Tag Archive: Jamie Hewlett


March was another strong month and began with my first gig of the year watching the brilliant Errors at Brudenell Social Club in Leeds. I’d had the pleasure of seeing them at the end of 2008 at The Faversham (also in Leeds) and was looking forward to hearing their new material live. Errors didn’t let me down and played with a new confidence and clarity showcasing just how strong a set of songs they have and how underrated they are. Listening to their debut album ‘It’s Not Something But It Is Like Whatever’ the day before the gig brought home to me how much I’d underrated it myself and how I’d misjudged it as having a cold, overcomplicated sound.

At the gig I bought the new album ‘Come Down with Me’ and it’s been a regular feature on my stereo since. Initially it seems they haven’t progressed much from their debut but repeated listening reveals a melodically stronger proposition imbued with the same confidence displayed during their set. If you enjoy post-rock and the more demanding genres of synth-led music and want to hear something different then I recommend Errors whole heartedly.

The following week I got my hands on the new Gorillaz album ‘Plastic Beach’ and was not disappointed by the contents within. It is some of best work Damon Albarn has ever created, representing a synthesis of all that he has learnt and experienced in the Gorillaz’s life span and his earlier career with Blur. The beautiful orchestral tracks that bookend the album and some of the arrangements across the album hinted at lessons learnt while composing the Chinese opera ‘Monkey: Journey to the West’ in 2007. While album highlights ‘On Melancholy Hill’ and ‘Broken’ hint at The Kinks influence that was so crucial on early Blur albums. The major differences with ‘Plastic Beach’ compared to other Gorillaz albums is that it never feels like Albarn is relying on his many guests, instead they are perfectly assimilated into the music and the album is composed as a conceptual whole and should be listened to as such. In the accompanying DVD, Albarn talks to Yukimi Nagano of Little Dragon, who guests on the album, about how listeners now consume music in a fragmented way and so he was trying to create something diverse enough so that tracks worked in isolation and as one suite. It wasn’t easy to pick but my favourite guest is Bobby Womack. He is probably the most surprising inclusion but a touch of genius and his contributions are not only musically outstanding but help cement the pieces together. I’ve yet to access all the on-line extras but can’t wait to as I feel this will complete the experience that Albarn and his creative partner Jamie Hewlett have realised.

Aside from this, I’ve begun to unravel one of the most frustrating bands I’ve ever encountered… Liars. The NYC-based experimentalists are a band I was drawn to on the release of their 2001 debut ‘They Threw Us All in a Trench and Stuck A Monument on Top’. I enjoyed it’s terse post-punk racket but I have pretty much ignored them since 2004, finding them increasingly difficult to like.

After recently stumbling upon their allmusic.com page I became curious about what they had done since and listened to three of their albums, still frustrated but intrigued by what I heard so I bought the 2CD edition of their new album ‘Sisterworld’ and these songs thrilled me. It shows the band emerging from the murky production that was so difficult to pierce and demonstrates their skills. From Siouxsie and the Banshees-style slivers of guitar to full on pulverizing punk, Liars have created a great record of depth, breadth and welcome unpredictability. The remix disc provides new perspectives on the material and though not all of them are successful, it’s certainly worth the extra money, as is the clever packaging. ‘Sisterworld’ drew me to listening to the old Liars albums and so far my previous conceptions of them were wrong, with the exception of their second album ‘They Were Wrong, So We Drowned’ (2004).

To round off March, I purchased February’s Gil Scott-Heron comeback ‘I’m New Here’ and Wire magazine’s Album of the Year 2008 ‘London Zoo’ by The Bug. Both interestingly have had the tag dubstep lazily tossed in their direction by some journalists. There is a hint of truth to this but it’s by no means an explicit influence. Scott-Heron’s album casts his voice in a blues mode, which he hasn’t previously explored and the production compliments this as well as playing on his influence on hip-hop and trip-hop – this possibly being the cause of the dubstep label. ‘I’m New Here’ explores an intense emotional terrain and is definitely a lights out at 3am listen.

The Bug (Kevin Martin) has as recently as November 2009 declared, when speaking about his King Midas Sound project with FACT magazine, that his music has nothing to do with dubstep. ‘London Zoo’ has more in common with ragga/dancehall yet Martin makes the sound his own with a unique production style and his understanding of reggae and how to execute it appears to, outside of Jamaica, be unequalled.

Somehow last month I had looked over mentioning Lonelady, whose album I have delved into. ‘Nerve Up’ mixes austere post-punk influences like early REM, Gang of Four and Joy Division with spare drum machine beats and her singular voice to immense effect.  I also failed to mention the new album by The Fall ‘Your Future, Our Clutter’ and though I haven’t heard it, they are always worth checking out.

Spotify playlist (HTTP link, then Spotify link):

March 2010 playlist

March 2010 playlist

Recommendations for April:

Nice Nice – “Extra Wow” – 5th April

Gil Scott-Heron – “Winter in America” (reissue) – 12th April

Caribou – “Swim” – 19th April

In November 2009 I read ‘When Will Hip-Hop Hurry Up And Die?’ as part of the Notes on the Noughties blog series for The Guardian written by Simon Reynolds. Reynolds began by discussing a piece by New York Times journalist Sasha Frere-Jones that suggested 2009 was the year that hip-hop finally died. He continued Frere-Jones’ proposal with adding that between 2005 and 2010 hip-hop had stagnated, lost its grip on the charts and even its biggest stars and producers admitted they were “bored” with a now “corny” genre. In the article and on his Blissblog Reynolds opened the subject up to question whether genres actually do die and concluded that hip-hop isn’t dead, just out of touch with the zeitgeist and a weakened commercial force.

Then in December I watched the ‘UK B-Boy Championships: World Finals’ on Channel 4. I was astonished at the moves and routines on display and how it had developed since its birth in late seventies, New York. After the programme finished an idea occurred to me. Maybe hip-hop music was stagnant but the other elements were flourishing away from the media spotlight.

In this piece I will briefly discuss the current state of hip-hop before exploring in more detail the other areas of hip-hop culture: break dancing, graffiti, outsider art and turntablism.

Though not entirely moribund, hip-hop music is in a bad way. At the commercial end and in the underground there is a lack of anything inventive and, worse, little that demonstrates the traits of an enduring classic. At the beginning of the noughties commercial hip-hop was enjoying a flush period of creation and innovation. Across the US and UK new strains and variations of the music were showing a way forward beyond the traditional samples and breaks formula. US producers including Timbaland and The Neptunes were exploring new ways of programming and manipulating beats and rhythmic measures using computer technology. Crunk and Dr. Dre produced superstars that ruled the charts and critics took on Kanye West and Lil’ Wayne as their new darlings. Though the US underground struggled to keep up due to its purism, it still produced artists and albums of note. In particular the Stone’s Throw and Def Jux labels were responsible for pioneering records by Madlib, Cannibal Ox, EL-P and Jay Dilla yet the majority of underground artists hesitating to embrace some daring records neutralised the scene. Meanwhile in the UK, artists such as Roots Manuva, Dizzee Rascal, Phi Life Cypher and producers like Lewis Parker were establishing their own brand of hip-hop and its sub-genre grime. The innovations in England were more restrained. Parker’s melancholic sound, Roots Manuva’s absorption of a wide range of influences encompassing dub, dancehall and club-orientated music led to him consistently evolving his sound throughout his career. These trendsetters, however, found increasing numbers of pale imitators riding on their coat tails, leading to a lack of faith in the scene and a realisation that the repetition hindered wider commercial success so some redeveloped their sound and image in order to achieve.  Former grime MCs Dizzee Rascal and Tinchy Stryder are among these artists and Sway is now featuring on and producing tracks for American R&B stars like Akon.

So while hip-hop music seems to be stagnating, the other areas of hip-hop culture have evolved and are thriving. In the last ten years graffiti and its relative outsider art have moved into the media spotlight thanks to the work of Banksy, Robert ‘3D’ Del Naja (Massive Attack and The Wild Bunch), Jamie Hewlett, the Faile collective and many more. The former of these art forms developed from its origins on the New York streets in the ‘70s as a way for artists to express themselves and which group they were a member of into a style that has not only entered mainstream consciousness but has commented on socio-political and international issues and ideas before traditional media. Examples of this is the brilliant satire of Zevs and Blu, the hard hitting War Paint exhibition by 3D, which informed UNKLE’s ‘War Stories’ album artwork and the original Throw Up and Wildstyle lettering has evolved into stencilling (popularised by Banksy), Stickers or Slaps, Pieces, Blockbuster and Heaven. Though it has yet to be accepted by many in the art world as ‘true art’, graffiti is being included in art galleries and becoming a wider acknowledged form of artistic expression. Even York, where I live, young people are commissioned to create works with the help of a graffiti artist. While it is hidden well out of the city centre, it’s a step in the right direction for such a tourist-oriented place and outside art.

Like graffiti, break dancing or ‘b-boying’ has also enjoyed increased media and cultural exposure in the last ten years. This has included new TV series in the form of ‘Break’, a 2006 S. Korean drama about a break dancing competition and ‘Over The Rainbow’ which centred on characters who b-boy together. Documentaries ‘The Freshest Kids: A History of B-boy (2002) recorded the evolution of b-boying and ‘Plant B-Boy’ (2007) followed competing crews as they travelled the globe. There was also the ‘B-Boy’ videogame,  the comic book ‘Hip-Hop’ that launched breaking in S. Korea in 1997, a novel called ‘Kid B’ by former b-boy Linden Dalecki and in 2005, a Volkswagen Golf GTi advert featured a CG Gene Kelly break dancing to a new breakbeat version of ‘Singing in the Rain’ by Mint Royale. A b-boy even won the woeful Britain’s Got Talent in 2008, getting the opportunity to perform to royalty and helping seal b-boying’s place as a new media force.

Before watching the B-Boy Championships I admit I wasn’t aware of b-boying’s evolution and hadn’t expected the transformation in techniques and professionalism. I have been to hip-hop club nights and seen people break dancing in a ‘cipher’, where one or two b-boys compete in the centre of a group, and while enjoyable it didn’t signify the athletic displays I witnessed in the programme. Individuals and crews demonstrated an incredible range of routines and skills and the competition also represented the international spread of this cultural component. B-boying is huge in Japan and S. Korea and I was surprised by the Dutch, Ukrainian and Russian teams’ entries. It illustrated a thriving sub-culture and the ideas expressed about hip-hop’s apparent death were underlined by the lack of any contemporary hip-hop backing the performances.

To lesser degree, as its last great period was in the ‘90s, turntablism has continued to develop throughout the noughties. It has become a wider accepted form of musical expression and the turntable is acknowledged in some quarters as a musical instrument. Brand-sponsored tours and the transition of turntablist to acclaimed producer experienced by several artists demonstrate a mainstream acceptance and documentaries such as ‘Scratch’ that document the sub-genre’s past and present and the release of ‘DJ Hero’ in collaboration with the likes of DJ Shadow, DJ Q-Bert and others are further proof of this. Another major development is the increasingly popular audio-visual turntablist who, like the internationally adored DJ Yoda and Coldcut, manipulates and scratches musical and visual elements.

Although hip-hop music is in stasis, it or any other genre cannot be pronounced dead. There are still signs of life and creativity yet I do concede that statement albums and charismatic performers are few and far between. Kanye West’s actions have been criticised (and rightly so) but there is no doubt he is one of the few rappers/producers who truly continues to espouse the hip-hop spirit. A restlessly challenging and prolific creator, his persona and sound evolve with each new release whilst still undeniably Kanye. Since ‘The College Drop-Out’ he has rarely dropped a beat and in the last 18 months alone produced the brilliant if difficult ‘808 and Heartbreaks’ and presented Jay-Z with a fully sequenced version of ‘The Blueprint Vol.3’, which was a more varied affair that showcased a new dark pop/hip-hop sound and in ‘Run This Town’ produced a stone cold classic. Furthermore West has already nearly finished creating his next record that it will surely signal another change and controversy.

The question is: what now for hip-hop music? Where does it go and who will take it into a new era? There are some possible contenders. One is LA’s Flying Lotus who has great credentials. He is signed to Warp Records, a label with a 20 year history of innovation and his collective and own label, Brainfeeder, allows him access to a range of artists and their skills. However, despite the hype around the releases I have yet to hear anything that compares to his live performances but this may be an artistic choice. Another candidate is fellow Warp signing, Glasgow’s Hudson Mohawke. Like Flying Lotus he is part of a collective, LuckyMe, and he and Flying Lotus have both been categorised into the wonky style, a sub-genre of hip-hop that incorporates unstable time signatures and sits between hip-hop and dubstep. The difference with Mohawke is that he is venturing into production for other artists and has no problem adapting his ideas for mainstream music. This may mean that the old adage of ‘today’s underground is tomorrow’s overground’ could become true for hip-hop for the first time since crunk and grime temporarily took off in the early noughties and that the other elements of hip-hop culture can only continue to find new ways to innovate and new avenues in which to endeavour. With graffiti founding its own art spaces like the Lazarides Gallery and finding its way, legally and otherwise, into traditional art galleries, people’s exposure to and understanding of this phenomenon will only improve. Alongside this, progressive theatre companies are using b-boy performances, which expand audience awareness and participation. Despite being perceived as a niche activity pursued by an elite of geeks, turntabilism has become the most high profile. It has moved into people’s living rooms and with the release of DJ Hero will engage with an entire new audience. There is a very positive outlook for these sub-cultures and I can’t wait to see the progress they make.

If you have your own suggestions feel free to discuss them in the comments section.

Spotify playlist (HHTP link, then Spotify link):

Hip-Hop Culture Blog

Hip-Hop Culture Blog

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