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Akira leaked another banger from his forthcoming 'ATD16'. This time on Rick "Big East" Ross' 'Push It To The Limit' instrumental.
Akira The Don- Push It To The Limit [Right Click & Save As]
For accapellas and clean versions check Akira's site.
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Devil In The Distance has been quite some time coming; succeeding the 2006 releases of The Hoods And Badges EP and single I Hate My Job which introduced the genre-defying amalgamation of indie and grime - grindie. Arguably the groundwork put in by Marv the Marsh set the stage for the reinvigorated Dizzee Rascal's sound.
This digital only release isn't a million miles away in style from the Hoods And Badges EP that set some tongues wagging and probably one or two unintentional hits on the Looney Toons website. Although this album is infinitely more polished than previous releases there is still a bedroom studio quality to its contents. It gives Marv's observations the same air of authenticity that The Streets' Original Pirate Material benefited from, as well as that same retrospective, almost nostalgic, perspective.
Despite this, the content and issues are current and pertinent, for example Goodbye's line "MP should stand for mostly pricks". You can't argue with logic like that. The team of producers DJ Jack Nimble, Bob Locke and Andy Jenkins has resulted in a mash-up that takes grindie one step further by throwing a generous measure of Roots Manuva-style bashment into the equation.
The production team are clearly adept at innovating with Fight Or Flee being the prime example on Devil In The Distance. Less house than Wiley's Rolex search, and less ridiculous than Dizzee's Dance Wiv Me it's just one display of how this album finds boundaries and preconceptions before smashing through them.
The actual content of Marv's tracks are not unpredictable; violent crime, drugs, poverty, desire and anger. What is unpredictable is the calm eloquence of his delivery and the manifestation of that anger. It's an empathetic anger with no recourse and no outlet beyond itself, which is perhaps the strongest message Devil In The Distance can offer, but there's a real sense of apathy at times: "And maybe I'm just a paranoid dude/ but at four pound a ride I don't feel welcome on the tube... why bother? You can just get by."
There isn't something for everyone of Devil In The Distance, and its appeal will be limited but hopefully widespread enough to push Marv's music towards a critical mass of at least awareness. This is the antidote to unintentionally self-parodying hip-hop - but for fans of the genre it's harder to appreciate substance over style. If you can appreciate the substance then recognising and falling for the style becomes incredibly easy, and equally worthwhile.
- Azeem Ahmad
My problem here is: THIS THING IS COMMERCIALLY AVAILABLE AND SHOULD NOT BE!
Some of the bugs in this thing are ATROCIOUS.
1. Goodbye
2. Trocadero
3. Firstborn
4. Get By (Be Good)
5. That One Time
6. Richard's Nan
7. Fight or Flee
8. Devil In The Distance
9. Superhero
10. Carry Me
Marvin - That One Time
Everyones favourite Martian is obviously going to be ET so Marvin wasn’t on to a winner when he went as Marvin The Martian previously. It seems though he’s realised the competition was too and has now dropped his name down to simply Marvin.
While the nasme may have changed the style and substance of his music hasn’t, he’s still mixing elements of hip-hop, grime, dance and pop with some brilliantly autobiographical lyrics, this time on That One Time it’s taking you back to his school days.
While I do like this track, the highlights for me are hearing the two mixes of the single, particularly Aidan Lavelle’s Mix which really strips away leaving only a small fraction of his vocals.
The album Devil In The Distance is out next week and a review will feature on this very website!
Kev
Lyrically subversive, promising debut from Brixton Hip-Hopper
The commercial successes of British Hip Hop acts has been slim over recent years; more so for those who have avoided the cliché bombast of gangsta rap. Dizzee Rascal, of course, has been the leading pioneer of the genre, but for most it has been a case of re-inventing yourself to make dance floor music (compare Wiley’s ‘Wearing my Rolex’ to some of the tracks from his album ‘Treadin’ on Thin Ice’) or accept that a cult underground following is your most likely outcome (Lethal Bizzle, Taz, Prof. Green, the list goes on). ‘Devil in the Distance’ is the long awaited debut album from Marvin.
‘Devil in the Distance’ is an album that, for the most part, stands up well to comparison with any of his genre peers. The likes of ‘Goodbye’, a song about youth violence that feels particularly pertinent in the current climate, recalls the likes of ‘Can’t Contain Me’ by Taz, whilst ‘First Born’ shows a maturity in Marvin’s approach to lyrics; a frank honesty without the bravado some would inflect upon such a topic. Marvin also shows himself to be capable of great lyrical dexterity on the likes of ‘Fight or Flee’. There are a few blemishes upon ‘Devil In The Distance’, ‘Trocadero’ feels a little gimmicky whilst carry me seems like a compromise with the rest of the album; it’s piano accompaniment belying some frank lyrical content. However, the production on the album is first class (see the likes of ‘That One Time’) and ‘Devil In The Distance’ has enough strength to survive any critical savaging. Whether it has any crossover singles is debatable; unlike Dizzee Rascal’s debut it’s difficult to see which songs could bother the charts and it’s similarly difficult to pick out a song with the dance floor appeal of Wiley’s recent single, all of which suggests that Marvin is destined to be confined to his cult fan base alone. This would, of course, be a great shame as ‘Devil In The Distance’ is a mature, lyrically creative album that shows that British Hip-Hop can be creative and not rely upon well trodden rap conventions. He might not become a well known name with this album, but Marvin has created a debut that potentially sets the bar for all future British rappers. Innovative and surprising at every turn, this is a very strong first offering.
By: Lewis Morton
**************Press Statement*********************
Bloc Party’s Kele Okereke was the victim of an unprovoked racist attack by Sex Pistol’s singer John Lydon and members of his entourage this weekend, an attack which left Okereke with severe facial bruising, cuts to his face and body, and a split lip.
The incident took place on Saturday evening backstage at the Summercase festival in Barcelona; in which Lydon and his entourage were described by one witness “as acting like a gang of racist thugs”
The Sex Pistols were socializing backstage with an array of British bands many of whom witnessed the attack. Kele, a huge fan of Lydon’s approached the singer to ask if he would ever consider reforming one of his favourite bands, Public Image Ltd. The Sex Pistols singer became intimidating and aggressive while his entourage responded with a racist tirade including the statement, “your problem is your black attitude” Kele was then set upon by 3 members of Lydon’s crew who punched him in the face and head as well as attacking people who tried to protect Kele from the assault including Yannis Philippakis from The Foals and Kaiser chiefs Ricky Wilson. The incident was broken up by festival security and was later reported to Spanish police. Kele also reported the incident to police in the UK after returning from Spain.
Kele was in Barcelona for a short weekend break before he heads off on tour to Japan. The incident was witnessed by over 50 people, which included members of the Kaiser Chiefs Mystery Jets, Neon Neon, Har Mar Superstar and The Foals.
Talking about the incident Kele said "It's not an issue of the physical assault, even though it was an unprovoked attack, it is the fact that race was brought into the matter so readily. Someone as respected and as intelligent as Lydon should know better than to bring race into the equation, or socialise with and encourage those who hold such narrow-minded attitudes. I am disappointed that someone I held with such high regard turns out to be such a bigot."
The Sex Pistols's John Lydon has hit back at claims he was involved in an "unprovoked racist attack" on Bloc Party's singer, Kele Okereke.
Kele Okereke claimed he was assaulted by Lydon and members of his entourage who had directed a "racist tirade" at him.
Members of Foals and Kaiser Chiefs were said to have stepped in to help the Bloc Party singer.
However, the Sex Pistols frontman has put the incident down to jealousy on Okereke's part.
"I feel very sorry for a man who needs to lie about what was a perfect evening," Lydon said in a statement. "After the show John Rotten and management remained behind to sign autographs, which we did for four solid hours without incident and had a great time talking to other Spanish bands. This seems to have sparked jealousy in certain bands.
"The trouble was brought to us, resulting in those causing the trouble being physically removed by festival security."
He added: "We are in the middle of a wonderful tour, after 30 years we are achieving a true unity in our audience. They are multi-varied, all ages, all races, creeds and colours.
"When you are at a festival with bands who are jealous fools, lies and confusion usually follow. If they need publicity so badly this is the allegation universe they run into."
Lydon concluded by telling Okereke to "grow up and learn to be a true man.
"When you have achieved as much as I have, come back and talk to me," he added. "It's a shame that the wonderful world of the media is riddled with nonsense like this."
Okereke indicated that he has contacted the police both in Spain and in the UK in following the incident, though Lydon did not mention this in his statement. It is currently unclear whether any further action will be taken.
British Hip-Hop has come a long way since the 1980’s and standing at the forefront of what is now affectionately known as Grindie is a man called Marvin. Since crashing to earth two years ago, Marvin has dropped his Martian suffix for the release of his debut album, proving that he’s anything but from another planet. He is in fact from Brixton and ‘Devil In The Distance’, an album with more dysfunctionality than a curfew of ASBO’s, is an uncompromising and autobiographical stomp through the South London of his yoof, highlighting the gritty pressures of contemporary urban living.
Although its genre bending crossover appeal ensures musical accessibility, the emphasis is placed firmly on the use of observational lyrics and the window they open onto societal decay. Fuelled by an intense honesty, spat over unbending and hard-nosed instrumentation, the dark undertone of ‘Goodbye’ tackles the endemic spate of gun and knife culture head on and the socio-political theme continues further through ‘Get By (Be Good)’ and ‘Fight Or Flee’ by exploring the effects of isolation and fear combined with the frustrations of poverty and ultimately the harsh realities of life.
While instinctively pragmatic, Marvin does manage, in part, to conceal his heartfelt anger behind a thinly veiled guise. References to Masters of the Universe, Rainbow, Panda Pops, Chicago Bulls and Naf-Naf not only define Marvin’s era but also contain a matured innocence that allow him to openly discuss drug addiction, broken family dynamics, sexuality, racism, mental health and the vicious circle of stereotypical expectations examined in ‘First Born’, ‘Richards Nan’ and ‘Devil In The Distance’.
Marvin also understands the importance of optimism and the album is littered with hope through the interactive lust, patter and promise of ‘Trocadero’, self-confident belief of ‘That One Time’ and in ‘Superhero’, the acknowledgement that day-to-day survival is a worthy achievement in itself. Culminating with a soft step plea for help ‘Carry Me’ recognises that life is tough, made tougher going it alone and that to end the proverbial self fulfilling prophecy something has to give.
Jacqui Smith doesn’t have the answer and nor does Marvin. He’s not a politician or a gangster and doesn’t attempt to provide solutions to the widespread problems plaguing a desensitised zeitgeist. But his straightforward approach, authentic delivery and effortlessly sharp, subtle yet hard-hitting intelligence does expose an innovative trailblazer who, excusing the cliché, isn’t afraid to tell it how it is.
Huw Jones
In February 2007 I posted an open letter on my MySpace blog titled 'Guns of Brixton'. The letter was a reaction to the rising gun and knife crime in London at the time. In the 16 months since I wrote that letter things have gone from bad to worse and I believe the government and the police are as clueless as they ever were. I wanted to read back my letter this afternoon and post it here for you to read, I'm going to live with it for a few days before writing a follow-up.
Since I wrote that letter Paul Simonon rejected sample clearance on the song 'Guns of Brixton' (a defining moment in my career thus far to be frank) and my blog has been quoted in a Guardian article on the subject. I have since taken the words and the concept of the song 'Guns of Brixton' and turned it into the lead song from my forthcoming album 'Devil In The Distance' a song called 'Goodbye'.
THAT ONE TIME EP
OUT JULY 21ST
1. That One Time
2. Boyspot
3. Fight or Flee
4. Formerly...
5. That One Time (Lillica Libertine Remix)
6. That One Time (Aidan Lavelle Remix)