SKEPTA AND THE RETURN OF THE BLACK PUNK ETHOS

by Candice Nembhard

Grime’s re-emergence into mainstream channels of music should be viewed as nothing less than a testament to the masses of hungry music listeners searching for an angry energy tandem with their feelings of creative distrust with the music industry complex. Whether you see its re-surfacing as positive or negative; its influence has grown so much so, we are willing to finally give it long overdue credibility.

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SKEPTA, CHANCE THE RAPPER AND RAP’S DIY REVOLUTION

by Mike Vinti

The last week or so has seen the release of two of the most anticipated projects in recent musical history; Skepta’s fourth album Konnichiwa and Chance the Rapper’s third mixtape Coloring Book.

With both MCs having made a name for themselves over the past couple of years as being pioneers in their respective fields of rap music, the release of their full length efforts has served to cement their reputations and effectively crown them as kings of their respective sides of the Atlantic. However, while both projects are excellent musically speaking, what’s most interesting about the hype surrounding both Chance and Skepta is that they’re both totally independent artists.Continue Reading

PUNK’S PLACE IN THE 21ST CENTURY

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by Mike Vinti

This year, as I’m sure you’ll be hearing a lot of as we move closer to summer, marks 40 years(ish) of punk. As such there’s a plethora of punk-themed exhibitions, celebrations and, inevitably, memorabilia knocking around with the aim of inducing some punk-nostalgia in the generation that came of age during the mid to late 70s and early 80s. However, while there’s much to celebrate about punk’s legacy, and the modern punk scene itself, a lot of the ‘official’ anniversary celebrations are somewhat missing the point.Continue Reading

LET THE WORLD SHAKE: THE LYRICAL ACTIVISM OF PJ HARVEY

by Jake Reynolds

On October 2nd, 2011, PJ Harvey appeared on The Andrew Marr Show alongside David Cameron. As soon as Marr mentions that Harvey’s then-latest album, the glorious Let England Shake, tackles ‘a big political subject, in this case Britain and war’, Cameron grits his teeth and asserts that he is ‘very keen’ on the album. Harvey’s polite laugh is the kind we all offer when confronted with a mildly xenophobic taxi driver.

‘Do you think they [the government] are doing alright on culture?’ Marr asks. At this point, Harvey gently and articulately condemns the ‘100% cuts’ in her home county of Somerset. She laments the notion that economic growth in Tory Britain is viewed as the only worthwhile goal. Bizarrely, Cameron awkwardly nods, as if a brief and sudden shot of humanity has temporarily penetrated his reptilian hide. She is, of course, swiftly and patronisingly cut off. ‘You’d better go and get your guitar ready,’ Marr says, clapping his hands together. And so the camera crops her out and focuses back on the men in suits.Continue Reading

DON’T CALL IT A COMEBACK

by Mike Vinti

We’re barely a month into 2016 yet it’s becoming plain to see the musical trend that’s going to dominate the next twelve months: comebacks.

For as a long as there’s been a history of popular music there have been comebacks, it’s a natural part of the scene. The bands and musicians you idolise as a child and throughout your teenage years hold a special place in your heart and that’s always going to translate into a desire for more music and more shows form those artists; nostalgia is a powerful force.

Of, course, where there’s nostalgia, there’s money. Artists that have been around for longer can charge more for tickets, command larger production budgets and utilise the demand from fans to open doors not available to their more contemporary peers. This is doubly true for those than have been away and come back again. From Blur to Black Sabbath, Take That to Jay-Z, the combination of die-hard fans and risk averse record label execs sets the stage perfectly for a comeback if you’ve been officially out the scene for more than five years. Money and nostalgia, it seems as simple as that, right?Continue Reading

THE RADICAL’S YEAR IN MUSIC

by Mike Vinti

2015 has been a pretty incredible year for music, especially that of a socially conscious political nature. Kendrick Lamar cemented his position as the year’s GOAT (Great of All Time for you non-rap-nerds out there)  with To Pimp a Butterfly, Sleaford Mods gave a voice to the victims of austerity with their acerbic, bassline backed rants and grime blew up so fast that half the teenagers in the country switched from Hypebeast to Road Man in the space of a month. As it’s the time of year where every goddamn publication lists their top 10, 20, 50, 100 etc. albums we figured we’d run through the year’s best moments, in no particular order, with a special end of year Radical Playlist.  Continue Reading

POP POWER

by Mike Vinti

It has been three weeks now since David Cameron Inc. and things haven’t exactly started smoothly — there have been protests up and down the country, the SNP are already pissing off half of Westminster, and the new Cabinet is somehow worse than the old one.

Hanging over it all is the question of what the left is going to look like over the next five years and how best to fight the newly upgraded conservative government and their inept, yet terrifying, policies for the new parliament.

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THE PLACE FOR POETRY: PERFORMANCE

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by Carmina Masoliver

The Place for Poetry’ conference at Goldsmiths took place from the 7-8th May, and I attended it with She Grrrowls, as well as within my poetry collective, Kid Glove.

Hannah Silva, known for her success as a poet both on page and on stage, delivered her research on ‘Repositioning Performance.’ It was filled with quotations, energy, and analysis of a Salena Godden performance. Immediately it linked to the ever-complex discussion about the page/stage divide, connecting to Malika Booker’s paper later, as well as the She Grrrowls Q&A, whereby BME (Black and Minority Ethnic) poetry is positioned as ‘performance’ or ‘spoken word.’Continue Reading

HOME GROWN PART 2: GRIME

by Mike Vinti

Last time round we focused on the explosion of hip hop taking place across the UK, this week we focus on the UK Rap scene’s mainstay: Grime.

Grime initially took off in the early 2000s thanks to pioneering production and vocal stylings of artists like Skepta and Wiley, whose invention of ‘Eski-beat’ birthed grime as we know it. Characterised by double-time rapping and generally sticking around 140 bpm, grime is hip hop’s faster, louder, and often far more hype cousin. Unfortunately, I was eight years old in 2002 and subsequently missed out on a lot of ‘OG’ grime. In better news however, after a lull in which the closest thing to grime you’d find on the radio was Wiley’s rather ill-considered attempts at pop, grime is back. With it comes a wealth of fresh, young, talent, raised on the genre’s roots and unafraid to experiment.

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HOME GROWN PART 1: UK HIP HOP

by Mike Vinti

For the past few years, hidden away from the mainstream media, and even much of the music press, British Rap has been flourishing. Rap in the UK comes in two major forms; Grime and UK Hip Hop. The Grime Renaissance of 2014/5 has seen the genre reinvigorated, keeping the best elements of its mid-2000s domination and pushing its boundaries both in terms of lyricism and production. On the UK Hip Hop side of things, labels like High Focus and Blah! Records have been slowly gaining more and more of a following, carving out a fresh faced, DIY oriented scene and shrugging off the ‘crusty’ aspersions that have come with the genre for so long.

Due to the frankly immense volume of rap music coming out the UK right now, this article will be in two halves, each dealing with one side of Britain’s rap world ­­— this week, UK Hip Hop!Continue Reading