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
by Mike Vinti.
If 2014 was the year of anything it was the year popular music started to be taken seriously. Services such as Spotify, and the dawn of Smartphones, means that music is more a part of our lives than ever before; a trend that’s influencing the way we engage with it both in terms of platform and as an art-form. It’s easy to view music as a compliment to life, a melodic enhancer to otherwise mundane activities and there’s nothing particularly wrong with treating it as such — I can’t force you to like Death Grips. Music can and should bring pleasure, but as we listen to more and more of it, its messages and intentions are being ignored.
For years now, debate has raged about the messages and politics in TV, Cinema and in Literature, hell, even music videos have had their fifteen minutes of ‘long read’ blog coverage, yet music itself has gone largely ignored. The reason for this, as a friend of mine noted recently, is because of music’s ubiquity — it’s everywhere, all the time. It soundtracks our walks home and our work, our free time and our periods of most intense concentration — as I write this, I am, totally unsurprisingly, listening to music.