salva

Preview: Salva – Freaky Dancing

salvaHaving just proclaimed I don’t really like having to name genres where I can help it, the Fader have already donned this one ‘glazed R&B’, so who am I to argue?

Salva continues his journey from underground electronic beatmaker to thuggin’ hip hop producer (thus bringing everything back full circle in some sort of combiner, Voltron flex as far as I’m concerned) with this teaser from his upcoming album, Peacemaker.

Peacemaker tracklist:

1. Freakin U feat. Starship Connection
2. Child Pak feat. Ballout & Tadoe
3. Old English feat. Young Thug, Freddie Gibbs, A$AP Ferg *
4. Trap Back feat. Paul Fisher
5. Magic feat. Freddie Gibbs
6. Freaky Dancing feat. Ruckazoid
7. Young Gotti Speaks (Interlude)
8. Motel feat. Kurupt & E-40
9. Drop That Bitch feat. Kurupt, Schoolboy Q, Problem, Bad Lucc
10. Moves 2 Make feat. Problem **
11. Motivated feat. Problem ***
12. A Lotta… feat. MPA Shitro
13. Baking Soda feat. Paul Fisher
All tracks produced by Salva
* Produced by Salva & Nick Hook
** Produced by Salva & NO VS
*** Produced by Problem & Salva

Download Drop That Bitch:

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Out now: Danny Scrilla – Monolith EP

Danny Scrilla is one of my favourite producers on a bass tip, and this slab of darkness contains four extremely heavy sci-fi numbers mastered by Om Unit. I don’t really mess about with genre identifiers whenever I can help it, just listen!

Art by Alice Pardis
Art by Alice Pardis

 

Buy and listen on Bandcamp

Puffy gatefold jacket which simulates the feel and texture of a marshmallow

stay puft

That’s right, the Ghostbusters theme is being issued on marshmallow-scented vinyl for the film’s 30th anniversary, encased in said jacket and hot on the heels of news of a new movie now officially in the works.

The vinyl contains Ray Parker Jr’s theme and Run-DMC’s rejig that adorned 1989’s Ghostbusters II (and this Gravement mix). The hefty price tag is justified by a plethora of extra content, including:

  • 12” White vinyl single – both tracks are on Side A.  Side B is smooth.
  • Two 12 x 12 Stay Puft 3D lenticular images from the film
  • One 12 x 12 Stay Puft 3D motion lenticular image from the film
  • Puffy gatefold jacket which simulates the feel and texture of a marshmallow
  • Marshmallow scented jacket
  • Inner gatefold includes full photo collage of Mr. Stay Puft’s iconic march through New York City.
  • Numbered Certificate of Authenticity

All this and no actual marshmallows? Pah. Order it here (make sure you select the US version of the store).

 

 

Seek the Northerner ft DJ Woody – One of a Kind

oneofakind
Like Run-DMC with a few more synths, this is a throwback, fat new one from Seek and longtime compatriot Woody.

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Utopia soundtrack on double vinyl from Cristobal Tapia de Veer

SILCD1437-Utopia-coverWhile the sad news that there would be no third series of Utopia was made official this week, I’m hoping that David Fincher’s US remake will take the concept forward in powerful new ways rather than simply retread the same plot (which, from the look of the trailer, David Tennant’s Broadchurch remakes seems to be doing).

Another, bright yellow, consolation comes in the form of the double vinyl release of the first season’s soundtrack, from Chilean (but raised in Québec) composer Cristobal Tapia de Veer. Being of Chilean refugee heritage myself, this solidifies the affection I already felt for the show (particularly during its graphic novel heavy first episodes).

Cristobal’s music often reminded me of Geinō Yamashirogumi and Tsutomu Ōhashi‘s Akira soundtrack, cranked up to 11 – particularly the eerie chattering apparent in track The Network.

The release comes from UK company Silva Screen, who have taken rightly put a lot of focus on vinyl releases in recent times – see the recent Doctor Who issues, including the synth heavy Peter Davison departer, The Caves of Androzani.

utopia-vinyl-500x375

Have a listen to previews on the embedded Juno player below.

Buy it from Silva Screen, Juno and Piccadilly Records.

Out of interest, Channel 4 ran a Utopia remix competition a while back, the entries of which you can enjoy on Soundcloud.


 

Tracklisting:
SIDE A
01 UTOPIA OVERTURE
02 THE NETWORK
03 DISLOCATED THUMBS PART 1
04 MR RABBIT’S GAME
05 CONSPIRACY PART 1
06 MEDITATIVE CHAOS
07 A NEW BRAND OF DRUG

SIDE B
08 SAMBA DE WILSON
09 SLIVOVITZ
10 BEKKI ON PILLS PART 1
11 WHERE IS JESSICA HYDE PART 1
12 ARBY’S ORATORIO
13 JESSICA GETS OFF
14 MR RABBIT IT IS
15 LOVECHILD
16 MIND VORTEX

SIDE C
17 TWAT
18 BEKKI ON PILLS PART 2
19 FERTILITY CONTROL
20 JANUS SAVES
21 EVIL PREVAILS
22 CONSPIRACY PART 2

SIDE D
23 DISLOCATED THUMBS PART 2
24 UTOPIA DESCENT
25 WHERE IS JESSICA HYDE PART 2
26 UTOPIA’S DEATH CARGO
27 THE EXPERIMENT
28 UTOPIA FINALE

green sage

Manchester: Sage Francis hits Gorilla 16 October + Scroobius Pip

sageFiercely independent rapper Sage Francis is part way through his UK/Euro tour of 37 cities, having left his cat at home to spend some time with you people and celebrate the release of his album Copper Gone – his first following a bit of a hiatus.

16 October sees him hit Gorilla in Manchester (together with special guest and close associate Scroobius Pip), but you can check the other UK dates below. Buy tickets for Gorilla here. Fingers crossed we’ll have some photos from this gig, together with a Q&A with Sage, later in the week.

Download the album Copper Gone straight from Sage’s Strange Famous records Bandcamp page – there’s a link to the vinyl in there too.

Oct 10 IRELAND        Sligo at Fifth on Teeling
Oct 11 IRELAND
       Belfast at VOODOO
Oct 12 IRELAND
       Dublin at Sugar Club
Oct 14 ENGLAND
     Newcastle at Think Tank
Oct 15 SCOTLAND
   Glasgow at Oran Mor
Oct 16 ENGLAND
     Manchester at Gorilla
Oct 17 ENGLAND
     Leeds at Brudenell Social Club
Oct 19 WALES
          Cardiff at The Globe
Oct 20 ENGLAND
     Bristol at The Fleece
Oct 21 ENGLAND
     Brighton at The Haunt
Oct 22 ENGLAND
     London  at Village Underground
Oct 24 ENGLAND
     Reading at The Bowery District

copper gone

bbrave

17OCT14 // Swing Ting with DJ BBRAVE @ Soup Kitchen Manchester

ST

 

Behold the blurb for this month’s Swing Ting, on the Friday not the Saturday!

———————–

*SWING TING*
*OCTOBER SESSION*

BBRAVE (AKWAABA MUSIC)

SAMRAI, PLATT & JOEY B

Hosted by THE ORIGINAL MR FOX

————————–——————

FRIDAY 17th OCTOBER 2014

SOUP KITCHEN CELLAR 31-33 Spear Street M1 1DF

£5 ALL NIGHT LONG

————————–——————

SOUL. RAP. RAGGA. GARAGE. GRIME. JUNGLE. SOCA. AFROPOP

————————–——————

Thanks to everyone who came down to our first session of the Autumn season, hold tight the Crazylegs family. Straight vibes! This month we’re overjoyed to feature a Swing Ting debut for DJ BBRAVE, founder of the brilliant Akwaaba label.

BBRAVE (aka Benjamin Lebrave) coined Akwaaba in 2008 to introduce worldwide audiences to contemporary African sounds as well as welcome African artists to alternate markets. Since then he’s released Kuduro compilations, Hiplife EPs, Folk, Hip Hop & Afropop LPs and much more featuring artists such as; EL, 4×4, Appietus and Art Melody to name a few. Based in Ghana since 2011 he’s developed a reputation for being an outstanding selector seamlessly blending all styles and sounds from the African continent and diaspora: https://soundcloud.com/akwaabamusic/sets/bbrave-mixes. Expect to hear what’s currently running the clubs in Accra as well as plenty of fresh, forthcoming Akwaaba material…

On the night BBrave will be joined by residents Platt, Joey B, Samrai & Fox for what promises to be a one-away dance!

lh2

Not a Review, but a Personal Account: Lauryn Hill, 25th September 2014, O2 Apollo Manchester


LAURYN ORANGE

First, let’s talk about The Miseducation of Lauryn Hill, because really, you can’t talk about Lauryn Hill without talking about Miseducation.

For me, and probably the 12 million people who bought this seminal album in the late 90s, and continue to do so, it is not simply one of the greatest albums, it also offers a space for nostalgic indulgence, that we want to occupy again and again.  As Talib Kweli claimed recently in an article in defence of Hill amidst the negative press, if you’ve never listened to The Miseducation of Lauryn Hill, you haven’t lived.

The album was a massive success, both commercially and critically, but more importantly, it resonated with listeners and fans across genres, in a personal way.   Miseducation philosophised about the bigger world, on subjects such as commercialism and the music industry, and taught us things about the smaller one, speaking of a multitude of loves in a real and honest way.  Also, as a teenage girl struggling with self identity when the album was released, it was a source of both inspiration and reassurance.

So when Hill announced a UK tour this year, I snapped up tickets promptly, despite stories of tardiness, unrecognisable variations of her songs, and disrespect towards the audience. It would seem that it is almost trendy to talk about a Hill concert in a negative way; how many hours she was late coming on stage, which songs she butchered the most, how loud the boos were from the audience, and how many people walked out.  Little is said about the set and even less about the performances themselves. 

Even in the days leading to her only date in Manchester, reviews from her first London show were worrying.  In a review in The Telegraph, James Hall declared the show as “a 78-minute lesson in how to murder your own best songs.”  I began to doubt my choice in forking out £50 on tickets, and wondered whether I should resell.  But then, my friend referred me to a much more favourable review in  Metro (not available online) for her second date in London.  Perhaps it was a matter of perspective, I pondered. 

Regardless of my expectations for the show itself, we had doubts about Hill’s punctuality and decided to head to the venue around 8.30pm, a whole hour and a half after the advertised opening time for the doors.  This was a wise decision it would seem.  The Juicy DJs entertained the crowd well, playing a variety of Hip Hop classics.  This was followed by Hill’s own DJ, again, playing a range of familiar Hip Hop, Soul and Reggae. 

Around 9:45pm, there was some mild booing from the crowd.  Unsure of what time Hill was supposed to be on stage (I found out later it was supposed to be 9pm), we waited.  At 10pm, the band and backing singers began to emerge on stage.  The band started to play, the singers began to sing, and then we heard Hill’s disembodied voice, singing Bob Marley and the Wailers’ Soul Rebel.  For a brief moment, I feared that she was actually not here at all.

Finally, Hill appeared on stage, and it seemed the crowd forgot about the (up to) 3 hours of waiting prior.  The version of Killing Me Softly that followed was only recognisable through the lyrics, as the whole arrangement, including the melodic structure, was vastly different.  The Miseducation segment comprised of her best known and most loved songs from the album, all rearranged into different genres. 

lh2

These new versions were not necessarily good or bad, it is that they were so far removed musically from their originals that they seemed like different songs which required a complete separate set of judgement and appreciation.  I felt that some worked whilst others did not.  The Hip Hop heavy Everything is Everything was transformed into a funk/rock number and was fresh, but Ex-Factor laced with a ska twang removed the simplicity and emotional core that is fundamental to the song’s message.

Before Hill delved into The Unplugged segment of the show, she briefly addressed the booing from the crowd, asking “who are the dissenters?”  Those who bravely strayed from the “Church of Lauryn” by booing were now less courageous, and other than a few mumbles here and there, most were silent. 

This was a rather strange experience; it was almost as if Hill was courting for negativity and was itching to throw someone out, as she had done at previous shows.  However, as she strung the first chords of Mr. Intentional on her guitar, the awkwardness diminished.  This acoustic section culminated with Turn Your Lights Down Low, one of Hill’s most popular songs post-Miseducation.  Hill sang and played beautifully, and the crowd began to embrace the performance, perhaps due to the lesser degree of alteration compared to the first act.

By this point, few people around me have already given up and left.  The payoff for those who decided to take a chance on Hill’s artistic redirection, and preserved through unfamiliar territories was great, and were treated to a set of high energy and engaging performance of Fugees’ hits.  Hill rapped, sang and gave her all on a medley from The Score.  When Hill repeatedly asked if Manchester was ready, and the sample of Enya’s haunting humming from Boadicea came on, the audience was now in full participation-cheering, singing and rapping along. 

The Fugees section ended with another rendition of Killing Me Softly, this time much closer to the original.  The show was rounded off with covers of a trio of Bob Marley and the Wailers’ hits, Jammin’, Is This Love and Could You Be Loved, as well as Nancy Sinatra’s Bang Bang (My Baby Shot Me Down).  Hill’s renditions were pleasant, and the audience appeared to enjoy her versions of these classic.

For me, the most remarkable part of the show was Hill’s voice itself, because regardless of whether the rearrangements of her songs worked or not, her vocal ability cannot be questioned.  Hill’s tone was rich and expression was sincere with emotion.  She sang and rapped effortlessly and passionately, and never appeared to be trying too hard.  In many ways, although the version of the songs may have differed, her vocals could have been lifted off a recording. 

The stand out performance, for me, was Black Rage.  Hearing Hill’s own version of My Favourite Things from The Sound of Music for the first time, I was taken aback by the juxtaposition of a familiar (and beloved) melody and upbeat song, against such vivid and bleak portrayals of black life-“Black rage is founded on two-thirds a person/Rapings and beatings and suffering that worsens/Black human packages tied up in strings/Black rage can come from all these kinds of things.”  Through this song and performance, she reminds us of her incredible writing abilities, but also the socio-political edge she has over her contemporaries.  Further, having  dedicated the song to the recent events in Ferguson, USA only last month, Hill demonstrates that her music is more relevant than ever, and she can still evoke an emotional response through it.

Yes, we cannot talk about Hill without talking about Miseducation.  But that does not mean we have to hold it hostage every time we go and see her perform, expecting an exact replicate of the album; no more than we can say we are the same person now as we were when we first heard the album over 15 years ago. 

As Kweli has argued, regardless of Hill’s current or future artist ventures, she has already given us Miseducation and nothing will change that.  The teenage me will forever be grateful for that strong feminist voice, particularly for someone who was falling in love with Hip Hop, even when it did not always love her back.  And the adult me will always have those songs of all kinds of loves, because regardless of my past, current or future situation, I will always have Nothing Even Matters and To Zion when I fall in love, and Ex-Factor and I Used to Love Him when I fall out of it.

  

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Out now // Peru Bravo: Funk, Soul & Psych from Peru’s Radical Decade (Tiger’s Milk Records)

Peru / London

peru bravo

A shout for this great compilation, released this week, from the ever-Latin Tiger’s Milk Records. Available on double gatefold vinyl from the likes of Piccadilly Records, Peru Bravo documents a spasm of  late sixties and early seventies alternative bands with a funk and psych thirst for living. It was only a blink on the Lima music scene,  emerging during the reign of General Juan Velasco Alvarado from 1968 – 1974.

Listen to and buy the full album on Bandcamp (you can have a little stream below).

This is a fantastic companion to the label’s previous release and carries forward the same themes. That, Peru Maravilloso, is available here.

peru maravilloso

Peru Bravo was compiled by top chef, author and restaurateur Martin Morales (from London restaurant Ceviche and author of the bestseller of the same name), Duncan Ballantyne (ex-Soundway) & Andrés Tapia del Rio (Repsychled Records).

JON SNOW

The Hip Hop Chip Shop are in the Guardian and also have won a prize

boombox

Manchester and beyond

Fresh from their win of Best Looking Mobiler (vee-hee-cul) in this year’s British Street Food awards, the Hip Hop Chip Shoppers have been brought crashing down to earth today with an article in the Guardian proclaiming the potential death of food eaten outside of your own home.

Joking aside, I’m extremely proud to my friends on the up and up. The Hip Hop Chip Shop is no gimmick (they actually have several) – the food is to die for. Keep an eye out for them at some food celebration near you soon.

Keep an eye on thehiphopchipshop.com to find out more.

JON SNOW BRIT ST FOOD

 

facebook.com/thehiphopchipshop

 

hip hop & beats & soul // Manchester and beyond