i don’t dans to tekno anymore
While my phone with the carefully curated podcast subscriptions is off getting fixed, I’ve been listening to music instead. It’s been a bit odd – I’ve genuinely listened to more music in the last five days than in the past five years, mostly new to me. Would you like some brief, subjective music reviews from someone who doesn’t like or understand music? How about some wanky pontificating about what music should have to suit me? Or even more wanky pontificating about how artists should represent their communities? You’re in so much luck!
Oh, be warned, there’s basically no techno anywhere here – it’s just a song reference.
So, out of a general interest in cultural developments, the great podcast Hip Hop Saved My Life and occasionally being allowed to hang around with some of the cooler kids, I tried a few grime albums – Stormzy, Skepta, Wiley, some spotify playlist – basically a random selection of albums from artists I’d heard of plus bits. Also The Last Skeptik, but I’ll come back to that.
I was not particularly impressed by Stormzy at first, but then the first track I heard was:
Blinded By Your Grace from Gang Signs and Prayers? I shoulda expected it really but I’m offput by intrusive religiousity generally. I gave the rest of the album a go and while I could tell the man had skills, they just didn’t do it for me. But then, I realised that there are songs I absolutely love that have religious notes – these particular examples being just a little different in style, but you get the point.
I mean, Regina is clearly really problematic from my (tedious?) rationalist stance – it’s clearly straw man after non-sequitur after begged question, but it’s just beautiful.
Anyway, I circled back round to Dreamers Disease which I like a lot more – it feels a bit more raw, not as heavily produced, and much less violent in content but still super aggressive in tone. There even seemed to be a track about how OK he was with his girlfriend dancing and getting attention, recognising that he doesn’t control or own her, so a little bit of a positive message in there.
I know that’s not a fair representation of his work at all, but after a couple of albums they’re the ones that stuck out to me. Maybe this is more representative…
Skepta seemed a bit more interesting, based on Konnichiwa – bigger, heavier beats and harder, more rapid rhymes. There’s still the same obvious posturing, but and he seems a bit confused the poor dear:
Are you casting sideye at people with whom you have a presumably well known slice of beef?
Or saying it’s all just words mate, don’t take the aggression too seriously?
I understand Wiley is often likened to Marlon Brando, although I can’t really see it myself – the enunciation is much crisper and clearer on Godfather than The Godfather. Wiley is a bit higher paced and higher energy – I’m typing faster than before because I’ve just put on
I can see the appeal of all of these guys – there’s a real honesty and emotion to it, that most music arising from disenfranchised youth cultures has. It’s punky in attitude and speaks in a voice that’s just not there in mainstream culture, apart from the occasional TV mugging.
But I’m still a bit disappointed. There’s more opportunity there than I think has been taken. I just haven’t yet heard them really say anything – when you have an audience and a group that you can speak for, there’s not just a chance but perhaps even an obligation to say something really meaningful. Without wanting to be too stereotypically white while listening to…er… ‘urban’ music, I’ll reference Eminem who has done that a bit, with mixed success
Wait, I also remember a black rapper, and he described the experience of his time and place a bit more clearly too, and it felt to me like it meant a bit more
Hell, even Cypress Hill had a political message, albeit that was limited to ‘hush man, we don’t need police noise, I’m getting hiiiiiiigh’
I’m not that big a fan of either the glorification of violence or rampant misogyny though, so there’s definitely a few bits I’m not going to go back to. As a side note, the unpleasant aggressive sexual stuff is why I stopped listening to Hed(PE) years ago, despite enjoying the rest of their work
The Good
The Bad
And that’s not to say we can’t have music that appreciates, for example, the female form and consensually doing things to it. I just think it should be appropriately respectful of the agent inhabiting that female form and cognisant of the complex political and social environment we live in
I do still get into music, but it’s got to make me dance, think, or feel. But here’s the thing – of the grime of I’ve heard, it mostly just doesn’t move my feet, head, or heart. Some of the big pounding tracks get me bouncing a bit, and in a club I’d be well into it. But it’s mostly a vocal led medium, so the lyrics have got a load of work to do. While the spits and rhymes are technically tight, it mostly seems to want to tell me that the respective rapper is incredible and rich and gets all the [derogatory term for women]. There are some exceptions I’ve noticed, and I *know* how little I’m making this judgement on. I mean, I’m basically just
So what was I actually looking for? Well, first up I love music that gets me dancing. Now some tracks have high energy and get me to bounce. Of course, to get full value out of it, it needs to be loud and I need plenty of space – I can be quite expansive – but failing that getting into a high tempo rhythm is great for motivation for physical activity and household activities. Stuff that does this, I can basically forget about the lyrics or content. But then, why bother with grime if what you want is a beat lead rhythm.
Sorry, household activities in a critique of popular music cultures? WAT WAT I told you in the first song now I’ll tell you in another!
Last thing before I move away from the general rap genre – I’m not really doing US hip hop here, but if I were to give you a quick recap it would basically be
Onward in my search for grime artists I found The Last Skeptik and the track Drum Roll Please
This is musically more interesting than pretty much anything I’d noticed from the others, relying on a short snare lick that doesn’t sound like it’ll work on it’s own but making it work. A brave move, but one that works, until the lyrics turn nasty late in the magicians verse. Then listening through a few more tracks I realised this guy isn’t grime at all, he just made a track with some rappers. He really plays around with the music, and most of it is great. A video or two doesn’t really describe the experience of listening to an album, but here are two random tracks that don’t do him justice independently:
(Editor’s note: I have accidentally hit play on a window I now can’t find to close, so the accordion is just going round and round and I might explode)
And you know who he put me in mind of? Why, OF COURSE! Pretty much the only other electronic music recording artists I know of!
He’s heavier and less playful than The Avalanches, but similar in approach of finding lots of sources and making them really fit, and the experience being a longer vibe based thing than a banger and some filler. I listened to their looong awaited second album, and it was great. Except, I’d heard their first one, so it all felt a little like an undercooked cover. I mean, you just can’t beat
Similarly, Sonny Jim (who I’ll admit to only really knowing one track of, so this might not represent their style at all well):
On the heavier end, there’s some crossover with Pendulum, who I saw at SugarHouse years ago, and they annoyingly only played one section of
…TARANTULA
Skrillex too, thanks to a recommendation for something with a big heavy sound, is now also on rotation
So, look, I’ve moved into things that make me daaance triggered by The Last Skeptic. But actually, the majority of my real life dancing hasn’t been to big bass and rhythm led dance music, it’s been to big bass and rhythm led rock and metal. Please join me on the high energy segway we’re going to ride from ^ to [insert down arrow].
Great, right? See how I Transplanted us away from the gangster stuff with Diamonds and Guns? It’s like a pun that’s so badly set up it needs explaining. Anyway, we’re now somewhere near punk, and actually I’m not that massive a fan. I mean, I was big into Greenday
So here I have to quickly detour through a few things in quick succession that need mentioning and vaguely fit here, as things that I find I can dance to but I don’t have a right lot more to say about:
Now, we were talking about The Transplants, and from their members (supergroup donchaknow?) we can see some of the main players in hardcore punk and you know what comes after hardcore? Post-hardcore
Man, that’s a riff – WHY ARE THEY SINGING ABOUT THE MIR SPACE STATION!? Don’t know, don’t really care. That sort of thinking may lead to ask Where Are All the Science Songs. Turns out, not on YouTube.
So, this actually goes to a distinction I do see a bit between the rock genre and the hiphop one. The tone is often similar in terms of aggression and anger, but it does seem that rock spends more time talking about stuff other than self aggrindesement, straight misogyny and unnecessarily violent imagery a lot more than the grime and rap equivalents I’ve seen. I mean, look, Slipknot, Machine Head and Sepultura are clearly angry, but they are saying something about it…
Wait and Bleed – a description of the heightened experience of absolute rage
The Blood, The Sweat, The Tears – the hard grind of something or other
Ratamahatta – something non-specific about whatever. I dunno foreign.
And it feels to me like there’s something more to this than I have heard from grime – not just are the beats and riffs heavier and more danceable, but they’re saying a bit more.
Frustratingly, while we’re here I fear I need to face up to Pantera. Most brands of metal are associated with some of the traditionally poorer white groups, and as we can see from the frightening state of US and UK politics, underrepresented white groups express anger and frustration in unpleasant ways.
So, apparently one of my favourite bands are racists. At least that’s the worst of it. But, apparently incorrectly, I had understood Pantera to be singing about general empowerment. I mean it says ‘Every creed and every kind’ right in there…
(Oh shit, no that’s the worst of it. Goddam I miss Shinobi Vs Dragon Ninja, but I don’t like thinking about this and it’s not really relevant to music anyhow.)
OK, so politics then, but clearly not Pantera. Now, we’re moving into tunes that are meant to make you think a bit more than dance. Taking a massive swerve, I might draw on something a bit more like Grace Petrie? This shows that you can talk explicitly about politics successfully, and with righteous anger.
Slightly less overt, but more relevant to my point about the content of grime, there have always been very political tunes that speak to the impact of injustice and defiance against it in a way that I wish more of the grime I have come across did.
If you aren’t going to go on the line with political messages or calls to action, there’s also a chance to genuinely describe life, and that in itself is important.
Now, maybe I’m asking too much in terms of overt political or social comment, but I do think there is an opportunity to give a generation and culture that need a voice and a language they can use externally, but I just haven’t seen that. I know this sounds a bit ridiculous, especially given how outspoken Stormzy in particular was ahead of the last election, supporting Corbyn. But it feels like, if he’s the height of urban culture lyricality and political investment, whatever his message is should be going through his music rather than the comments pages of The Guardian. Shit, even the third most popular folk duo in New Zealand can do it.
So if we’ve learned any lessons, they may be:
- Guided by someone who knows nothing and cares little about music, we have all wasted our time
- I am too old to get modern music
- I am too white to get modern music
- I am too middle class to get modern music
- I am too northern to get modern music
- I am too wanky to get modern music
- I am too content in life to get modern music – this one was a genuine revelation, but in listening back to stuff, I realised I just don’t have the same intensity of negative emotions as I did when I was a teenager, and that’s a really good thing
- I want art in general to live up to some incredibly difficult to achieve bar of entertaining, informing and being meaningful
- Pretty much every single one of my musical references come from at least ten years ago
- Even I can’t crowbar in random science songs to this post




