Browsing All posts tagged under »alternative rap«

Various Artists – Album Roundup

March 1, 2016

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Abject and lonesome mid-fi folk, that drifts across the field of consciousness like a progession of washed-out, dusty photographs, before it becomes quite heavy and ominous towards the end of the album, and finishes with an unlikely cover of ‘Twerk’. One of Uhlich’s Bandcamp tags is ‘devotional’, and there is a sense of outsider ritual about this music, as though a set of the personal habits that make an individual were reified as doctrine: the songs are about something, certainly, but it feels like Uhlich is singing meaning to himself as much as he is singing meanings to us. Songs unfold at a steady pace, with static or slow …

Various Artists – Singles and EPs

July 11, 2013

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A combination of electro-acoustic and programmed sounds are used here to create a sound that pays clear homage to African polyrhythmic percussion music, unpitched attacks mingling with sounds similar to idiophones or lamellophones, although they might come from almost any source. Then there are the synths, guitars and lo-fi samples… No Security Through Numbers is far too complex to glibly summarise with a juxtaposition of stylistic labels or a list of other bands I think you might have heard of. Towards the end of ‘Super Symmetry’ a series of fusionesque stabs appear

Various Artists – Singles and EPs

June 17, 2013

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What I know about Alun Vaughan is limited: I reviewed a very nice solo bass performance album of his, and an EP in a similar vein, and I gather he gets up to quite a lot of jazzy malarkey. This short EP bucks that trend just a little bit. The dominant sound is a raw, punky rhythm guitar, but it gets put to a fair old variety of uses. The opening (title) track is a brief hardcore thrash, punctuated by the ‘Clumpville Borstal Boys Choir’ shouting the title (the only vocals on the EP) and some entertaining instrumental breaks. ‘2013’ retains the instrumental timbres, but it’s much more of a modern prog/math rock affair, with tricksy rhythmic interstices, and plangent lead guitar melodies. ‘Heart Shaped Bruise’ opens with more lead guitar prettiness, against some upper register bass chords…

Various Artists – Singles and EPs

October 1, 2012

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If you describe Tamara Parsons-Baker’s practice as a formula, it doesn’t inspire much excitement: simple, mainly diatonic guitar strums; emotive vocals; songs about unsuccessful love affairs; we have heard these elements before. However, the five songs on Lover proceed from a somewhat more warped perspective than this formula might suggest, lurking with mischief aforethought behind the placid surface of a nice friendly singer-songwriter. The opening songs on the EP require close attention to the lyrics to reveal their disturbing character, but when we get to ‘I Stuck It Out’ Parsons-Baker’s full weirdness emerges, in a frighteningly witchy evocation of a relationship haunted by madness and murder

Chattabox – They Call Me (hip-hop)

August 16, 2012

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As I’ve come to expect from a Chattabox release, this one goes in hard from the start. I often go to some lengths to counter the idea that musical quality is a matter of technical skills being exploited at full stretch, but there are times when an impressive display of compositional and performance gymnastics makes a positive aesthetic contribution to the music. This is one such: the very fact that this shit is hard to do is a part of its strength, and since Chatta never takes his eye off the ball in terms of his lyrics and beats it never comes across as smart-arsed, or as empty formalism. A highly developed skill set, in areas completely unvalued by the cultural elite, is a challenge to hegemony, and an assertion of personal agency …

H.L.I. – Omniglyph (hip-hop)

June 20, 2012

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Rap is a form of spoken language; perhaps more than any other discursive art, it has no independent existence on the page; semantics are central to its meanings, but flow and orality are its material substance. It’s interesting then, that H.L.I. have chosen to title this release in a way that ascribes universal significance to a visual mark, and even seems to suggest that as a work, it intends to either represent, or present itself as equivalent to, such an infinitely polyvalent grapheme. It’s fair to assume that they’re not too hung up on the specific definition of a ‘glyph’, but all the same, taken as a general term for a sign or symbol, it clearly implies a static, atemporal locus of meaning, in stark contrast to the sequential unfolding of rap…

Rick Fury – Fist Of Fury (hip-hop)

April 4, 2012

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I’m going to force myself to write this review without quoting the lyrics; there’s nothing necessarily wrong with quoting lyrics in a review, but with Rick Fury it’s too tempting a cop-out. When I find it hard to put my finger on the right words, his are so eloquent that it’s easier just to put them on my page, and stand back and admire them; but without the beat, the flow and the context it’s impossible to convey their impact, and you have access to his lyrics by following the link above. My job is to tell you what it sounds like, what it feels like to listen to it, and what I think it means.