One of those that complain about the state of modern music, the lack of culture and integrity contained within said music, and a general bitch about how artists like Tempa “TEEMPPPZZZZ!” T and that Bap Bap Americano or whatever it was tune can defecate all over the much-needed artists that seem so rare these days. Actually, it sort of is. Hopefully the last few lines made you laugh so my hypocrisy doesn’t seem so well-deserved.
1) Magnetic Man ft. Katy B – Perfect Stranger
Okay, it’s not massively influential. It uses the Amen break (if you’ve so much as watched Never Mind The Buzzcocks you’ve heard the Amen break, let alone have an active interest in Drum N Bass,) the synths could probably be replicated on a Fisher-Price toy and Katy B is, well…a bit whiny. Sorry. Regardless, the whole point in Magnetic Man is that Skream, Benga and Artwork can play this track, along with the entire album, live. It’s radio friendly, it’s soulful, and you don’t have to pretend you like it because your student mates do and they went to the BangFace Weekender this year instead of Reading or Leeds so they know more about this than you do. Kick back, brock out, don’t feel like a bell end in the process. Win.
2) Stan SB – Tears In Rain
Your tolerance of Pendulum/Owl City style vocals will probably make or break this track for you, but Stan SB, at just 17 years old, has created one of the most beautiful DnB tracks ever written. I want to throw adjectives like Soaring, Euphoric, Unifying etc at you, but the track itself doesn’t require sentences, so it’s better just to say them again. You just listen to it and stare wide-eyed at each other whilst images of things like Oceans and Jetstreams and Aurora Boryalis and Super-Fast Jet Planes flick through your mind.
Stan SB is a 17-year-old producer from Leeds (of all places, the town that gave us Chumbawumba) and represents one thing – a change in tide. His tracks are soul food, the diamond in the sand that defies the odds.
3) Noisia – Machine Gun (16-Bit Remix)
Point one – if you call this “Thugstep” or any other sub-genre-of-a-sub-genre-of-a-sub-genre name, I will hate you forever. That said, it’s pretty ridiculously hard. Harder than the original infact, and for a group that prides themselves on being excessively hard and loud, the hard and loudness, or houdness (as I like to call it) really excels.
I have never been a fan of Dubstep, barring some of the chilled stuff. It sorta bores me – I’ve been to plenty of nights where by the end, I was actually praying someone would just play Dance Wiv Me so there was actually something we could all jump around like a bunch of cretinous teenagers at their first punk-rock gig. Personal preference I’d imagine, but what I can see in 16-Bit is this – I’d go fucking nuts to this. It’s violent, it’s groovy as hell, it’s downright terrifying and it hurts your ears. And your dignity. And the person dancing next to you because you just nutted him in the face by accident. But he understands. He understands.