, Mista-E, Zedi, AnyWay Tha God, and Ayem and
the track Nile Flow comes from their album A.S.K.M. (2024). The original was
produced by Daniel and features cuts from Sub One. That Original has a banging
boom bap beat with keys and strings that all merged to give you a sound that
got you moving while also testing your nerves. This one is a display of the emcee’s
wordplay and lyrical prowess, one to sit back and enjoy, while the focus is on
the words flowing effortlessly like water. For the brand new remix, Daniel
brings a solid and heavy boom bap beat that gets you moving from the get-go.
There is a synth sound here that gives this one a Carpenter style sound that
only adds to the vibe of this one, taking nothing away from the vibe of the
original but elevating it to another level.
What can I say overall about this one?
I have to say that I have always loved the art of the remix.
I grew up in the 80’s when the remix was a huge thing, and you would buy 12”
singles just to get various remixes. The remix can often change the vibe and
sound of a track and there are times when a remix will work and times when it
does not. I have to say I’m not a huge fan of more modern genre’s making
remixes of older tracks, especially when it comes to DnB or EDM etc. However,
what we get with Sound Library 2025 Promo Vol. 1 is a perfect display of
how to do it properly. Here Daniel Niles takes six tracks, some of which he
himself originally produced and some where he is bringing a whole new take on
an original production. He skilfully brings a new sound to each track, either
keeping the overall vibe of the original, or completely giving it a whole new
sound that, while keeping the essence of the original tracks meaning, brings a
new vibe that takes the meaning in a different direction.
Another thing to consider here is that the cassette comes with
the vocal versions on the A-Side and the instrumental versions on the B-Side.
As I have said many times before, having the instrumental version of a track is
something that I always enjoy as a sound scape that is free of vocals can take
you a million different places in your mind, and there is always the chance too
that these instrumentals give you some inspiration for your own creative
abilities. It’s well worth taking the time to check them out, in my humble
opinion.
You can tell that Daniel has a great ear for the Hip Hop
sound and has the production skills to bring new life and direction to tracks
that you might be familiar with and those you might not be. This release is one
of those rare underground gems that won’t be out there for all to own. Rare
promo items can be among some of the most popular and expensive things to track
down and I have no doubt that Sound Library 2025 Promo Vol. 1 has the
potential to be one of those gems, in terms of Hip Hop music.
I suggest that if like collecting those rarities, then this
one should be one you look to get hold of before they disappear and the price
skyrockets.
Update, as I get this post ready to go live, I have just found out that these have sold out. Looks like you may just have take my word for it on the content...
Huge thanks to Daniel Niles for giving me the chance to
bring you my take of this one.
It was about eighteen months ago when a reviewed the first
Golden Ape Beat-Tape from Dweller on the Live From The Groove label. That
release featured a collection of some of the UKs finest underground beat makers
, plus a B-Side that was seamlessly mixed by the legendary Jazz T.
Now Live From The Groove is back with the second instalment,
the Golden Ape Beat-Tape Vol 2. This time around the collection of beats
all come from label founder Dweller with Side-B being mixed by the labels own
DJ Simon C….
That said, let’s get into it…
Each side of the Beat-Tape is nine tracks long and a little
under 25 minutes in length. The A-Side kicks off with Misguided Adventure,
which has a proper funky head nod vibe that really comes alive with this double
bass element that vibrates through your whole body as you groove to the sound. What
It Means follows with drums, keys, guitar vibes, flute and more, all coming
together to give you a sound that keeps you moving. This one has that kind of
vibe that would not see it out of place on a soundtrack of movie or TV series
that has an inner city setting or similar. Next up is Chop La Disco
which brings this awesome funk fuelled sound that mixes drums, strings, piano
and guitars into the kind of sound that has an infectious feel to it. The
infectious funk vibe continues on Beam Me Up which has this wicked drum
beat over which is this eclectic mix of piano, organ and electronic vibes that
picks you up and has you floating off into space. Now you are suitably floating
off, its time for North Stars to have you transcending into another
dimension with this futuristic beat and electronic vibes. Taking you far away
as you allow the sound to permeate your awareness. Without warning the vibe
changes with Grubby Luggage, here the sound has a more boom bap feel
with a solid beat and funky bass sound that brings back from outer space to get
your head nodding once more. Now you suitable grounded once more, Slow
Motion Thinking brings a lighter sound with flute, keys, guitars, and a
more chilled beat. This one would almost have you chilled right out but for the
occasional high paced beat elements that just about keep you in the moment. The
penultimate track on this side is the only one to feature a vocal sample thus
far as the intro to Pick The Right Way. Here the beat is heavy with
electronic elements which seem to fit with the notion that picking the wrong
way will take you on a downward spiral to place you don’t want to be. You end
this side immersed in a place where you get A Word In Your Ear, one
which is full of strings, drums, and cymbals. The sound has this head nod
element but, also this vibe that has a more thoughtful edge to it, the kind of
sound that fits perfectly when you are in a contemplative mood.
It is now time to flip over to the B-Side where DJ Simon C
is about to test the minds of the listener, especially the reviewer who has no
idea of track length going into this, with nine beats being perfectly and
seamlessly mixed from start to finish. It all kicks off with Cryptwalking,
with a heavy beat, bells, keys and more, this one does give you the sense of
slowly walking forward, with no real direction and with one eye cast over your
shoulder. The beat changes slightly as we move into Flat-tops, where big orchestra horns take the forefront alongside a
solid head nod beat. Once more you get that kind of soundtrack vibe before
heavy strings join the sound. This carries you into Waterfalls, where
the beat and guitar vibes unite with Piano elements to bring this upbeat sound
that makes you wonder, what would a waterfall sound like if it had a musical
element as is cascaded over your body, and perhaps this is it. The Piano vibes
continue with Gut-Wrench which has this Lofi sound that, I have to say,
does put you in mind of how you feel having had some gut-wrenching news;
carrying you along where you are almost in a daze. Just as you are wondering
where this is going, Shot In The Dark drops in with a pulse pounding
funk sound that has this awesome uplifting sound with this funky guitar element
that puts a grin on your face once more. Sycamore Style kind of drifts
into the flow with a drum program and horns that give you a sense being at
speed but, also floating at the same time, just like a sycamore seed as it falls
to the ground, spinning rapidly while floating slowly on the breeze. Crom’s
Lament comes in with a recognisable sample that has that soundtrack vibe to
it, alongside heavy drums and cymbals; all of which put you in mind that
something big is coming and this is almost the calm before the storm. It is
either that or this is the sound of someone coming to terms with their past as
their final journey awaits them. Whichever it is there is this emotive edge to
this one that conjures up many things for the listener. You won’t be waiting
long see what the impending sound was foretelling as The End Of The World
is soon upon you. Drums and keys create this deep sound, one that continues
that emotive edge, touching you to the very core of your being and making you
wonder if there is anything more to this journey; that question is soon
answered as Shake The Colours almost explodes into your awareness,
instantly pulling you back to the present moment. The upbeat sound of drums,
xylophone notes and horns give you an instant adrenaline hit that makes you
realise that there is not just a silver lining to the world around you but,
that music is the gateway to a brighter future, you just have to let it in…
I have to say that, bringing myself back from this one was a
huge task as instrumental music gives me free reign to interpret things however
I want and, looking back over my words, I could rewrite this one totally
differently if felt like it and even go on for a few more pages yet but, I have
to give you some overall impressions, or perhaps I just did…
There are few things that strike you when you have given
this a good listen or two, the first of which is the diversity of Dweller’s
production across these eighteen tracks. Yes, you can feel that the foundation
comes from that boom bap Hip Hop sound but, there are some great elements of
other sounds, genre’s and more mixed into each one of these; showing the
calibre and an insight into just what he is capable of as a producer. The
emotive nature of these tracks really allows you to go anywhere with this one
and the fact that it leaves you on a high note means that no matter how you are
feeling when you put this one on, it will leave you on a more euphoric note
once you get to that last track.
You can’t sum up this one without taking a good look at the
B-Side too. DJ Simon C expertly mixes these tracks together, keeping the vibe
going all the way through until that last explosion of sound and inferred
colour. His addition of cuts across the whole thing also adds depth and keeps
that foundation of the Hip Hop sound alive while giving you food for thought
without pausing to consider just where the music is taking you; it’s just one
long journey to enjoy.
For me this a cracking release that shows exactly what Live
From The Groove, Dweller and DJ Simon C have to offer. The Golden Ape Beat-Tape
Vol 2 takes things to a different level from Vol 1 and proves that they are
true silver backs of the UK Hip Hop scene.
The Golden Ape Beat-Tape Vol 2 is available now and is
definitely one not to miss, also make sure you check out the recent review of MNEA ; The Future Introspective EP which is another outstanding release from
Live From The Groove
My thanks to Dweller for giving me the chance to bring you
this one.
Dropping today on Live From The Groove is the latest
offering from Mazzini, the Red Nebula EP. Mazzini is described as a Hip Hop producer who draws inspiration and influence
from the world of television and film. Obsessed by vintage cinema, giving an
insane attention to detail when crafting his often complex and meticulous
projects. A keen purveyor of the obscure, flipping from the screen to the
MPC; Mazzini builds soundscapes with running
themes exploring everything from space travel to the escapades of the New
Jersey Mafia.
As with anything from the Live From
The Groove label, we can expect some high grade Hip Hop vibes mixed with
whatever Mazzini chooses to bring to the table, and to give you an idea of what
to expect at this juncture, the EP is described, in part, as a futuristic
trip, a spaced-out beats odyssey that journeys light years through soulful
loops, edgy electronic elements and raw organic drums. Cinematic in the
extreme, Mazzini experiments with effects from home-made guitar pedals and
painstakingly carves samples from forgotten film and tv soundtracks, 90s
computer games and a plethora of his own nostalgia to create a cosmic
soundscape.
Not only that but, the EP also
features appearances from Dweller, Scrabble and Kansul, guitar and bass from
Rolly and cuts by DJ Simon C. So, this one really ramps up the expectation of
something different and possibly way out there?
If you really want to get an idea of
what’s in store for your ears, then join me as I take you on a journey through
the EP as it comes through my ears and then filters through my consciousness…
As the sound of drums, electronic
vibes and sonic sounds, of Lazers envelopes you, you find yourself on a
launchpad with a brief sensation of expectation before being launched into the
vast reaches of space, surrounded by some intricate lo-fi vibes carry you past
the point of no return and on into orbit around the earth; you catch your
breath as the beauty of home planet comes into full view, lit by the light of
the sun. It’s not long before your attention is drawn to the cosmos beyond the
earth and for a brief moment the thoughts of the universe merge with the image
before you on the computer screen, brought to you by Lines In A Code.
The electronic vibes and heavy drums make the veil between realities blur and
the voice of crew mate Scrabble invade your scrambled awareness, his words
bring thoughts of the digital age and how computer code seems to rule our
lives, making it harder to distinguish just what reality we live in, is it a
3-D world or just a simulation that is generated by the lines of code in the
matrix…
As your mind whirls, almost out of
control, you blink hard and suddenly realise that the pounding drums,
electronic vibes and sampled sounds have taken you beyond the earth’s orbit
further into the galaxy beyond, and as you head ever onward you wonder just
what comes After Earth? It’s not long before a head nod drum beat clears
your vision, with guitar notes and some sampled sounds take you back to 80’s
with electro vibe. The sound comes from crew member Dweller, a Robot, as
his words seem to drift in and out of your awareness, you begin to question you
existence once more; this time his words seem to twist your mind to the point
where you consider the fact that you yourself may be a robotic entity,
programmed to journey beyond earth, looking for a safe haven for those left on
that, and in spite of its beauty, dying planet you just left.
Leaving the orbit of earth, you have
seen much already, your head nods to the beat, guitar, electronic and sampled
sounds of Satellites. These things come in many forms, from the manmade
mechanical devices that surround the earth to the moons and space rock that
orbit other planets. Your journey gives you time to think and you realise how the
satellites and space junk that orbit earth and slowly becoming such a danger to
the planet but, this is a passing though as your mind is drawn away from that
dark thought to the wonderous visions of the satellite moons that you pass by.
The sounds of piano notes draw you back to your journey and the realisation
that your parabolic trajectory has brought you Intra-Venus and as things
heat up, you are joined by crewman Kansul as the beat kicks in with horns and a
multi-layered sound that makes you marvel at the sight before you. The
extra-terrestrial vocals take you into hyperspace, beyond the confines of our
solar system and on into the galaxy beyond. The final track of the EP takes us
to a place that was only thought to exist in the computer game ‘Half-Life’, the
borderland, which is a meeting place of dimensions, XEN, and now we find
ourselves Walking on XEN. Pounding drums echo your foot falls as the
electronic and sonic vibes mirror the strange sights before you on XEN and the
mind bending thoughts that have you questioning, one last time, am I really in this
3-D reality or have I transcended reality and become with the digital universe,
as those questions float by your consciousness, you wonder if they will be
answered or perhaps an answer is now inconsequential…
I have said it many times before and
will probably do so again but, instrumental music really does allow your
consciousness to drift off into places that the world beyond, just does not
allow you to go to. Red Nebula is no exception, even the three tracks
with vocals from Scrabble, Dweller and Kansul, still have that element that
allows you to find new worlds to explore.
What Mazzini does with Red Nebula is
to blend so many elements seamlessly into a Hip Hop based journey that opens
your mind to an almost infinite number of alternate realities, each of which
can blend the borders of reality into a something new, even interstellar, and
yet at the same time, strangely familiar.
The use of live instruments alongside
a plethora of forgotten, and some not so forgotten, samples is stunning, as it
brings a blank canvas to your imagination, taking you anywhere you want to go.
The appearance of Scrabble, Dweller and Kansul, adds an extra dimension to
thing as their vocals bring a focus for your mind to be guided to as you create
your own visions upon the canvas that Mazzini places before you. The other
thing about Red Nebula is that Mazzini seems to bring you a sound that not only
spans across space but, also time as you are transported back to the eighties
from the present and on into the future in the space of less than 25 minutes,
it is a journey that is like no other, or is it?
Red Nebula is one of those EP’s that
has to be heard to know where it will take you and Mazzini has done an
absolutely stellar, or is that Interstellar, job here. It is definitely one I’m
gonna enjoy for a long time to come.
Red Nebula by Mazzini is out on Live
From The Groove today so, grab a copy (the digital version comes with an additional track, Keep Lookin' Up) and drift off beyond spacetime.
Cold Hard Steel 2 is the follow up to the 2021 original and
continues Crease’s instrumental look into the lifestyle of the underground
graffiti writer. Crease has featured on the blog a couple of times, the last being back in October 2022 with the
single Fake Friends / Hip Hop Saved My Life alongside Holly Flo (Click the link
for that review).
As part of the legendary Outkastz Crew (O.K.S.T), Crease
literally has spray paint and ink running through his veins, as a producer and
DJ the music also runs through his body fuelling the inspiration to emblazon
the walls with the freshest pieces and tags. When you bring both the love of
music and the lifelong graff interest to together what happens? Well, if you
are familiar with the original Cold Hard Steel, then you will have some idea,
if not, then why not join me on a trip passing the pieces, tags on the walls
and down into the tunnels as we watch the trains pass by…
The sound of vinyl record crackle accompanies what appears
to be an early eighties information soundtrack about graffiti. Detailing some
of the history and the progression of graffiti at the time, it is all
underpinned by an often-funky musical vibe for the opening track, Caves,
which obviously makes you realise that humans have been writing and putting art
on walls since cave art, is that any different from now?
From the caves we move from the sounds of the city streets
to Under The City, where the sound of tribal drums and piano accompanies
sound bites from Style Wars. When the beat fully kicks in you get this sense of
the darkness of the subway tunnels and the desire of the graff writers to
create something from the drab canvases of the walls and subway train cars. You
also feel that the creations of these graff writers, bombers, and artists, was
a way to brighten the days and nights of a cold harsh inner-city life. The
obvious drawback of being a writer is that getting your work up on the walls
and subway cars was met with one thing, That’s A Crime. The atmospheric
strings, over the heavy drums creates this air of the conflict between the
writers and the authorities. The authorities wishing to control and assert that
authority over the writers who, with no other outlet for their creativity, only
seek to go bigger and better, all the while developing their style and becoming
more creative with their craft. During the eighties, the time of Style Wars, it
was mayor Giuliani of New York who would spearhead the drive against graffiti
in the city. Toy Giuliani is a short skit that takes a comedic look at
the fight against graffiti.
Subway Symphony is this a look at who witing is truly
for, and that’s the writers. The heavy drums and symphonic strings mixed with
additional sonic vibes and a dash of scratches really makes you feel the belief
and dedication of the writers; there is also that sense of kicking back and
watching the trains go by, looking for your own artwork among the many that
pass by and feeling that emotion as you see you hard work displayed for all to
see. The sonic vibes of Fuk Tony looks at when the infamous skater Tony
Hawk took tried to make graffiti look bad. As a famous name, and many have done
this over the years, Hawk was someone youngsters would look up to and if he
said it was ‘not cool’ then kids would stop. From one of the ways they tried to
stop graffiti we move to More, a full on Hip Hop, head nod banger that
looks at how 1989 was celebrated as the year the MTA purged graffiti from the
New York subway system but, by 2018 it was back and it’s all about how much you
can get up. As Cap said about being a bomber, it’s not the “biggest or the
beautifulest but, more.” The John Isaacs Theme is another short little
skit with a comedic edge that looks at how writers, back in the day, would get
their paint by ‘racking’ aka stealing from automotive stores. They were from
the poor inner-city areas and so had only one option when it came to getting
paint so they could ‘get up.’
The sounds of the subway bring us into another heavy Hip Hop
banger, Run Da Subway. This one looks at the difference between a writer
and a graffiti artist. The main point here is that you are only a writer, a
true writer, if you have hit up the subway cars. Because that’s where the name
comes from, a time where it was all about writing your name on the subway cars,
stations, and tunnels. When the writers ran the subway system, there was a War
going on. This was pitted the writers against the buff; buffing was the
acid wash that the subway cars were put through to remove the graffiti. The
drums and bass here really give you that hectic energy that those writers must
have had, constantly full of adrenaline as they took on the authorities in
order to get their names up before they were caught, or their work was buffed.
The album ends with Fallen Soldiers an emotive guitar heavy sound that
seems dedicated to those writers who are no longer with us but, have inspired
us over the years such as Dez, Kase 2, Dondi, Rammellzee, Iz The Wiz and Phase
2 to just a small few.
Cold Hard Steel 2 is firmly rooted in the Hip Hop sound but,
just like the artform it reflects, it is not exclusively Hip Hop. It has been
said many times that graffiti is Hip Hop but, not exclusively, you don’t have
to be Hip Hop to write, and this album reflects that in bringing you a sound
that draws you into the world of the writer which grew out of the same streets
as the foundations of Hip Hop culture.
As you listen to what Crease has crafted here, you can feel
those diverse musical influences from the tribal drums to Hip Hop, electronic
vibes and more, and Crease expertly brings it all together, with these sound
bites from interviews and documentaries, to encapsulate the lived experiences
of the graffiti writer. The fact that the sound seems to ebb between Hip Hop,
Lo-Fi and electronic, just adds to the depth of the soundscape he has created.
For me, what makes this album what it is, in being a
graffiti writer inspired piece of work, is those well used sound bites; take
those away and crease could take you anywhere your mind wants to go but, the
desire here is to take you into the world of the graffiti writer, in particular
what could be called the golden age of writing between 1975-1985, the most
pivotal years of graffiti coming to the forefront as a result of it’s growth on
the New York City subway system.
This is a perfectly crafted musical journey from someone who
truly knows what it is to be a writer. Someone who saw the work of these
graffiti pioneers and was inspired to pick up a marker and a spray can, to put
his own expressive, indelible mark on the world around him; where as those tags
and piece’s may fade or be gone over, the musical expression and dedication to
the culture can never fade and will always be there to help others cast their
minds back or to reminisce on a time when the dirt and grime of the subway was
brought alive by the creative expression and vibrant colours of the writers.
The awesome cover art comes courtesy of the legendary Bristol Graff writer CHEO.
Cold Hard Steel 2, produced by Crease is available now.
On That Note,
It's time to jump the third rail and be outta here,
A couple of months ago I treated you to my take on Chess
Moves beat tape, Future Crates 1, a 29-track monster that mixed up the vibes
and gave you one hell of a look at the creative mind of the London based producer.
Well, now he is back with Future Crates 2 and this is even more of a monster
than the first with massive 36 tracks but, this one will be a little easier on
the fingers as 13 of those are interludes.
I’ll let the man himself tell you what it’s about “A crates, vinyl
sampling excursion of drum breaks excavated from deep in the basement through
the dust and cobwebs and hauled into the studio for a re-awakening. Polyrhythm
time structures in the beat assembly process and use of LFO's and filters combined,
bring forward moving dynamics to give the tracks motion. Others hit hard like a
heavy boom bap sound reminiscent of the 90's Hip Hop Production sound through
grain, saturation, and compression. 36 tracks of Hip Hop / Crate Digging
Instrumentalism goodness for those in the game that are firmly embedded in the
culture and art as well as those that are getting introduced to it with fresh
eyes and ears.”
With that in mind, let’s get into it…
It all kicks off with the Intro (Interlude 1) with is a few
seconds of heavy drums and cut up samples to whet your appetite before things
really heat up with The Calling, this one is a heavy pulse pounding
sound with a background electronic element that just eases the impact a little
but, not enough to stop you needing to catch ya breath. Interlude 2 hits
some classic drum samples that sound straight out the SP1200 with Trouble Funks
‘Pump Me Up’ cut up over the top for good measure before it’s straight into Fundamental
Techniques, more heavy boom bap drums with guitar and electronic samples
mixed together to give you the fundamentals of putting a beat together. Interlude
3 takes that cut up Pump Me Up section from the previous Interlude but,
adds a different drum program to it, just to mix things up.
Independent Part Movement has heavy drums and guitars
that has this reverb effect placed on it, this means this one hits with less
intensity, which is in complete contrast to the following beat, Overlapping
Parallelism, with its mix of rough bass sound and button pushing goodness,
this one messes with your head while still making bob your head. It has more of
an action soundtrack vibe to it. Multipart Phenomena is just that with
multiple elements of drums, percussion, keys, drums and sampled vocal bits, all
mixed into one multi-layered vibe. Distinctive Elements is, again, aptly
named as there is this distinctive sound to each element. There is one drum
beat over which are several orchestral / soundtracks samples that produce this
almost eerie sense of anticipation.
Interlude 4 is another host of cut-up samples with a
sampled drum loop, just giving a little boom bap pallet cleanser between beats.
Heterophony almost seems to overload your awareness until you understand
what it is, the definition of this type of musical texture as a simultaneous
variation on a single melodic line. Now you can soak up the drums and
electronic vibes safe in the knowledge you now understand what it’s all about.
Next up is Of The Chamber, a jazzy mix of drum elements and piano notes
with a few strings just to add to the depth and which leaves you wondering
should you nod or sway to this one and the reverb here gives you feeling it was
recorded in one, a chamber that is…
Interlude 5 takes us back to the SP1200 vibe with
cut-up samples, taking you back, back into time. From the old skool, we are
dragged back to the present with Prodigious Harmonics, which seems to
open up the mind to new styles of boom bap music with this extensive display of
Hip Hop harmonics to tease both your ears and your mind. Blurred Monody
gives us a classic boom bap drum beat over which is these orchestral samples
that have this emotional depth, a single melodic line, which is blurred by the
head nod sound that carries you along. Interlude 6, once more, takes us
back to the classic Hip Hop sound with percussion and cut-up vocal samples.
Homorhythm is a texture of music where all parts have
a similar or very similar rhythm. Here there is this mix of drums with an
occasional electronic note, all of which do appear to follow a similar rhythm,
well they do to my ears anyway but, I’m not as young as I used to be. Superimposition
is the art of layering things over the top of each other so that all elements
are still evident, and you can hear this here with the drum layers. Structuration
is the act of giving structure to something. Here there is a plethora of sounds
all brought together in a way as to give structure to this particular beat,
giving it an almost futuristic sound. As will the previous Interlude’s, Interlude
7 gives us our classic Hip Hop pallet cleanser of beat and cut-up samples
as we move deeper into the second half of the album.
Ostinato Variations is a nerve shredding, electronic
and drum sound which shows the very definition of the Ostinato musical pattern,
where a short musical pattern is repeated persistently throughout the piece.
Also, ostinato is Italian for stubborn so, it could be said this short
repetitive pattern is also stubborn in its repetitiveness. After having your
nerves tweaked in that way, you might be in need of Interlude 8, with
more of its classic Hip Hop vibes and cut-up dope samples. How you compose your
music says a lot about your creativity and, Modes Of Composition shows
just that with a very heavy, pounding beat alongside a wealth of multi-layered
sounds. The vibe of this one is so heavy it literally vibrates you to the very
core of your being. Interlude 9 provides a welcome boom bap Hip Hop,
head clearing vibe from that heaviness.
Homophonic is very much an electronic sound fest with
a drum beat but, as with other tracks this reflects a specific musical texture
which, in this case, is based on Homophonic or chordal music where the chords
move together at the same speed. Interlude 10 now provides us with
another brief reminder of the foundation of the music this album is built on. Contrapuntal
Sketch is another track that merges electronic vibes with a heavy bassline.
This sounds very much like a mixture of electro and John Carpenter and reflects
the contrapuntal musical texture of using two contrasting melodic lines with
different rhythm patterns. Heavy pounding drums and horns catapult us into Modal
Framework, very much a headbanger vibe there are some orchestral elements
that give this one a version on the Hip Hop soundtrack sound. This one reflects
the type of music that uses modes in place of the more traditional harmonies.
Interlude 11 takes us back to a more electro vibe for
our Hip Hop pallet cleanse and wiping the slate clean prior to listening to how
the layers of sound, within a piece of music, interact on Interweaving
Patterns. Here we have drums and different electronic sounds all weaved
together to create a cohesive track which, once again, has a kind of soundtrack
vibe running through it. Interlude 12 hits, for the penultimate interlude, to
reset our minds to the classic Hip Hop vibe before Contrasted blasts
into our ears with pounding drums and electronic sounds alongside this
contrasting, dull repeating sound that acts like a weird siren trying to draw
your attention away from heavy sound you want to nod your head to. The drumbeat
takes a back seat on Schematics as the synthesizer sound steps to the
forefront. This electronic soundscape takes you back to the work of Kraftwerk
and the sound that inspired the electro sound of Hip Hop.
Time for one last Hip Hop drumbeat and cut-up samples to get
you buzzing on Interlude 13 and then we draw back into The Presence Of
Sound with a drum heavy track that sounds almost fractured in its initial
sound until you realise that fractured sound is some kind of string instrument,
tricking your ears and, for a brief moment, your mind too. With the focus on
sound, now our only awareness, the final track Solfeggio treats us to a
solid banger of a beat that makes you wanna get up and bounce around or, at the
least, nod your head. There is also a more orchestral sound backing this which
also holds your attention and reflects the ancient Solfeggio tones that were
used from the 8th century up to 1600’s. The original six note scale
and the associated frequencies are said to keep the mind, body and spirit in
perfect harmony.
Overall, what can I say about this beat tape?
It once again demonstrates the quality and creativeness of
Chess Moves as a producer. Across this entire album there are is such a mix of
styles and vibes that all originate from what Hip Hop producers and DJ’s did so
well in digging in the crates of old long lost vinyl to resurrect those tunes
and give them a new lease of life in a new genre of music.
But, more than just showing his expertise as a producer this
album also shows how much Chess Moves knows about music itself by creating
beats around different musical textures as well as styles and influences. What
this does is demonstrate that it pays to know your music in depth so that you
can create sampled music that reflects the style and texture of music that has
been created for centuries. For instance, Contrapuntal or counterpoint was a
musical style used by Johann Sebastian Bach in his compositions. Reflecting
these differing musical styles and textures here, on what is far from a
classical music album, shows a desire to show how Hip Hop influenced music can
be just that and so much more. Chess moves has a knowledge and understanding of
creating music that far expands on what I have heard done before. Even bringing
in the ancient solfeggio tones is amazing, and I could have written a whole
page just to explain what that is all about.
Future Crates 2 is not just a journey through beats inspired
by Hip Hop music and the art of crate digging. Future Crates is a deep
exploration of the association Hip Hop music has with the very roots of music
itself. It might actually be future crates for future generations to dig in but,
I can never see these crates going dusty anytime soon. There is a far deeper
musical aspect to this beat tape than just being music to listen and be
inspired by.
The future aspect of the album is also reflected in the
artwork by Sentinal One which has this 2000AD, mega city One vibe about it.
This is one to listen to and make your own mind up about
but, I have to say that I have learnt a lot about music in the research for
this review which has opened my mind up somewhat.
Future Crates 2 is out on Bandcamp now and everywhere else
on 14th April.
My humble thanks to Chess Moves for sending this one over to me.
And on that 432hz note,
I’m out,
Steve.
LINKS
The only link you need for Future Crates 2 and Chess Moves:
