Hip Hop isn't dead, it's just hiding...

On one of my many late night travels through Youtube, I decided to check out some Hip Hop artists from a collective/record label called Doomtree. I'd been aware of Doomtree for a while, as it was founded by one of my favourite Hip Hop artists, P.O.S, and so I figured there would probably be some good stuff to listen to.

After listening to a few tracks, what struck me was how good most of it was. The production was brilliant (kinda has a bit of an old school vibe), the MCs had a great, positive energy, and the rhymes were imaginative and relatable. It is understandable then why I was so astounded to see that these videos had hardly any views at all. They weren't brand new videos either, some of them were nearly two years old. Confused and a little despairing, I then searched for some of what passes for Hip Hop/Rap today (at least in the mainstream) to see how many views those videos had. Not one of these 'artists' had less than tens of millions of views. Why the fuck do people like this horrible bullshit (UK Grime in particular, just rubbish, unimaginative music with terrible lyrics), and not artists like those signed to Doomtree? It's not like artists such as P.O.S, Mike Mictlan, Sims, Cecil Otter and Dessa, are unpalatable, their music is very listenable, whilst still being interesting, imaginative and moving. Maybe it's because people haven't been told to like them yet.

I think the trouble is that unfortunately with the dawn of 'artists' such Dizzee Rascal and Tinchy Stryder, Hip Hop is the latest cash cow to be milked dry, hence why we are all inundated with bullshit songs about money, girls and cars, supported by huge advertising campaigns telling the whole world and his wife to buy Teeny Travis' new album . The major labels are struggling so much these days that they will try and sell anything, even if it is terrible Hip Hop just to keep afloat. The effect of this is more detrimental than they realise, as in the long run they are simply cheapening music further, and giving people more of an excuse not to support artists.

Well I say fuck all this nonsense, ignore the major labels, and see what indie labels like Doomtree have to offer. Head over to www.doomtree.net now and check out every artist, and if you like any of them, buy their albums, and I promise you will not be disappointed.

Gallows are undoubtedly one of the biggest Hardcore/Punk bands to come out of the UK in the past few years, and deservedly so. They have become notorious for their live show over their career and it is always a treat to see such a well established band play. So I'm sure it is easy understand why I was a little shocked when I arrived to find a tiny queue outside the doors, five minutes before they were due to open on a Friday night.

The first band on were Bastions, and although there was good stuff going on in their sludgey hardcore tracks, their performance wasn't totally convincing. Not helped by a pretty terrible mix, the frontman seemed a little uncomfortable, and annoyingly the bassist played a large percentage of the set with his back to the audience. However, the songs were generally good (their 'Island Living' 7" is actually fantastic) and their set wasn’t a dead loss. Next up were Feed The Rhino who played an incredibly tight set. The whole band played their hearts out and showed that they weren’t just your average Hardcore band. The only shame was that, despite the frontman’s best efforts, the crowd would simply not get going.

Then it was Gallows, and everything changed. Suddenly, the room had packed out and the entrance music began. They opened with ‘The Riverbank’ and then ‘London is the Reason’, and carried on at full pelt for about an hour and twenty minutes. This set included ‘Stay Cold’, a track which they had never played live until now, and was an absolute treat to hear. What struck me seeing Gallows for the fourth time was how their attitude has changed. Don’t get me wrong, they still have the fuck you attitude that people fell in love with, but they seem somehow more appreciative of their position. Not only this, but Frank seemed like he was really enjoying being on stage, as well as acknowledging and thanking their truely dedicated fans.

On a personal note, Gallows are pretty much the reason I fell in love with Hardcore. Their live sets are as explosive as they have ever been, and if you get a chance to see them, then do. You won’t be disappointed. 

POS - Never Better

I love good Hip Hop. I'd almost go as far as saying it's one of my favourite genres. Trouble is, there really isn't that many good artists about these days (at least not that I know of). It seems that rappers are stuck in a rut, only writing about how ludicrously rich they are and making tracks that sound musically identical to everyone else's. So when I stumbled across POS, I couldn't believe my luck.

 

POS' album 'Never Better' isn't just good, it's stunning. POS made his first steps into music fronting Hardcore bands, but soon found his way into Hip Hop. This album conforms to none of the stereotypes that the genre seems so tied to these days with subject matters ranging from politics and government to the various struggles faced in life. POS delivers the vocal in such a way that only serves to further inspire. Musically, the album is diverse, with some tracks being dominated by distortion, rolling drums and feedback, whilst others feature trumpets, gospel style vocals and organs. The track 'Optimist' even features a beat produced with plastic cups, which definately embraces the idea that if it sounds good, then why not? Other tracks such as 'Get Smokes' and 'The Basics (Alright)' also use some very creative sampling techniques which give the tracks an experimental feel to them. Overall the album has a raw and edgey sound which harks back to some of the old Hip Hop ways, whilst incorporating a very Punk Rock attitude.

What is apparent when listening to this album is that POS is not scared of any idea, no matter how different it is to what everyone else is doing right now. He raps about what he feels and has experienced, and you can tell it's from the heart, which is a genuinely moving thing to listen to. And throughout the album not one mention of how rich he is, who he's shot or what drugs he's selling!

Listen to: 'Purexed' (I have to say, this song is one of my top 5 favourite songs of all time)

Sounds like: Inventive Hip Hop with Punk Rock attitude

Review: 'Lost Ground' by Defeater

So it's been a few weeks since my first review and the plan was and still is to do a new review each week. Unfortunately the past couple of weeks have been pretty busy to put it lightly, and so I have only just gotten round to finishing and putting up this review. Thanks for your patience, and trust me, each week there will be a new review. On top of this, it's getting round to gig season and so I will be posting reviews of those as and when they happen.

A few months back I was at The Marquee in Norwich seeing Dead Swans supporting a band called Defeater. Up until that night I'd never heard any of their music, but all I can say is that I'm so glad I have now.

'Lost Ground', like Defeater's first release 'Travels', is a conceptual E.P. The songs are a timeline through the life of  an American WWII veteran from the beginning of the war to his post-war situation. The E.P explodes into the first track 'Red, White and Blues', an emotional and frank account of the man's enrolment in the army. This song sets the tone for the whole E.P with it's fury and fitting sadness. Lost Ground doesn't lose pace after this however, but instead forces itself straight on into the following songs.What Defeater cleverly do in Lost Ground is mix melancholic, slow sections with furious crescendos, crashing drums, solid guitar riffs and rasping vocal full of emotion to create an altogether intense release that really leaves you thinking, as well as appreciating fantastic musicianship. Concept albums are rarely seen in Hardcore, but this one works brilliantly. It's basis fits perfectly into the style, with a man promised glory, but left with nothing. This is a brilliant release which shows that the pain of war is much more than just a physical thing.

For Fans of: Comeback Kid, Have Heart, Dead Swans
Buy: 'Red, White and Blues', 'Beggin' in the Slums'

Starting With The End

For a long while I considered writing a blog reviewing my favourite releases from the best bands around, but it wasn't until I found out that the band Crime In Stereo were calling it a day that I finally made it round to doing this.



Crime In Stereo began as a relatively standard NY hardcore band but as time went on, evolved into something much more original and brilliant. Their final release 'I Was Trying To Describe You To Someone' blew me away on the very first listen. The album is filled with dancey beats, washes of distorted guitar and a heart-felt, frank vocal that doesn't fail to stand the hairs up on the back of my neck. Particular stand-out tracks are hard to choose from an album so altogether rounded but particularly 'Drugwolf' and 'Type One' boast such an epic and dancey, yet definite punk rock sound that they are works of genius on their own.
I could not more strongly recommend this album to people, regardless of their usual listening choice. This album has shown me the true versatility of punk rock, and that it can still be experimental 30 years since its invention.

Sounds Like: Nothing I've ever heard before
Buy: The whole album, it's brilliant.

R.I.P Crime In Stereo, you will be missed.