Aquarius Records: Search Results for Keyword: Grime Rephlex

Aquarius Records: Search Results for Keyword: Grime Rephlex

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album cover RAZOR X PRODUCTIONS Killing Sound (Rephlex) 2cd 17.98
We love dancehall. A lot! Makes perfect sense too, a grinding, pounding, throbbing mix of hip hop and dub, with that totally repetitive, hypnotic, instantly recognizable dancehall beat, you know: BOMP..BOMP.........BOMP..BOMP.........BOMP..BOMP. With tongue twisting toasting over the top. Very similar to grime (which is probably why we love grime so much too). Hard really to improve on dancehall, you could maybe, rough it up a little, and, which gives us ragga of course, but then, you could also make the beats even thicker and crunchier and WAY more distorted, you could have the vocalists toast through a tin can and twine run through a fuzzbox and plugged into a battered old blown out loudspeaker, you could take all that stuff and supercharge it, send it coursing through your speakers as if your stereo was struck by lightning, the resulting sounds coming out of your speaker a hard and heavy, fierce and fucked up, super aggressive and distorted but still totally wild and danceable digital hardcore ragga. Whoowee!! Fuck yeah! Similar to the way Alec Empire and other folks took drum 'n' bass and jungle and turned it into superdistorted hardcore brutality, a few likeminded noiseniks have been doing the same with ragga, giving it a DHR makeover, turning already pretty aggressive ragga music into a brain melting blast of buzzing and blown out dancehall. One of those folks is the UK's Kevin Martin, who after years of lurking on the fringes of the noise underground, running the Pathological label and playing in God, Ice and a handfull of other fucked up dubbed out noise outfits (maybe hinting at what was to come), renamed himself the Bug, and started making dark and dense dubby dancehall, the new sound owing as much to classic dub and dancehall as it did to his time spent playing weird fucked up noisiness. A few years back the Bug hooked up with Rootsman and formed Razor X Production, a dynamic duo that began to whip up all sorts of brutal distorted ragga classics, all big beats, blown out production and toasting by some of the world's best reggae / dub / ragga vocalists: Cutty Ranks, He-Man, Daddy Freddy, Tony Tuff, Mexican, El Feco and more. This double disc collects some of the best singles, beats are jagged and sharp, distorted stabs, rumbling rib cage rattling low end, synths are massive thick smears of speaker shredding fuzz, each track a pulsing, throbbing dubbed out groove as hard and pummeling as it is groovy and funky. If all "dance music" was this fucked up and firece and fun even us wallflowers would be forced to spend all our evenings sweating and slithering all over the dance floor.
Also includes a bonus 'version' disc that's almost even cooler than the first disc, with each track from disc one stripped of its vocals and then tweaked and twisted into even more tripped out ragga weirdness. The beats are more confusional and more abstractly groovy, and even more to the forefront, big skull caving bowel loosening throbs, shuffling and skittering and pounding, the synths and basslines are even more distorted, twisting into all sorts of unlikely grooves, with the Bug and the Rootsman adding more and more sounds, beats, rhythms, fuzzed out synthesizers, grinding loops, bizarre samples and all manner of percussion, until each track is even more dense and damaged than the original.
MPEG Stream: "Killer"
MPEG Stream: "WWW"
MPEG Stream: "Slew Dem"

album cover RAZOR X PRODUCTIONS Killing Sound (Rephlex) 2lp 17.98
Now available on vinyl!
We love dancehall. A lot! Makes perfect sense too, a grinding, pounding, throbbing mix of hip hop and dub, with that totally repetitive, hypnotic, instantly recognizable dancehall beat, you know: BOMP..BOMP.........BOMP..BOMP.........BOMP..BOMP. With tongue twisting toasting over the top. Very similar to grime (which is probably why we love grime so much too). Hard really to improve on dancehall, you could maybe, rough it up a little, and, which gives us ragga of course, but then, you could also make the beats even thicker and crunchier and WAY more distorted, you could have the vocalists toast through a tin can and twine run through a fuzzbox and plugged into a battered old blown out loudspeaker, you could take all that stuff and supercharge it, send it coursing through your speakers as if your stereo was struck by lightning, the resulting sounds coming out of your speaker a hard and heavy, fierce and fucked up, super aggressive and distorted but still totally wild and danceable digital hardcore ragga. Whoowee!! Fuck yeah! Similar to the way Alec Empire and other folks took drum 'n' bass and jungle and turned it into superdistorted hardcore brutality, a few likeminded noiseniks have been doing the same with ragga, giving it a DHR makeover, turning already pretty aggressive ragga music into a brain melting blast of buzzing and blown out dancehall. One of those folks is the UK's Kevin Martin, who after years of lurking on the fringes of the noise underground, running the Pathological label and playing in God, Ice and a handfull of other fucked up dubbed out noise outfits (maybe hinting at what was to come), renamed himself the Bug, and started making dark and dense dubby dancehall, the new sound owing as much to classic dub and dancehall as it did to his time spent playing weird fucked up noisiness. A few years back the Bug hooked up with Rootsman and formed Razor X Production, a dynamic duo that began to whip up all sorts of brutal distorted ragga classics, all big beats, blown out production and toasting by some of the world's best reggae / dub / ragga vocalists: Cutty Ranks, He-Man, Daddy Freddy, Tony Tuff, Mexican, El Feco and more. This double disc collects some of the best singles, beats are jagged and sharp, distorted stabs, rumbling rib cage rattling low end, synths are massive thick smears of speaker shredding fuzz, each track a pulsing, throbbing dubbed out groove as hard and pummeling as it is groovy and funky. If all "dance music" was this fucked up and firece and fun even us wallflowers would be forced to spend all our evenings sweating and slithering all over the dance floor.
MPEG Stream: "Killer"
MPEG Stream: "WWW"
MPEG Stream: "Slew Dem"

album cover V/A Grime (Rephlex) cd 15.98
You know how it is with "next big things", everyone wants a piece of it, and where there were a few folks doing something new and weird, there are suddenly a hundred more trying to be new and weird in exactly the same way. It happened with Chapel Hill, it happened with Seattle. It happened with grunge. And now we've got grime. Grime is the new catch phrase for the scene/sound that spawned Dizzee Rascal, Wiley and a few others. Grime is basically two-step garage (pronounced GARE-ij), a simple and repetetive offshoot of drum and bass, with fuzzy synths, buzzing basslines, and occasionally tongue twisting toasting. We all loved the Dizzee Rascal record, and the recent ep from Wiley, so we had high hope for this sampler of new groups from the burgeoning UK grime scene. And while this comp does have its moments, it doesn't pack quite the same wallop as either of those two records. That's not to say it's not good, cuz it is. But part of the reason this doesn't hit quite as hard is that the tracks on here are mostly instrumental, and Dizzee and Riley added a whole lot to the sound, so without vocals, this stuff is is VERY repetItive and VERY simple. That said though, this shit is heavy and fuzzed out and is perfect for the dancefloor. And should definitely hit the spot for those of us who have been digging the retro sounds of Soundmurderer and Remarc lately and just can't get enough of any sort of big ol' distorted and speaker rattling jungle / drum 'n bass.
MPEG Stream: MARKONE "Stargate 92"
MPEG Stream: SLAUGHTER MOB "Dub Weapon"

album cover V/A Grime 2 (Rephlex) cd 15.98
Ahhh, grime. The next big thing. The new sound that was supposedly gonna sweep the nation. But ummm, what happened? I mean, the UK grime scene did give us Dizzee Rascal and Wiley, but then nothing seemed to happen. Well, Rephlex haven't given up on grime, and neither have we. Grime 2 demonstrates yet again, that his grime stuff is pretty darn cool. Ostensibly some sort of variant of two step garage (pronounced gare-ij), itself a minimal variant of jungle, grime is about as simple as it gets. a bouncy, almost ragga rhythm, that lopps and loops endlessly, with fuzzy bass swells supplying a bit of melody, and random bits of sonic filligree, little bells, a clip from an old kung fu movie, a few extra rhythmic shuffles here and there. Good stuff, but very repetitive and relentless. So unless you're dancing, or chilling out, or are in the mood for some tranced out hypnotic rhythms, grime might be a little, um, uneventful for you. But for us, well, we're always in the mood for some tranced out rhythms and always on the lookout for some good chillout music. The cuts on Grime 2 are simple and mesmerizing, head nodding and hypnotic, and fall somewhere between the extended rhythmic workouts of Muslimgauze, the simple, spartan techno of Kompakt, and the minimal house of Chain Reaction, all with a bit of a ragga vibe. Sounds good to us.
MPEG Stream: KODE 9 "Swarm"
MPEG Stream: DIGITAL MYSTIKZ "Awake"

album cover V/A Grime 2 (Rephlex) 2lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Ahhh, grime. The next big thing. The new sound that was supposedly gonna sweep the nation. But ummm, what happened? I mean, the UK grime scene did give us Dizzee Rascal and Wiley, but then nothing seemed to happen. Well, Rephlex haven't given up on grime, and neither have we. Grime 2 demonstrates yet again, that his grime stuff is pretty darn cool. Ostensibly some sort of variant of two step garage (pronounced gare-ij), itself a minimal variant of jungle, grime is about as simple as it gets. a bouncy, almost ragga rhythm, that lopps and loops endlessly, with fuzzy bass swells supplying a bit of melody, and random bits of sonic filligree, little bells, a clip from an old kung fu movie, a few extra rhythmic shuffles here and there. Good stuff, but very repetitive and relentless. So unless you're dancing, or chilling out, or are in the mood for some tranced out hypnotic rhythms, grime might be a little, um, uneventful for you. But for us, well, we're always in the mood for some tranced out rhythms and always on the lookout for some good chillout music. The cuts on Grime 2 are simple and mesmerizing, head nodding and hypnotic, and fall somewhere between the extended rhythmic workouts of Muslimgauze, the simple, spartan techno of Kompakt, and the minimal house of Chain Reaction, all with a bit of a ragga vibe. Sounds good to us.
MPEG Stream: KODE 9 "Swarm"
MPEG Stream: DIGITAL MYSTIKZ "Awake"

album cover V/A Run The Road (Vice / Atlantic) cd 13.98
Man can we not get enough grime. Ever since we first heard Dizzee Rascal, we've ben jonesing for more grime. Which was tough since most of the killer grime was released as limited run 12" singles in the UK. Then came not one, but two whole compilations on Rephlex, and while we sort of dug 'em, there was just something missing, namely the vocals. Sure the jagged stuttery beats and fucked up synths hit the spot, but those mostly instrumental tracks were lacking some of the fire and vigor and snarkiness of the Dizzee Rascal (and the Wiley record we also dug!).
So Vice records comes to the rescue, with a comp of CLASSIC grime tracks, many of which were essential genre defining 12"s (a few of which are even mentioned in this month's Wire, in the suddenly timely Grime primer, or, uh 'grimer') So what the hell does grime sound like you ask? Well, it's like hip hop, mixed with simple two step drum an bass (or garage -- pronounced gare-ij), some dancehall, constucted frrom simple hiccuping beats, weird synth melodies, throbbing basslines and some crazy cracy rapping/toasting. This comp is so high energy, fit to explode, fiery and furious and funky as fuck. The whole thing is so hyper and hard core and relentless. Totally raw and powerful. And then there's the ladies, who typically get left out in the cold when it comes to electronic music, but the ladies here represent. In a big way! Lady Sovereign, No Lay, and Shystie fucking rule it!!! Lady Sovereign's "Cha Ching" is one of the most awesome sounding songs we've heard lately. The much-hyped and biggest band of the lot, The Streets (who isn't technically grime, but whose track features a handful of heavyweight grime MC's hence his inclusion on the comp we suppose), have a song on here that almost pales in comparison to the other tracks, simply for its use of "rock" as an element in his track. The other tracks work so well because they're so simple and primal and stripped down. They contain only the most important elements. A beat, some electro zzzap, some sharp synthy melody, and a barely there bass line to hold it all together. And of course raw, mean-ass snarky lyricism. Run The Road is pretty fuckin "fit" as it were. If you haven't gotten into grime yet, you best mate. And this is the perfect place to start.
MPEG Stream: DIZZEE RASCAL "Give U More"
MPEG Stream: NO LAY "Unorthodox Daughter"
MPEG Stream: LADY SOVEREIGN "Cha Ching (Cheque 1, 2 Remix)"

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