All has been quite as of late on the Aidonia front– to much dismay– until recently when he dropped anchor with this Gerusalem produced “Head A Buss” track. Not sure who’s got Aidonia so irate, but if it brings the sleeping giant out of his slumber and manifests an onslaught of filthy lyricism and heavy thunder bass, further agitation should be required.
Despite Max Glazer’s exclamation that if all dancehall sounded like Spragga Benz’s ‘Duppy Nuh Frighten Vampire’ he’d “be a happy man”, he also understands the importance of the dapper snap of a good dancehall riddim. Glazer’s newest Flatlands riddim is being featured over on the Federation Sound blog and mingles with a few of Glazer’s recent favorites from the dancehall world in an exclusive mix over at Eddie StatsGhetto Palms column. The riddim features tracks from Mr. Lexx, Mr. Vegas, Flippa Mafia and lastly Natalie Storm, who’s mixtape is being released next month in collaboration with Federation Sound and Prodigal Entertainment.
artiste Ieye getting inspired in her 'Better Mus Come' video
It came to my attention recently, while discussing the upcoming release of the full length Jamaican feature film, “Better Mus Come”, with its writer/director/cinematographer/editor, Storm Saulter, that the recent appearance of a song called “Better Mus Come” by roots artiste, Ieye, is completely unrelated to the film. Confused, I sat back for a second and pondered what Storm was relating to me: this artiste had taken shots from the trailer, interjected her own footage in a similar environment and made a music video “inspired” by the film for a song she calls by the same title.
Jumping on the band wagon, is what some call it. Footballers use a term called “waggonist”, but essentially what I could understand from the blatant copyright infringement that is Ieye’s “Better Mus Come” video – and in a world with more time and money, a corresponding lawsuit– is that the artiste is capitalizing on the hype that is permeating from the creative film project as the early October premiere approaches.
Storm, who has decided to let the video be, has taken a guerrilla style approach to publicity for the film. His orchestration of a picketing during Fashion’s Night Out this month helped create a stir and advertise for the film, causing twitter to run-a-muck with conversation and local media to develop a fond adoration. As artistes are riding on this publicity wave and graffiti celebrating the film– which isn’t condoned by Storm– has been surfacing on blank walls everywhere, it appears the feature may quickly turn into a cult classic of sorts.
This “cultness” may be the result of a communal fever that has been building since the Tivoli Incursion in May. Jamaicans every where seem eager to watch a story of the past– and one that mirrors the present– that engages the public with both humility and humanity for those who have been easily dismissed as your generic “thug”, even as their actions are a direct result of the puppetry of political/social leaders. Here’s to hoping that the key word “inspired” catches the spirits of more then just the industry waggonists.
If you get a chance, pop over to largeup.okayplayer.com to check out my interview with BaseKingston owners, Jason Panton and Cezar Cunningham, and their newest stylish occupant, Tami Chynn and her Belle line. Also, keep an eye out for the amazing Rockers NYC, which the handsome gents promised I’d soon get my hands on at their store right here in JamRock.
Konshens could be one of most malleable deejay/singjays in Jamaican music right now, even more so then Chino or Wayne Marshall who have a striking appeal to international listeners. Last week, he released the second part in his “Realest” mixtape series with a brief mention on the Jamaican music site Dancehall.mobi and few other sites dotted here and there. Nothing showy, just a soft release.
Around the same time Konshens returned from a three week tour in Japan, where in 2005 he sat comfortably on top of the singles chart with “Pon di Corner” and now again with his Gachapan produced “Out the Ghetto”, which you can find on the new mixtape. The most phenomenal thing about Konshens as a musician is that he is versatile. The artiste took his musical trade and didn’t just sit happily in a tight niche, he negotiates with style– much the way Busy Signal has learned to do– in ways that make him attractive across multiple markets.
While the mixtape itself is somewhat repetitive with older tunes that rested comfortably on Jamaican radio rotation for well over six months, it does contain a few sparklers. Two of my tops are completely opposite in tone and content, “Do It Back Again” and “No More Tears”. The mixtape opens with the Karim Hype produced “Do It”, your basic sexy ladies track. It’s no frills, just the basics to get your hips moving: a looping piano, then a winding simplistic beat with Casio style synths. On the other end of the spectrum, the mixtape ends with “No More Tears” off the Rebellion Riddim, which is unusually classic in its roots reggae sound and content. I can’t make out who is on the track with him. Queen Ifrica possibly. Point being, the mixtape, if anything, is an example of the vast capabilities of Konshens as an artiste. Something that newer artistes would be smart to take note of as the dancehall industry expands and contracts anew.
Lately it seems video director and itinerant photographer, Peter Dean Rickards, has been cooking up his own little dancehall industry in the backwoods of Stony Hill. Interviews with Sani Showbizz, a remarkably familiar-looking Jamaican musical artiste (aka Prince Zimboo in a suit), have been leaking onto the photographer’s youtube site. In what appears to be a performance art parody on dancehall culture, Sani Showbizz adds a little levity to the heavy fog that has become the Jamaican music industry. In this video, Showbizz’s blustering swagger apologizes for nothing as he dances his way through the interview to “I know”, a Sani Showbizz original. Until the interviewer asks him about Zimboo, and just like a hothead, Sani losses his cool.
So… *half smiles, stretches fingers*… back to hybrid sounds, bastardized tracks, dancehall soundsystems and the depths of Adele’s despair. The Heatwave crew has been stirring their summer coals over there in farin ‘ol merry England, dropping a refix on the remix of the soul lounge sound of Adele’s “Rolling in the Deep”. Heatwave calls it […]
Despite Max Glazer’s exclamation that if all dancehall sounded like Spragga Benz’s ‘Duppy Nuh Frighten Vampire’ he’d “be a happy man”, he also understands the importance of the dapper snap of a good dancehall riddim. Glazer’s newest Flatlands riddim is being featured over on the Federation Sound blog and mingles with a few of Glazer’s […]
When a riddim gets dropped with big dancehall names like Demarco, Mr. Lexx, Vybz Kartel and Beenie Man, such as the Exit 21 riddim, it usually gets at least an extended rotation from local Selectors. These days turn over seems quicker then ever. Watching this riddim be pushed to the sidelines has invoked the dancehall […]