Wednesday, 15 October 2008

'Syncopated City' - London Elektricity (album review)

I've also been checking out UK D'n'B outfit (T shirts, Trousers and everything) London Elektricity. Their new album 'Syncopated City' is a bit heavy. Now in my 'Hold Your Colour' by Pendulum induced Drum 'n' Bass frenzy London Elektricity were one act that I latched onto because of the apparent knowledge of melody and song structure (one song 'Strangest Secret In The World' in particular).

Hence me, post D'n'B madness (the new Pendulum album was poo), checking out this album. There are some real standout tracks on it; ones that made my ears stand to attention. Opener 'Bare Religion' and 'All Hell Is Breaking Loose' are massive melodic slabs of D'n'B that employ some excellent samples. Non-album track 'Maybe I Was Wrong' has a chilled but oh-so-fat bassline that you need for lying back, closing your eyes and feeling like all might just be well with the world. It might also help you say sorry to someone, so it must be good.

If you're looking for something a bit different to your 100% Hip Hop diet then this album could be what you need. There are still beats, basslines and samples it's just the tempo is upped and there's no tiresome recoverage of the same subject matter.

Get it here and check out the awesome video for 'All Hell Is Breaking Loose'.


'Fun DMC' - People Under The Stairs (album review)

In a rare moment of sitting down and listening to a full album that I chose to listen to (as opposed to all the ones I'm obliged to review - many of which I do want to listen to) I managed to check out 'Fun DMC', the new album by People Under The Stairs.


Now I've not been on much of their past material although I'm pretty sure I like it but seeing the title of this made me want to listen to it. And I wasn't dissapointed. It does pretty much what it says on the tin. The cover really sums up the feel of the album - it is chilled out, summertime music as advertised on a South Central telegraph pole.

PUTS have saluted a whole ton of old school 90's and 80's Hip Hop sounds - disco, funk and soul recieving the bulk of the nods. In fact the songs sound so 'Golden Era' that it's actually a shock to the system when they mention new fangled things like ipods and myspace. In my books, that's a good thing. It's modern old school... and it came out a couple of months too late. Ah well, I'll get it out again next summer and meanwhile I'll bump it to bring the sun to my wintery life.

Here's an mp3 for you nto check out, it's the title track and if you go to the website you can type-diddy-type-tee-type-type-t-type your email in a box and they'll send you the discotastic 'Anotha' (BBQ)' - it's a beast.


Get yourself a copy, it's a brilliant and fun album and it makes me smile.

'The Stuff' - Illustrate (album review)

Having already reviewed Illustrate’s ‘Work’ EP means I’ve already assessed 4 out of 14 tracks on ‘The Stuff’, make sure you check out my review of that as well as reading this. Right, on with the review then.

The more amusing than most intro kicks things off and consists of a jaunty self produced beat and a load of samples referring to ‘The Stuff’. ‘My Hat’ comes next and ‘Sick of It’ follows. ‘Sick of It’ is a Just Jack-ish (but with proper rapping) guitar led tune that’s just a little melancholic –after all it’s about all the stuff Illustrate’s sick off. Thankfully ‘Do What You Like’ rushes in, scoops up the mood and throws it sky high thanks to the light hearted subject matter and Sloth’s airy jazz.

And the album continues this way. Illustrate seems to have sequenced the album to constantly change the way you feel and as I’ve said before, his music and writing is emotive and that’s a powerful skill to possess. Lead track ‘The Stuff’ perfectly demonstrates the slightly eccentric place where Ollie Bates finds his ideas when he refers to Braintax liking his album then drops a sample of the Low Life head honcho – ‘A big sound system playing the stuff’.

The only real dud moment is ‘Killing Celebrities’ where Illustrate does his angry white violent-but-only-joking rapper impression by listing celebrities and how he’d kill them. Rather uninspiring.

‘The Stuff’ has high entertainment value and despite the variety of emotions portrayed, has a very happy-go-lucky vibe to it- which is a nice balance for an album to have. It’s a good album to debut with and is a highlight in this year’s more subterranean rap releases. It’s out on November 17th on Headcount Records and will be available for sure from Suspect Packages.

'Once Upon A Time' ft. Joell Ortiz & Natty - Sincere (video)

Here's the video to the remix of one of my summer anthems. New York's Joell Ortiz has hopped on board and provides a cheeky verse on an all new video. The hook-up is a result of DJ Semtex being a don and working on a mix CD called 'Pounds & Dollars' with Joell Ortiz. Brap.


10Shott at the MOBO Awards

In other MOBO news, whilst not nominated (hopefully next year), 10Shott will be performing at the VIP drinks reception for all industry and VIP guests. His performance wont be televised unfortunately but should never the less get press and the interest of a load of industry insiders.

UK Artists in MOBO Awards Tonight

It's the MOBO awards tonight.


Sway, Wiley and Dizzee Rascal will battle it out for Best UK Male as well as a couple of others who I don't care for.

Estelle is going for Best UK Female against again, a few others who don't deserve to win. She's also up for a whole host of other awards; Best Song, Best Video and Best Album.

Ironik is up for Best UK Newcomer, he'd better not win that, Chipmunk or Skepta deserve it more.

We're (the UK) also reppin' in the Best Gospel category with Jahaziel and GreenJade both in the running and both thouroughly recommended by myself to any Hip Hop fans out there.

Best Song section features Wiley's 'Wearin' My Rolex', Dizzee's 'Dance Wiv Me' and Estelle's 'American Boy'. 'American Boy' is up for Best Video award as is Bashy's 'Kidulthood to Adulthood' and Tinchy Stryder's 'Stryderman'.

Dizzee and Wiley have both been nominated for Best Hip Hop alongside Jay-Z, Lupe Fiasco and Lil' Wayne.

Big ups also go to our own radio and club DJ's Semtex, Westwood, 279 and more.

Tuesday, 14 October 2008

Royce Da 5'9 makes banger from Euro-pop trash

In possibly the strangest sampling move since Ironik flipped Westlife, Royce Da 5'9 raps over one of the most cheesiest euro-pop singles ever to hit foreign shores, apparently flipped by someone for T.I - but I wouldn't know that.

'Live Your Life' sees Royce rhyming over a sample of O-Zone's 'Dragostea Din Tei' but it hurts to say that it's actually a bit of a banger.

M-Phazes Remixes Jehst and Yungun

Ozzie producer type M-Phazes has cooked up some right bangers on his barby. His album 'Grindin'' is a selection of already big but newly remixed tunes.


Featured are tracks from worldwide artists like Scribe, Blak Twang, Ayak, Mystro, Phat Kat and O.C. The album is currently available on Beatsource but as yet, I don't think it's available anywhere else.

I've already posted his remix of Foreign Beggar's 'Hold On' but here are two more tracks for you so you can check out his steez:

Jehst - Psychedelic Phlegm (M-Phazes Remix)
Yungun & Mr. Thing - G.M.B (M-Phazes Remix)

If you sign up to Beatsource you'll get a free selection of tracks, one of which is M-Phazes' remix of Skyzoo's 'I Shine'.

'Pieces' ft. Plan B - Chase and Status

Chase and Status have messed around with UK Hip Hop before, with good results. Akala and Dizzee Rascal have both had the D'n'B treatment from these dudes, the latter being an absolute banger - better than the original ('Sirens') if you ask me.

With their latest D'n'B/UKHH outing being a bonafide collaboration, not a remix, it had to feature on the hallowed pages of Certified Banger. They've hooked up with Plan B on 'Pieces' and for all those newly converted Pendulum fans, this is for you. It's definitely along those rocky/D'n'B lines but fans of UK rap may be interested to hear it too.

'Pimp Lord' & 'Jokers' - 10Shott (free downloads)

Here's two of my favourite tracks from 10Shott's 'The Bigg Hitter'. You can download these for free and if you like what you hear then enter the competition just above this post.


Here's a few bits of tasty info from Guy at ZY:

"We will also send you the video when finished which will be really good.....it is 'Earth Calling' featuring TwissMan and a third verse and new ending.....storyboard by Lisa who has excelled herself in the intricate simplicity........Just when you thought it was finished....also there are more tracks going on 'Groundbreaker' including tracks from Quincey Tones and more collabs"

Monday, 13 October 2008

M9 Interview

Certified Banger: I’d like to get right into talking about your release ‘144,000’ but it’d be good if you could give a quick resume of your history.

M9: My musical history starts from the age of 13, writing rhymes with a friend called Propaganda, we then formed a team known as Anarchy. I used to attend a local youth club that was dedicated on getting teenagers into music, from there I learnt, more into the mechanisms of the production side, my first real recognition outside my area was a track I made with a close friend called Skriblah Dan Gogh from Terra Firma, we recorded a track known as ‘Cold’ from there I linked with Chemo and I decided to make my own project, known as Hi Fidelity in March 07. Now I’ve approached my new project a year later with a different offering.

CB: Before we get onto what influences your lyrics, can you tell us who influences you musically?

M9: The message I portray stems from common things I learnt in life, then comes what the average person is oblivious to is what caught my eye, such as black history, and cooperate decisions in high places, which affects every single individual on a daily basis. But as an artist I was highly influenced by Mobb Deep, Wu-Tang, Nas, Dead Prez, Kool G Rap, AZ, Ras Kass, Def Squad, Onyx, Pete Rock. To me each artist mentioned all have different elements to bring to the table with unique qualities.

CB: The thing I’ve been bursting to find out is where your ideas come from. Do you read a lot of books?

M9: I wouldn’t call myself a heavy reader, coz the greatest lessons stems from experience. My thoughts combust from many different universes of emotions and experiences, the forces that surround me all strive to achieve similar goals; that’s knowledge, wisdom, success and health. So we constantly bounce off each other, influencing and inspiring towards many different plains.

CB: More specifically – what’s the reasoning behind calling the album ‘144,000’? That’s a biblical number, found in the book of Revelation referring to 12,000 people from each of the Tribes of Israel…how does that fit in?

M9: Yes the concept of the chosen few is spoken of in Revelation 14:1, I acknowledged that and wanted to find out exactly what it meant. The means of going into what it really meant led me to a great teacher known as Malachi Z York, who wrote many books on this subject and beyond. What I found led me into the conclusion on the state of planet and the evil entity that governs it, which had me applying this to my music hence the title.

CB: What interested you in historical societies and religions in the first place? Do you draw comparisons between then and now?

M9: Of Course. I aint here to deny change, but the problem is to tell the difference between artificial and natural change. I think we’ve shifted far into artificial change and this leads to many abnormal occurrences. That abnormal vibration sparks something inside me and my team to reach out and notify others that may not have the ability to detect the abnormality.

CB: What are your views on religion today? Do any of you take a particular religious stance?

M9: Me and my team take no stance in any form of religion. We deal with reality, I think religion deals with a lot of division, we aint into that.

CB: Do you consider yourself intellectual, as a scholar?

M9: I put no labels on my mental abilities. What makes a scholar is only what he/she has been told by another person, that’s not complete. The element missing is self experience of which no outside entity can have an opinion or view on.

CB: On the Triple Darkness album especially, you and the others married street commentary with your knowledge of and thoughts about these things to produce a very original album lyrically. Was that a decision you made?

M9: It being labelled original would be the conclusion people may have on it, but our aim was to just put out what we saw was wrong with the world alongside our unique taste in musical production. We never gathered in a meeting to intentionally make an original album. That’s just how it came out.

CB: The absence of guns, gratuitous violence, disrespect of women (and all those things that ill informed people think Hip Hop is) is very welcome. Is this your way of leading by example?

M9: Our aim was just to make real hip hop, which means being real to yourself. Our lives don’t involve guns girls and cars, so you won’t hear any mentioning of us being in first person view, when it comes to those subjects.

CB: Your producers really came up with the goods, their production really suit the lyrical content. Who was involved? Did you give them a brief about what the sound of the album should be?

M9: I worked the closest with Jon Phonics and he was very patient & understanding on getting exactly what I needed. As he would know I’m a very ardent person when it comes to lacing a beat. Many times I would have him going back to the drawing board, but I really appreciated his determination. With Chemo I laced paintbrush over a different beat I wasn’t particularly proud of. I asked him if he could re-make a version and he pulled it off.

CB: How would you describe the sound of your new album?

M9: I would like to think of it as great offering for real hip hop heads to listen to, but it only being just a project means its not all I have to offer.

CB: Are you trying to get a message across? Are you trying to make people think? Is your work more personal as a means of therapy or self expression?

M9: Way I see it is, people should be thinking for themselves anyway. I would be very afraid for the future, if it took my project to make a person think about life. My music gives me a therapeutic feeling, knowing I can offer the planet a positive force to combat the negative.

CB: To close, is there anything you’d like to add, anything you’d like to say to the people who are buying and supporting your music? Anything you’d like to say to the people who aren’t?!

M9: To people buying, please continue to support to keep this form of hip hop alive, sitting back and doing nothing only leads to a tsunami of music which lacks an original substance of real message, governed by people with a lot of artificial power.
The path hip hop has gone down has forced a lot of real artists to go independent, which means the only thing keeping the movement alive would be the supporter.
So please continue. To those who don’t just remember, you not supporting the movement by bootlegging only adds to the downfall of any future activities musically.

Thursday, 9 October 2008

'The Bigg Hitter' - 10Shott (mixtape review)

The long awaited ‘The Bigg Hitter’ is here. If you copped ‘The Ghetto Brick Road’ then you know what to expect…but with fewer jacked beats. 10Shott has created a relative masterpiece (when compared to most other mixtapes of this kind) and if this doesn’t whet your appetite for a full album nothing will.

Previously heard (and still sounding great) tracks like ‘Imagination’ and ‘In My Blood’ (still one of my favourite 10Shott tracks) are mixed in with new full tracks, concept verses, collaborations, re-workings and even a preview of the forthcoming album ‘Groundbreaker…A Di Real’ (‘Snizzle’ ft. Malik from MD7).

There are a whole bag full of standout tracks here: ‘Pimp Lord’ is Tenny at his story telling AND rhyming best, ‘Jokers’ incorporates an electro-house beat with integral choral laughs – seriously - and ‘Asking for Too Much’ featuring Nadia Pearson is a tongue-in-cheek trip inside a jealous and controlling mind. ‘The Boodah Man’ shows off 10Shott’s production skills and innate ability to write a simple but cachy hook.

From dramatic opener ‘The Bigg Hitter’ (if you think that’s a theatrical entrance, wait for track 1 on ‘Groundbreaker’) to the closing ode to Wolverhampton (‘Wolverhampton’!) this CD is nothing but, to quote 10Shott, “large”. This is better than most albums I’ve heard in a while and it’s certainly had the most plays on my stereo.

'144,000' - M9 (album review)

‘144,000’ is dark, so if you don’t like dark Hip Hop shove off. Or you could stay, read and give it a chance. ‘Anthema’, the album by M9’s group Triple Darkness, came at a time when I wasn’t feeling rap’s more gloomy side. It changed my perspective and this album cements my new perspective in place. Over the last month, with the varying strains of UK Hip Hop pouring through my letter box, I’ve begun to marvel at the variety in our scene and I’ve begun to enjoy the diversity. It’s good to be able to go to one album for one vibe and to the next for another. My mind is open, is yours?

Sonically ‘144,000’ is in much the same mould as ‘Anathema’; it’s almost a second Triple Darkness album as Cyrus Malachi and Nasheron feature heavily throughout. On the whole the output isn’t as focussed as their group effort, perhaps due to the swollen track list and lack of departure from their status quo.

The album still has its engaging moments though and if you’re into lyric dissection you’ll have a field day here. M9, apparently a follower of nuwaupian teachings, is heavily influenced by what you and I would consider to be strange ideas, and often leaves the listener in the dark rendering some lines devoid of meaning. Where M9 applies his understanding to society things do become clearer.

The production, provided again by Chemo, Beat Butcha and this time Jon Phonics, is focussed and appropriately synergetic. Expect the dustiest loops of murky soul, jazz and film soundtracks.

If you haven’t already, pick up ‘Anathema’, school yourself, if you like that buy this when it drops on November 10th on Dark Matter Records/Kilamanjaro. It’s being distributed by Dented and will be available at your usual UK Hip Hop go to shop.

'Knowledge is King' - Chronic Redeye (album review)

Don’t let image issues fool you (emcee Redeye is one of those white Rasta types), ‘Knowledge is King’ is actually a pretty good representation of that Hip Hop meets Jungle meets Reggae type sound.

Don’t let the Norwich accent or the slightly slurpy delivery put you off either. Redeye’s recognisable voice sets him apart from other MC’s simply because no-one else sounds like him. Aside from that, the lyrics are well written and appealing. Almost crew members Franko Fraize and Lyrical T show up pretty often and surprise American guests are Main Flow and Bronze Nazereth.

The production is typically either a stripped away 90’s-ish boom bap or a blunted dub flavoured with a couple of nice outside influences (‘Nothing Lasts’, ‘STR8 Rugged’). Most of the production is handled by DJ Chronic although Mr. Laws, Dillijence, Fudalwokit and Wolftown’s Tricksta provide a few of the rhythms.

As a whole the album is quite primitive sounding although it’s evidently designed for their beloved sound systems and when you let the volume rip, the bass fills any vacuum you thought was previously present; this is sub-woofer music. Chronic Redeye have some distance to go where polished product is concerned but this is a fair few steps in the right direction.

'I Came To Represent' - Geejay (album review)

Hip Hop’s Sunderland spokesperson Geejay steps up and informs us ‘I Came To Represent’. He’s a young hope but his debut album boasts collaborations with Raekwon and Canibus. Past the Skrilla artwork and the big name guests what’s the CD actually like?

Actually, and maybe unsurprisingly it’s not that good. The synthy production aspires to bark with the big dogs yet yaps weakly in comparison to similar attempts on the scene right now. Some tracks display potential but don't achieve their aims.

The lyrics are basic; Geejay employs rhyme schemes circa 1980 (which were fine back then, but things have moved on), relies too heavily on drawing out words to fulfil his syllables per line quota and leaves sentences hanging at the end of each line for rhymes sake (‘Plaguing me much//More than I thought it…). The crude and immature concepts exhibit a lack of life experience and teen years spent idolising US rappers. ‘Heart Attacks’ attempts to readdress the balance but comes across a little too clichéd.

‘I Came To Represent’ is Geejay’s version of every formulaic rap LP ever made and unfortunately, it falls short even of the middle mark. Some strict self editing and serious writing graft might see him return stronger but for now it’s pretty feeble. Let's hope that Sony development deal does just that.