What a way to start a Friday afternoon! My man Mongrel hits me a with a link to Borgore and Tomba’s latest mixtape from Dubsteppers Delight from a few days ago.
“Best friends from day one, Borgore and Tomba were experimenting different tings through the years, starting with amateur punk rock shows and different metal bands.
Later on, Borgore & Tomba founded “AmP” (Alphamale Primates) which was originally a live beatbox group.
Borgore who was playing around with Fruity Loops during that time, started producing experimental BreakCore, when they both discovered Dubstep by chance. Falling in love with the genre they both started producing under the name “AmP”.
At the moment, they both work on solo projects and different collaborations.
Borgore tunes are already released on Shift Records and Terminal Dusk, with loads of forthcoming releases and collabos with Trill bass, Ultrablack, Jazzsteppa, 16 bit, DZ and more.
Tomba which started producing recently is making big stepS towards the front of the Dubstep scene with his fresh style and intelligent lines and will obviously get releases out soon.
But all you really need to know about Borgore is here, here, and here. Dude is a monster, and he’s pushing a totally Death Metal meets Bad Company/C4C sound that’s totally going to make you kill your parents.
I’d been stoked to play the New Toddla T album after I got it on advance due to it’s epic guest appearance lists and the fact that from what I heard it’s every style of UK music in the last 10 years smashed into on album. And it is close. A tune like the one above, Soundtape Killin, is pure UKG / 2 Step throwback shit, while other jams on the Album such as “No Kip” and “Sunny Money” tread closer to the Grime sound bubbling out of the UK since So Solid and Dizzee Rascal pushed it out the door. Tunes like “Manabadman” which had been killin it on single since last summer is straight dancehall while “Coin Off”, featuring the T-pain-esque autotuning of Serocee and Roots Manuva sounds like it was left behind by an Alien Soundclash from beyond mars. Heavy Shit!
Toddla T, named such for the fact he’s still a wee’un at 23, is pushing a heavy, ragga touched sound from Sheffield, the northern UK’s steel city (think Pittsburgh). He’s done production work for Roots Manuva on his last “Slime and Reason” and now he’s ready for his own shit, including snagging Fabric Live 47 and landing a “Multi-release” deal with 1965 Records. Watch out now!
Out on 1965 soon, and really try to buy this. If more cats like Toddla come with this, Toronto’s speakers better be ready!
Something different today, a totally blazing hot remix of the latest Justin Timberlake & TI smash “Dead and Gone”, remixed by Toronto electropunk / techno DJ’s The Killabits.
Taking the tune and cutting it up into a very classic “Big Room” tech-house / electro style, most of the vocals are dropped in favour of a sweet sub-bass and some hard synthwork over top of epic, epic strings and Justin Timberlake’s incredibly catchy “Dead and Gone” hook. Another good one for all my DJ’s with an open mind:
Gettin Digi with it today by serving up Dabrye’s “One/Three”, an instrumental joint in the vein of Prefuse 73, Innerstance Beatbox, Max Bill and other “Glitch Hop” producers. What makes Dabrye standout is his firm rooting in some serious Motown funk. His drums, while cold and hard sonically are super slick, rocking out more like Black Milk and Dilla (A collaborator on his 2nd CD) than what’d you’d expect from the very minimal meoldies.
Caught this over at Strictly Beats and figured it’s a good look for a lazy Satruday. Pairing DJ Krush, known throughout the beat underground for his subdued, trippy soundscapes and work with The Roots, with Japanese avant trumpeter Toshinori Kondo may seem like a recipe for extreme douchebaggery, but Krush knows how to do with a thing like this. He practically invented this shit.
Or as Strictly sez:
Extra jazzy downtempo stuff from Krush. Highly recommended! This is the soundtrack you want playing when you get a handjob in a lounge from a stranger.
Kenlo is back with his fourth release in the Craquques series! If you haven’t already, make sure to check out his previous three releases which can be found in the strictlybeats archive under November 26, 2008.
Biz’s Note: Welcome aboard to P-Tricks, who’ll be helping out around here with my southern flavahs, and to Dave Trife the old-ass motherfucker who’s in it to vin it. I know the posting’s been crap lately so I’m gonna reboot this bitch into overdrive. You may see the site going a lil’ funny in the next week, but don’t worry, it’s for the best.
I had to move the site off of the server where it was hosted and the domain transfers got all screwed up. And also I’ve been in the lab cooking up fire, dealing with a massive personal drama, the day job, and the fact that Hip-Hop is totally dead except for Project Pat, Black Milk, Kano and Ghostface.
I’ll be back on the grind for real real, not for play play, soon enough. Stay tuned.
Produced by: RZA, Black Milk, Arabian Knight, Tru Master, Bronze Nazareth, Mathmatics etc.
Babygrande - 2009 - CD
Switching up the style from his last album, Grandmasters (the Chess themed joint produced by Soul Assasin’s / Cypress Hill don DJ Muggs), GZA drops his latest for Babygrande with a whole mess of producers holding down the project.
Solid, old-school cinematic Wu-Tang production throughout, with some serious heat from my man Black Milk on “7 Pounds”, and RZA with 2 bangers: The 50-Cent dis track “Paper Plate” (cause he’s disposable, geddit?) working a hypontic piano line into a Seven Samurai style classic, and “Cinema” sampling Gary Numan of all things, which sounds like a chace scence from a 1988 B-Movie about drug smuggling politicians in a racially charged Miami about to explode!!!…. or some shit. Bronze Nazareth (himself recently dropped from Babygrande) holds it down with the spacey, reggae styled “Columbian Ties” , and Arabian Knight, Tru Master and Mathmatics round out the line-up.
Solid through and through, but nobodies really breaking any crazy new ground here. Lots of soul samples, lots of dusty ass drums. But hey, I love that shit.
Luke Vibert, he of Wagon Christ, Plug, Wagon Christ, Lover’s Acid etc. fame, dropped this album, his third nod to the dark, bumping sound of pre-rave detroit techno and acid house, a while back in 2007, and it’s been on smash pretty hard round ShuxHQ recently, so here it is.
“Chicago, Detroit, Redruth”, relased on Planet Mu, wears it’s old-school influences on it’s sleeve, from the title track itself to joints like “Comfycozy”, a balls-out Drum & Bass throwback that sets off the album similar to his past work as Plug. Vibert comes with the heavy joints for my Hip-Hop heads like the epic “God”, “Rotting Flesh Bags” and the bizarre, hypnotic “Clikilik”, while the rest of the Album is as advertised: Mechanical, strangely compelling Techno in a throwback style that is as far from your cheesy Ibiza euro-house as Kool G. Rap is from Lil’ Bow Wow.
So while the album as a whole may not be what my beat fiends are looking for, the Hip-Hop joints bang the fuck out and the Acid House jams are slick, dark and perfect for late nights when you’re looking to get a little weird.
The new album from Grandmaster Flash, his first since 1988’s (!) “The Strength”. Mixing new school production techniques (people forget Flash was an electrical Engineer before he was a legend, so he’s always been up to date on the gear tip) with his classic cuttin’ and scratchin, as well as Old School dons like KRS-One and DJ Kool with current rappers. He goes global on the cut “We Speak Hip-Hop featuring Afasi, Kase. O, Maccho, Abass & KRS-One, MC’s from around the world speaking in Senegalese, Japanese, Spanish and Swedish, gets strictly old school on “Here comes MY DJ” ft. DJ Kool’s inimitable shouting, and throws one for the ladies on “Those Chix”, with Byata and Princess Superstar in the mix.
Some cuts don’t quite do it though, like album closer “Oh Man”, which sounds like a 2 Unlimited B-Side from 1990, and “Can I take You Higher” with it’s drumline style breaks ft. Mr. Cheeks.
Still this album is essential for anyone who’s a true head, and it’s amazing to see Flash still doing it after all this time and keeping it real with breaks, cuts and Q-Tip.
3 Belt-Drive Turntables / 5
All in all a decent album considering Grandmaster Flash has been off the boards for almost 20 years.
Nazareth (himself recently dropped from Babygrande) holds it down with the spacey, reggae styled “Columbian Ties” , and Arabian Knight, Tru Master and Mathmatics round out the line-up.
