hip hop . wonky-hop . alt r&b


Genre pick of the week Cover of 50 Cent / Trident by Dean Blunt.

Dean Blunt

50 Cent / Trident

Hype Williams man Dean Blunt preceeds his soon-come 'Black Metal' LP with this super-limited 12". Showcasing more of Blunt's eclecticism, '50 Cent' combines spacious, shimmering, reverb-laden lo-fi shoegaze guitar work and simple kick-snare machine drumming used as a hip hop break. Over this Williams adds a melancholic rap, duetting with a choral female vocal in a call and response style. 'Trident' offers a more straight forward rap, but again over an inventive dark and grimey backing track. It's indie hip hop, but not as you know it.


12" Info: Limited pressing. 200 copies only.

Cooly G returns with ‘Wait 'Til Night’, an album of sensitive, lo-fi bedroom music, its lyrics sketching dreamy scenarios of seduction, lust and sex. The moody South London house of her debut album 'Playin Me' and her DJ sets has given way to a near-horizontal, sometimes melancholy and highly original take on R&B. The tracks swing effortlessly with no-fuss musical arrangements that are filtered through reggae sound system culture and US R&B in equal amounts, with a slight hint of dark synth-pop wound throughout. The pace has come down from the deep, tribal house she's known for so far, with the only constants that run through the album - her intimate vocals and smokey synths - cross-hatched with her characteristic broken rhythmic sense.

Opening with title track, Cooly coos about a date, over an infectious synth lead that wouldn't sound out of place on a Depeche Mode song. 'Like A Woman Should' is twilight music, synths rolling out like clouds over pulsing drums, while the vocals whisper invitations. 'Your Sex' is a fantasy with synths and surprisingly stabbing, hooky and distorted rhythm guitar. 'I Like' feels like the opening of an especially dreamy jungle track stretched into a full pop song. 'Dancing' rolls out drums and a mini guitar figure into a gently dizzy waltz, while 'Quick Question' plays out the scenario after the dance. 'Want's' barely-there song structure of drum and occasional bass with a wiry synth lead, is accompaniment to a near-whispered vocal. The pace steps up with the smouldering 'So Deep', with a deep synth bassline and a muscular hip hop beat. '1st Time' is all depth charge bleeps, guitars and piano. 'Freak You' is spacious and guitar driven, with Cooly beaming in directives through a distant voice transmission. The album's final honest, angry and forlorn track, 'The 3 Of Us', comes down hard on an absent parent, a full stop on the romance that the album narrates. It also reveals Cooly G as a skilled rap artist, something she’s kept hidden until now, with double-time flows casting off a missing babyfather. ‘Wait ‘Til Night’ finds Cooly G casting her net wider than her debut album, with songs that are more confident, accessible and stylistically consistent. The album comes laced with Cooly's unique honesty and charm and is sure to win her new fans with her catchy melodies, slow-jammed stories of blighted urban romance, and engaging lack of pretension.

Sleaford Mods


    A two track 12” with etched side , 'Fizzy' is a studio track and was recorded in the summer of 2012 , 'Urine Mate (Welcome To The Club)' was recorded live at the German club Skalitzer Berlin August 24th 2013 featuring John Paul who does the introduction to the song. Anton Newcombe met the band online and as a fan of the band wanted to release a single on his label, 'Urine Mate Welcome To The Club)' is an exclusive version of this track to this release, 'Fizzy can be found on the album Austerity Dogs released 2013 on Harbinger Sound.

    Jason says 'Fizzy' was inspired by the many thousands of psychopathic managers and supervisors that terrorise low paid workers throughout the world on a daily basis. "I've modelled this song on one cunt in particular but it is by no means an isolated experience." As for 'Urine Mate (Welcome To The Club)' Jason comments describes in detail Nottingham's Mansfield Road. A haven for the actual results of modern England. Destitute, full of characters and betting shop drug traders.

    Sleaford Mods

    Mr. Jolly Fucker / Tweet Tweet Tweet


    Sleaford Mods started around 2006 in Nottingham by Jason Williamson. Born out of frustration and by accident, it quickly found its feet as an aggressive attack on all that is contrived and connected to the day-to-day hammer of low paid employment. After a year in the studio and gigs around Nottingham, Jason then took the cause to London for a period and eventually back to Nottingham in 2009 where he met Andrew Fearn, who became nvolved with the production of the 5th album, Wank. He also became the second member. On Wank's release, Jason and Andrew were offered a slot on the bill of The Rammel Club's 3 day festival which introduced Jason to the Noise scene, so to speak, and also to Steve Underwood from the punk label, Harbinger Sound. A year later Harbinger Sound released Sleaford Mods first vinyl album, Austerity Dogs, and it immediately took off with a string of gigs in Europe and major cities in the UK along with side articles in leading music magazines The Wire, Fact and Vice as well as countless fanzines. The second album from Harbinger sound is due to be released later this year and also two 7" releases from Fourth Dimension Records and Kraak's home label are due in the meantime. Tours to promote these are currently underway with more planned. ‘Mr. Jolly Fucker’ b/w ‘Tweet Tweet Tweet’ sees the duo continuing their sometimes raucous yet always edgy melding of mean hip-hop beats, often savage poetic observations (think whizzed-out Mark E, Smith) and snarling punk attitude. A full-on kick to the senses inspired by the Sex Pistols, The Last Poets and ‘60s garage and soul music.

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