Posts Tagged ‘JME’

JME & Tempz – CD is Dead (Royal T RMX) FREE D/L

August 9, 2010

All those that love their Grime hard, skippy and forward thinking rejoice! Southampton producer and personal friend of ‘The Fold, Royal T, is giving away his remix of JME & Tempz’ smash, ‘CD is Dead’ here for free.

Having been battered by the likes of Elijah & Skilliam in raves for the past couple months or so, Royal-T’s remix is now available for public consumption. The hard snares, stereo keys and raw bass make this one for the iPods as much as the clubs. The download includes the instrumental too, so DJ’s & MC’s that didn’t get it first time round need not feel left out!

Enjoy!

Click Here

Kristian

Royal-T Beat Blog 3

June 2, 2010

Every month on Welcome To The Fold, Grime producer Royal-T airs rarities, sketches, samples, remixes and other work from his archive. This month, Royal T presents ‘CD is Dead (Royal T RMX)’

With this one I bought the acapella from iTunes, whacked it into Fruity and came up with a nice little 2-Step type beat to go around it. From there I played in the bass melody, built a punchy switch-up to contrast with the melodic intro, and seeing as the acapella was free and I was at liberty to do what I wanted to it, I decided to take a risk and make it a little more ‘techno’.

I’ve received a mixed response so far, which I’m happy about because at least my music is generating conversations and debates and not becoming stagnant. It fuels me to seek out new methods, techniques and styles. With this remix, the techno element came out of nowhere; a complete freestyle.

In a way, this remix was influenced by my first Sidewinder experience a while back. There, for the first time I heard my music in a live environment and it’s made me much more aware of ‘sonics’. I might revisit this techno idea in the future, but for the moment I’m focussing on making music with analogue instruments, branching out a bit from the hard Grime sound I’m known for, but still keeping it true to me.

As a big fan of Tempz and JME, I’d really like to work with them in the future. The original CD is Dead edit isn’t hype or downtempo, but is easy to rework into either style as Rude Kid and myself have shown. With my remix I wanted to show what my influence would be should I ever get to work with them.

The video is jokes, and I think its inclusion in the download highlights JME’s entreprenurial talent. By including the acapella, instrumental and video, he has created his own guerilla remix campaign, for nothing. Big up to him for that, that is the kind of savvy Grime needs.

Enjoy!

Royal T

P.S. As for a download you’re gonna have to wait a bit for that!

Logan Sama’s April 2010 Round Up

April 30, 2010

In terms of radio, Chosen Ones Part 2 was a great start to April. We worked with different MC’s and concepts this time, keeping the format fun and fresh. As I mentioned here last month, I wanted a Yardie set for Part 2 and I got one with Killa P, Badness, Shizzle and Jamakabi! It was definitely one of my favourite sets. Double S held down a set on his own (as the rest of Marvell couldn’t make it) for 25 minutes which was very impressive – I’m sure even his critics on the internet would have to agree.

We also had Trim and his Circle, as well as exciting new talent in the form of Dream Mclean, Teeza, Voltage, Onoe and Scruface – the latter an MC who I have high hopes for this year. We are going to keep the Chosen Ones series going and I know people are wondering why I haven’t opted for bigger names so far. However, I’m going to be doing a new Chosen Ones show every six weeks now and as such I don’t want to recycle sets. We are going to get sets from Ruff Sqwad, Cold Blooded, Boy Better Know, Movement and maybe Slew Dem in the summer…rest assured we’ll be doing what the people want to hear! I don’t want it to just be the same show with Newham Gens and Bloodline appearing every week – despite what some may demand!

Chosen Ones gives me the opportunity to feature people from across the UK too, MC’s outside of London – Midlands, up North etc. It’s otherwise hard for me to give exposure to these guys with a one hour show on a commercial station. Kiss management are still giving really positive feedback; they’re really happy with both the Radio listener figures and the web hits. Hopefully, if we can sustain the effort then we might have a two hour show again!

The Grime Forum awards were another April highlight for me. I didn’t even realise I had won the best DJ award – I naturally assumed Spyro had won. There are many things that make a DJ ‘good’ and in light of this award I‘d like to think I’m now alright at most of them! It was a pleasure to receive the award. The fact that the organisers had clubbed together and made a physical award that I can actually keep was special. I made a big deal of it and specifically invited P Money and Blacks down so we could give the awards credibility. Last year the awards came and went. This year, I felt that giving Grime Forum credence on the radio was needed.

People that are doing work should be rewarded for their efforts; Tempa T getting best song and best video, P Money winning best MC and best mixtape and Blacks winning best newcomer was all down to the Grime Scene – not the mainstream/playlist world. It was real fans saying what the hottest shit was this year. I heard Skepta say that for him, this was the first time he had seen a list of award winners and completely agreed with it. Unfortunately, the Grime Daily party didn’t go nearly as well. All I’ll say is it is a shame incidents like that still happen – they are a poignant reminder of what is really going on in the world at the moment. The name ‘Grime’ is very precious and we have to be careful what we attach it to…

Going back to Skepta, he’s currently remixing P Diddy’s ‘Hello Good Morning’ which is big news for Grime. I know Skepta wants to do a big Grime club smasher, so we’ll see what comes of it. As with anybody big dipping their toes in Grime, we’ll have to use it and get as much exposure as possible. It’s good that somebody like Diddy, coming from America, looks to the UK and picks a Grime artist to work with. It’s a step in the right direction when people look over here and see Grime as our equivalent of Hip Hop.

As you may have seen on here and on my own blog, I’m a bit of a Street Fighter fan! A nice surprise this week was D Double’s vocal of Swerve’s Street Fighter Riddim. I had no idea Dee was going to vocal it, in fact the first I knew was when I received a text from Laurence at Dirtee Stank saying ‘D Double’s Street Fighter Freestyle is Fucked!’ I rang him straight back! I got sent it and it was like two of my favourite things mixed together. A special made for me (almost)! In terms of the actual game, I’m really enjoying it. I actually want to get good at this version as me and Jamie are thinking about going to some tournaments and trying our luck.

I’ve been trying to work with Dudley, but like any new character it’s hard at first. As he only punches, using him effectively is quite technical, but once he gets in there he can do some damage!

As a final note, look out for B-Live’s Modern Warfare release this month, which comes with a massive, MASSIVE remix as well as the Sharky Major and Badness CD’s. I would like to say a big thank you to everyone that supported the ‘Shark Attack’ single because it was a bit of a gamble, but it paid off. J Beatz, Nuklea and Z-Dot instrumental EP’s are coming soon. In terms of gigs, if you want to keep up to date with where I’m playing check my blog, http://www.keepinitgrimy.blogspot.com. I’m looking forward to playing Hip Hop Kemp in the Czech Republic this summer, as it’s all good fun and hopefully I shall be going to San Francisco in May…Fingers crossed!

Until next month…Keep it Grimy!

Logan.

Logan Sama Interview

February 3, 2010

Host of the only legal Grime radio show in the world, record label owner AND a regular Jim’ll Fix It to Grime MC’s and producers, Logan Sama is Grime’s go to guy. The last quarter of 2009 unfortunately saw his KISS show cut by an hour, in line with the stations’ desire for more playlist airtime.

But it seems even pluralizing radio bosses can’t hold the Essex selector back, as he embarks on some new, exciting projects he hopes will rejuvenate the scene and provide fans with much needed coverage.

We caught up with him for a chat.

Logan, what was your highlight of 2009?

The best thing about 2009 was people being consistent over a long period of time. In a music sense, people were getting music made and getting it released.

Do you think this increase in work rate reflected the audiences’ renewed interest in music?

Yeah I think MC’s have been meeting the demand.

2009 was a year that heralded great commercial success for a handful of Grime MC’s, yet they achieved this without making Grime music. What does this mean for Grime going forward?

In a positive sense you get more people finding out about these artists, where they have come from and what they have previously done. Then, hopefully, you get a trickle-down effect [into the scene] However, there is the other side of it whereby you have weak-minded artists that think the only path they can take towards success is in making stuff [that’s currently popular] that they weren’t making in the first place.

Do you think this reduces longevity and, in some cases, cheapens the ‘worth’ of the Grime scene?

Yeah I think it’s got low longevity to be honest, especially the stuff out now because it’s not particularly adventurous – artistically or musically.

Whilst major label interest continues to influence what music Grime artists’ record, there is an equal reaction fighting it’s allure. What hope do these acts have in reintroducing and popularising the fundamental principles of Grime; hype, innovation and attitude?

I don’t think that the worlds ready to hear their shit to be honest and that’s not necessarily a bad thing.

What can you envisage happening then?

[Formulation of] a self sufficient industry that’s independent of the mainstream but people can still make a living from. You can make D‘n’B records without sounding like DJ Marky & LK’s ‘I like it’ and go round the world and make a good living. We have equally qualified artists who have taken years to build up their expertise and their craft.

Who do you see as leading the way against the pull of the mainstream?

Jamie because he has absolutely no fucking interest in it whatsoever. He’s not done any of it and he really doesn’t want to. Everyone else is just focusing on their music.

Elijah and Skilliam are championing a new outlook in Grime, focusing on DJ’s and producers rather than MC’s, who often let their ego muddy the music. Do you welcome this move?

Yeah, they show a different side of Grime and put their personal stamp on what they play as DJ’s, which I think is very important. It’s important because it gives a breadth to the appeal of Grime, especially to people that don’t like MC’s, but appreciate the beats and mixing.

To be honest, the more DJ’s we have representing different sounds and working with producers that they like, the better. Terror Danjah and Swindle hadn’t put out a tremendous amount of beats and music in 2009 and audiences weren’t really hearing a lot of their stuff. However, working with Butterz has opened doors for them because as producers, they are getting highlighted whereas in my show for example, they get lost in the mix.

I have a show which has to cover across the board and my main aim to play the most popular stuff alongside the most appealing stuff. DJ’s on the pirate circuit can focus on one avenue of Grime, which is healthy for the scene.

Some argue that Grime is dead and that the music made during Grime’s ‘golden era’ is not being made now. Is it evolution, or is it economics?

I don’t think the sound has changed, it has just widened. Music as an entity changes based on the questions asked of it by the consumer. If it was still rewarding to make beats and spit over them on radio, not just financially but status-wise, then people would be doing that a lot more. But, the focus has come away from that now.

That is one of the main reasons as to why there aren’t many Grime DJ’s anymore -it’s just not rewarding enough, and people think Grime DJ’s are somehow lesser than other DJ’s who may even be technically inferior.

Is that something you have faced?

I see a lot of guys getting bookings, from other scenes. When I got my KISS show, my vision as a professional DJ was based upon going to raves where you’d have Tim Westwood playing hiphop and Double D or Goldfinger playing dancehall. I would therefore, in the same way, go to those events and play a Grime set. That’s how I imagined it.

Obviously that never really materialised even though this genre of music is still going strong in terms of producing well-known artists and well known tracks. Instead, we’ve seen a rise in budget DJ’s that play everything but stand for nothing and that’s across the board – generic urban nights to trendy Shoreditch nights, where people are the flavour of the fucking month playing uninspired selections.

Going back to the evolution of the Grime sound, you said earlier that the consumer dictates where the sound goes. Therefore, in your opinion, was it ever a conscious decision by producers and MC’s that saw what was going on Stateside, to adapt their sound and tie in with that market?

I think it’s subtle and slow. If you are an MC with a microphone, you will want to say more stuff and work on your technical ability to ensure you’re better than the other MC’s out there. That became quite important in 2005 – 2006 whereby flows and lyricism became prominent and guys spitting for reloads were looked down upon a bit.

At the same time, when the mixtape thing became popular, there was a big lack of live events. Now, live events are restricted to people turning up and doing P.A’s of their singles. So, like I said, the reward for some of the skills people had and practiced, is not there anymore.

The five MC’s that are rated for reloads now are the ones that were doing it back then. D Double E is the reload guy and will always be rated for that. But for new guys coming through, I don’t really see the recognition or reward for having that sort of live element. Now, it’s all based around singles which is a wider-based thing. Guys like Chipmunk for example, who have never been involved with that live element, are taking the culture with them [into the mainstream] and I think it’s good. I really do. In Chipmunk’s case he is a positive young man and works hard.

As a Grime MC, those live skills are not respected by wider audiences, and I don’t know why that is. It might be fault of our own because we’ve not let people understand how important those things are and allowed them to die but, at the end of the day, guys like Spyro who are fantastic technical DJ’s are not getting the rewards for their skill.



Which is crazy when you consider how many parallels there are between Grime and Dancehall. In Jamaica they have festivals with massive crowds…

Yeah, but that is the cultural backbone which has taken many years to develop. You have to remember Grime is only 6-7 years old.

Over those 6-7 years do you feel the press has represented Grime fairly?

I don’t think the press has made enough of it. Elijah and I had an amusing conversation about this the other day concerning Grime DJ’s in the press. Look at any other scene and the press will write about anyone if they are flavour of the month.

When you try and get something about Grime into a publication they’re like ‘What’s the catch? What’s the story?’ and it’s hypocritical. What’s the story about Ibiza this year? Or another DJ that’s playing the same tunes in Shoreditch or Yo-Yo’s that everyone else is playing already?

All they have over us is the right press officer [but] if you are good at what you do, people will want to read about it! That’s how music journalism should work. Your ‘story’ has nothing to do with your talent and it’s up to the journalist to find it.

You’ve said that Grime is a real meritocracy in that there are no proven ‘formulas’ and that experimentation within the scene is always high – in both music and media. You think this is still the case?

If you are hot, people will discover you. People talk about knowing this person or that person, or being in certain circles, but really, if you get into the real world of music, because it’s all so structured and there is a network there, it is all about talent.

Try and become a big D‘n’B MC without being brought in by the three main big promoters and five big DJ’s co-signing you. It’s really locked down tight! Whereas if you do Grime music, people gravitate towards you – no one gives a shit where anybody’s from. If you’re doing stuff people like, then you’ll get noticed. I think Grime is THE most open genre at the moment.

How did you take the news when KISS first announced the 1 hour cut to your show?

You can’t do anything about it so I immediately thought about what I could do to make things work, rather than getting pissed off about it. It was a wake-up call for me because I had become a bit complacent – happy to do my radio show and not any other stuff that I could have been doing.

Were you surprised with the amount of support you received?

Yeah man, all the people online got noticed by the management and it was discussed. It was great, but the seeds had already been planted. We’ll see what happens going forwards.

Last year you debated with MistaJam over Twitter, concerning Grime’s lack of coverage and reference on mainstream radio and other media channels. Could you clarify what you said for those that missed it because I think it was an interesting point…

I think there are numerous platforms, not just 1xtra, where people could be made more aware of the fact that these stars are coming from Grime. I felt that 1xtra was one of the places where Grime wasn’t being promoted. It’s subtle and I don’t think it was intentional on their behalf, but they had a jingle on [Mista Jam’s] radio show where it said what music he played and that didn’t include ‘Grime’ – even though the jingles were Tinchy Stryder and Chipmunk.

That’s important because it erases ‘Grime’ from the subconscious of people listening to it. If it’s not there, it’s easy to forget it.

Trim said in an interview a while ago that even the word ‘Grime’ registers negative expectations and it’s hard for artists to rise above them. Do you think there is any truth in that?

I don’t think that’s true because so many people have come from it and have done really well. But like I said, achievements in Grime are looked down upon and not really acknowledged. It’s like ‘ok you’ve done that, now come and do some real stuff.’

What do you think is the cause for that lack of respect?

The music and the image we put out isn’t professional – all that cussin’, bickering, misbehaving and unreliability undermines the huge amounts of creativity and hard work people in this scene put in. We fail on a bunch of superficial principles that the rest of the music industry base themselves on.

Your label Earth 616 has gone rather quiet recently, after releasing three vinyl EP’s last year. What happened and will we see more releases this year?

They didn’t sell a lot of units and cost me a shit load of money – so much so that it took four months for me to recover my costs. Financially it was unstable. I will be putting out more stuff in the next couple of months but it will be based on an entirely different business model. I’m still trying to confirm artists for that, but [in the meantime] I’m doing a couple of digital releases, both of which are vocal cuts.

What projects you are working on at the moment?

At the moment I’m working on getting the Sharky Major and the B-Live & Spyda tunes out because they’re hot tunes and I want to see them out before they disappear off the face of the Earth. Both are likely to be released at the start of March.

I’m also working with some of the lesser known artists who can’t get their stuff out properly and end up giving it away for free. I want to help those people.

The last mix you made available for download was your birthday one, which was very well received by fans. Have you got any more up your sleeve?

I’m going to try and do a bi-monthly mix that people can buy on iTunes, if I can sort out the legalities of it. It won’t be free, but it will be a Logan mixtape available for a couple of quid featuring exclusive freestyles and what’s hot at the moment.

Any plans for another Nike One Away project?

Not at this moment in time. I’d love to do that again but it means going into the studio and holding everyone at gunpoint until they finish their bars!

Break down what that whole recording process was like…

I spent a lot of time – about two weeks in total – sitting in studios with people until they did their tune.

Name a personal highlight from that time?

I wrote Skeptas’ ‘I Spy’ dubplate which was cool! And getting a Newham Generals dub is always fun too…

What was your favourite dub on there?

Erm…Murked again. That was sick. Battle riddim was also…

Listening back to your old mixes you used to drop a fair bit of Dancehall in there, but not so much anymore. Why?

My attention has just drifted away and I’ve not noticed as many big records as I had done. I’m a bit out of touch now.

Last but by no means least do you have any tips for this year?

Producer wise – J Beatz and Nuklea. MC wise I’d like to see Scruface do stuff this year.

Kristian

Boy Better Know – We’re Goin’ In

November 3, 2009

Bit late I know, but I had to blog about it. Good look for BBK – a good example of genre-disregarding music. Unsure of the vocoder, but the blended verse at the end is a really good idea, and Jammer is hilarious! When Donatella asks Skepta ‘Where can you see this being played?’ during this Grime Daily interview, and he stumbles for an answer, I couldn’t help but laugh.

I feel Grime fans pay too much attention to these sort of things. Instead of listening to a piece of music and making a judgement based on the emotional response the piece does, or doesn’t provoke, many base it on marketplace, situation, BPM, image or genre. This has to stop.

Shank bars and productions with no commercial appeal does not equal integrity. Shank bars are so widespread they should be viewed as spuriously as 8-bar loverman chats. Just because they don’t make any money doesn’t make them any more authentic or expressive.

I welcome this new direction for BBK. Vibes. Vibes. Vibes. And I know for sure, that there are more tracks like this on their way.

Kristian.

BBK In Studio

October 20, 2009

Hold Tight MSM for the link up. Tim & Barry interview with Skepta coming soon (with me asking those questions – ALWAYS READY!)

Kristian