For a while now Di Genius has been strengthening his roots in the R&B genre, utilizing his innate attraction to elongated synths and languid melodies to interlock them with the “oh oh oh” choruses of singjays like Mavado and Nicky B. Two new releases from the young producer prove his adoration for the genre with continued musical collaborations from close friend Laden. The two singles, “Come Mek Me Touch You” and “She’s Getting Drunk (Moet)” offer Laden in the best light of his talents, the realm of the singjay.
It’s no mystery that Laden as a singjay has become a darling of sorts for the crossover of dancehall/R&B and he may continue to stay up top in this genre (see the most recent Mavado exploration). Laden, who has lingered on the periphery for a great while, despite the strength of singles like “Really Like You” and “My Love”, is expounding on Di Genius’ R&B explorations with these tracks and solidifying his footing as a Jamaican R&B singjay to be dealt with.
The lyrical ammunition that feeds dancehall’s infinite archive of deejay conflict is fascinating for the dramatic posturing but also important because an angry deejay can be a lyrical murder if they have the capabilities. In some ways it’s what proves a deejay has reached status in the patriarchy (because dancehall is a patriarchy) or is trying to inoculate themselves into the circle. And if you’re young and poor in Jamaica, there is plenty to be angry about.
Since the beginning of the year, we haven’t been feeling the heat from many of dancehall’s “top” deejays, and call me nuts but a bout of anger is sometimes the best medicine for a) purging of societal corruption b) challenging the unchallenged c) invigorating a watered down career. The Anger Management column celebrates every thing about the angry deejay that we love to hate and hate to love. Check it out after the jump. Continue reading →
What is it about the approach of summer that makes Pop music so enticing? Everyone seems to disconnect from their troubles and submerge themselves in the candy sweet liquor of synthy beats, simple lyricism and anecdotes about getting the girl. This track is from the forthcoming “Di Genius” produced Akane album. Her saccharine sweet voice plays off Busy’s bubbling intonation perfectly in “Hold Me”, making for a light-hearted sound that is one-part dancehall, one-part NY Z100. Between this track and his latest Soca hits, it seems Busy is on a serious mission to master multiple genres this year. (via Alliance Fi Life)
Last Friday I did a post on TheFADER.com about Aidonia’s new “Jehova” track produced by Stephen “Di Genius” McGregor. You can get the track and read the post here. Aidonia was also featured in the GenF section of FADER’s “NOW” issue back in December. You can read Felipe Delerme’s article about Aidonia after the jump. Continue reading →
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 […]