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MysDiggi UK Hip hop

MysDiggi – ‘Tip Of Da Mysberg 3’ Review

November 28, 2018 by Ben Graham

The artist formerly known as Mystro returns with the third instalment of his ‘Tip Of Da Mysberg’ series. Kevin Amarfio, or MysDiggi, as he’s now known, is back and fans will be pleased to know the change in name hasn’t dulled his razor wit or sonic ambition.

It’s this ambition that led the original Mutha Luvva to try everything from dropping tracks for Sainsbury’s and Subway to supporting heavyweights like Wu-Tang Clan, KRS-One and Pete Tong. MysDiggi’s colourful career is reflected in Tip of Da Mysberg 3. In fact, it’s his willingness to push beyond the usual hip hop parameters that makes him such a fascinating artist.

 

Fans of the west London MC’s previous work will recognise the wry sense of humour (see: “I’m hardcore, doing parkour in flip-flops”) and eccentric outlook that runs through TODM3. Those looking for straightforward boom-bap might be disappointed, but those willing to step beyond their comfort zone are in for a reward.

‘Wait There’ barrels along with the speed of a freight train, aided by some serious bars from the one and only Gee Bag. Meanwhile, the wavy vibes of numbers like ‘Dreamin’’ and ‘Where Do I Begin’ (both prod. K3ith Price) slow the pace but keep the lyrical content on point.

Sometimes, though, you just need to strip it back and drop some solid gold bars, and there’s no shortage of those on TODM3 either. Tracks like ‘Hoolahooping’ and ‘Off the Leash’ showcase Mys’ verbal dexterity and prove lyrical ambition isn’t a barrier to rapid delivery.

It’s an eclectic mix of styles, flows and themes, and it’s probably the diversity in the listing that keeps the 18 tracks TODM3 from dragging. If anything, the sheer pace of change makes you appreciate how adaptable Mys can be, like on ‘Skull Island’ where producer Twisted Roots uses a collage of old-school arcade game sounds to reimagine the King Kong story against an analogue backdrop.

 

TODM3 might not be for everyone. The sheer scale of sounds and styles might be a struggle for some, but then it’s unrealistic to expect an artist known for testing the boundaries of UK hip hop to stay in one place. Listening to Tip of Da Mysberg 3, it’s clear that MysDiggi still has plenty more hiding beneath the surface.

Tip of Da Mysberg 3 is out Nov 30 2018. You can pre-order it here.

IYDK: Brotherman – Huckleberry EP

October 15, 2018 by Craig Monts

Socially vigilant, raw flows and crisp production from GG Penny in this 5-track release from the UK’s Brotherman. Artwork by Mathias Kruse. shouts to all at MANA Records for this one. Stream & tell a friend.

Jungle Brown – Full Circle

March 23, 2018 by Craig Monts

https://youtu.be/OMj-Sjv_x7E

Full Circle is the result of two years of Jungle Brown redefining their soulful-hip-hop sound. Its an eclectic journey with Tony Bones serving up a range of beats for the ever-ready Ric Flo & MAEAR to bless. They also released visuals for ‘Time Ticks’ taken from the aforementioned project. Stream & purchase.

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4orce: Hip Hop Royalty

January 17, 2018 by Ben Graham

UK hip hop is a harsh mistress. Nostalgia for that old-school boom-bap remains, but those who don’t innovate quickly find themselves stuck in a loop of replicated beats and tired releases. The roots of the scene run deep, but you can’t expect to grow without breaking new ground. There’s only a few capable of walking that tightrope between paying homage to the scene and pushing out into new areas.

One man knows this better than most. Steven Ellington, otherwise known as Tha 4orce, has been walking that line for over 25 years.

Set Standards

To say Tha 4orce is a prolific figure in UK hip hop would be an understatement. 2017 alone saw the release of a new single every month, each accompanied by a pile of remixes, demo takes and video, all of which you can find on the Globalfaction YouTube Channel.

Compiling his monthly releases, the industry veteran dropped Setting Standards in December to cap off a year of work others would struggle to cram into a decade.

Lyrical heavyweights like Confucius MC, Dubbledge and Ray Vendetta make an appearance, but Setting Standards is also about on shining the spotlight on new talent. Artists like Lady Sanity, Arise King David and Teach anchor the album firmly in the modern day.

Cosmic Abstract (Ft. Teach)

The combination of old and new has been a cornerstone of 4orce since first finding fame with Ronin in the late ‘80s. From his days performing with Boogie Down Productions to his stint on ‘Da Ali G Show’ to spearheading the CDJ revolution, Tha 4orce has searched out new challenges like a wolf stalking prey.

The evidence can be seen in every one of his 2017 releases. Even over a quarter of a century after first hitting the scene, tracks like ‘Golden Darts’ – delivered with venom alongside Ray Vendetta – land like a gut-punch from Anthony Joshua. Intro number ‘Set Standards’ does exactly what it promises, raising the bar and setting the tone for a career that reached new heights in 2017.

Golden Darts (Ft. Ray Vendetta)

With production and remix credits for the likes of Amy Winehouse, Sugababes, Ms Dynamite, Blackstreet, LL Cool J, Common and Busta Rhymes, it’s no surprise that on Setting Standards, that standard never drops.

It’s exactly what you’d expect from a man just as comfortable behind the decks as he is behind the mixing desk. From the laid-back bassy grooves of ‘That’s How It Is’ (Ft. Gee Bag) to the ‘90s rat-a-tat percussion in ‘On The Run’ (Ft. King Kashmere), every note, beat and bar is delivered with the confidence of a master at work.

Revolve Around Science (Ft. Big Cakes)

UK Hip Hop caught up with Tha 4orce to discuss the witnessing the birth of the scene, working with new artists and plans for the future.

[This interview has been edited lightly for clarity]

  1. So 2017 was a pretty prolific year for you – what inspired you to take on such a mammoth workload?

I had the idea and started working on the Setting Standards project when I was doing my Mind Tha Gap Radio show with People under Pressure music (which are still available on Mixcloud).

We were playing the best new hip hop each month, UK and Worldwide. P.U.P music had all the American side covered so I was mainly focusing on the UK and European artists.

Luckily, I had a good relationship with many of the artists that were active at that time, as well as meeting loads of new artists on the scene.

I wanted to do a project with some of my favourites, mainly to play on the show, so I approached artists with the concept of the project.

Some were down to do it, some turned me down, or didn’t make it happen for whatever reason.

But I always knew that the album would be Dopeness because all the MC’s where artists that I was a fan of and I felt a real connection with the music they were making.

  1. How has UK hip hop changed since you first arrived on the scene, and how did this influence Setting Standards?

I’ve always had the same approach when creating music, I’ve never followed trends, soundscapes or bandwagon styles.

I’ve been using an Akai MPC since 1989 when I was introduced to it by my father’s best friend who was a reggae producer and owned a studio in north London Wood Green.

I was making beats on an s900 and Atari ST ‘Cubase’ after being schooled and taught how to produced by the mighty Ronin Crew and when I saw the MPC being used to make the latest reggae rhythms from Jamaica, I knew I had to learn that machine, so I got my first MPC 60 and the rest is history. In fact, some of the beats used for Setting Standards are from the early 90’s, [while] some are from 2017, so I can confidently say my sound has always been a certain way and I’ve stuck with that evolving over the years, which seems to make the music stay timeless.

I feel if you create from a selfish standpoint, basically creating for yourself and not watching others your music can never sound dated and it will always come from a place that 100% represents you.

I give thanks that the artists I work with totally understand this and we all create totally unforced and naturally organically.

I think the scene has gone through many changes, but we are at a time now where artists can put out their music directly to like-minded people without a middleman [and make] small runs of art that allow you to connect directly with the right audience and hopefully break even each time, allowing you to freely create the music you want to without limitations.

  1. You’re known for giving a platform to up and coming artists – has working with the next generation of artists changed your approach to making music at all?

The new generation of artists inspires me. There are a lot of people who unfortunately think that they can rhyme or make beats/produce but have no identity of their own.

They sound like their favourite artist of the moment, straight cloning and make music for fame or financial gain.

Music has never been about that for me; it’s always been about trying to make a mark, standing for something and being different, which in a sense is what hip hop has always been about.

So when I see an artist that is doing music that stands out, it’s inspiring, and that immediately inspires me, inspires others.

There are a lot of artists in the UK making things happen right now, and I’m so grateful to be a part of that.

  1. You have a pretty impressive CV – With stints on radio, MTV, and Da Ali G Show (Not to mention producing for artists across a spectrum of genres) – are there any mediums/projects you’ve yet to crack that you would like to?

I’ve been extremely lucky and hope that 2018 will bring more positivity to all that deserve it.

Who knows what the future holds? All I know is more music more creativity and more power to the artists and people involved with the hip hop scene in 2018.

Onwards and upwards must always remain the motto, for all that deserve it.

  1. What are your plans for the rest of 2018? Anything in the pipeline?

I’ve got quite a few projects ready to go. Three albums were recorded over the same space of time.

Setting Standards is one, and I’ll be dropping the serving vinyl release of that very soon,

then I have a follow up solo album ‘Love and Other Things’ focusing on me as an MC with other producers Chairman Maf, Micall Parknsun, D’LUX beats, Ray West of Red Apples 45, Giallo Point and Cyclonious just to name a few. It was recorded for BBE records as a follow up to my Beat Generation series album ‘Mind The Gap Anthems V2’ plus I have a new group with my brother Cyclonious called ‘Uhuru’.

Let me say, that album I am extremely proud of. Me on production and cuts and Cyclonious on the mic. Look out for new singles dropping from that project also this year and the album will arrive when it’s time, as I’m a firm believer nothing happens before it’s time.

The roots of hip hop go deep, but it’s reassuring to know there are independent artists like Tha 4orce nourishing that soil to keep the scene growing.

Setting Standards is available now on King of the Beats Records. Click to order the limited edition version of Setting Standards here.

Da Flyy Hooligan – Velvet Cake

October 17, 2017 by Craig Monts

New visuals for “Velvet Cake” from northwest London rapper; Da Flyy Hooligan, taken from his “F.Y.L.P.M.” EP which dropped earlier this year. SALUTE!

 

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Video: Denzel Himself – BANGIN’

August 3, 2017 by Craig Monts

Dark yet rousing visuals from Set Count Worldwide’s; Denzel Himself. Set in the humble common, Himself makes full use of the shared space. Public-pitting/spontaneous mosh-pit’s should take place if you ever hear this track outdoors. Lyrically heat-felt & ambiguous as ever, Denzel Himself continues with creative output. This is self-produced heat-wave music.

website

 

via @cmonts

808INK – Billy’s Home LP

October 12, 2015 by Craig Monts

There isn’t much I can say about this release. The well packaged, planned and executed project seeps quality from beginning to end. Perfectly off-key, skits, artwork, production and vocals. There’s a constant threat of ambiguity that creates an air of surprise keeping the listener in a state of suspense. Do I really understand what I’m hearing? What does that lyric mean? Basic aural clarity aside, one fact remains – Billy’s Home by 808INK is a really good project that will hold your attention and imagination for a long time. Don’t sleep on these guys. Their previous release should have served as a clear indicator. They are dope and ahead of the rest. uff. Turns out there’s actually quite a lot to be said about it after all.

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