Tag Archives: Grime

Jus Rival – Optics & Design (The Evolving Mixtape)

East London’s Rival is one of the scene’s unsung heroes, long before Grime’s recent resurgence, even when artists ventured into Afrobeats and the Rap realm as the spotlight was no longer on London’s own genre, he continued to create and elevate the sound, with no real industry cosign it might have felt like it fell on deaf ears, but he’s responsible for one of my favourite modern Grime tracks with Shaolin Techniques (from his 2023 release, Revenge of The Rivz). Over ten years in the game, from his critically acclaimed Biscuit series to his culture-driven ELMNTRY show, he’s continued to add to the foundations and much like his weekly soundcloud drops, he returns with a new take, the evolving mixtape, Optics & Design.

In the current era of music, there aren’t as many rules and creatives can find themselves using their circumstances to their advantage, so rather than create one body of work and then attempt to find new ways to keep promoting it, he’s released Optics & Design, currently featuring five tracks, but could continue to add to it (hence the evolving mixtape). Kicking off with 2049, a futuristic sound contrasted with his homage and introspection, similar to the Blizzard produced Cold Harbour, it’s notable that often in Grime, the production carries the track, yet he’s approached it with his vocal as the lead, allowing for his lyricism and flow to dictate, highlighting his artistry, further evident with Bring N Kill.

Grime gets boxed into 140bmp, yet it seems he’s found the formula to maintain it’s essences on any tempo and style, ever present with the fourth track, Twilight, sampling the famous Twilight Zone theme, an unorthodox choice but very much in the spirit of Grime. For example, If JME had dropped this, the word genius would be thrown about and emcees across the country would attempt to tackle the production, and so in this case I have to commend Rival for this, whilst it might not be my favourite, I appreciate the direction and what it represents, bringing us to my actual favourite thus far, Premium English. Many may recognise the sample from the Benny The Butcher & J.Cole hit, but this is an authentically British take on the sample (credits to Blizzard), providing the perfect canvas for Rival to lyrically paint on and his experience shows as he effortlessly flows with his distinct style, that sounds like a traditional structured song yet feels like an old school radio set.

Optics & Design is another solid effort, an evolution of Grime, and a smart way to deliver music overall, that could potentially be adopted by many, as it bridges the gap between singles and a full length project. As the scene enters a new era, I hope he achieves the desired results, so stay tuned for more from the Grime wordsmith as he continues his journey, encompassing both the science of optics and the practical application of design principles.

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Lethal Bizzle – Can’t Touch This ft. Wiley & Scorcher

As the new era of Grime continues to grow, favoured by the return of it’s legends, another heavyweight staple returns to lead it back to the top, with More Fire Crew’s founding member Lethal Bizzle emerging with a new original in the form of Can’t Touch This.

Bizzle has carved his own lane since his early Grime dominance, securing chart success with a series of uptempo feel-good anthems and whilst he could have just continued that streak as a solo artist, he recruits the current captain Scorcher and the living legend Wiley for what can only be described as a banger. Can’t Touch This, produced by Felix Dubs, with it’s blend of musicality, piercing synth and heavy-slapping drums, allows Bizzle to reinvigorate the genre, “Original sound, can’t touch this”. As a lot of Grime’s current resurgence depends on nostalgic rhythms, this is exactly the elevation the sound needed. Wiley had faced some tribulations for his honesty and shedding light on the ill-practices of the system and while it may have felt like the game turned it’s back on him, the real continued to hold him in the rightful high regard, and as the genre re-enters the spotlight, his appearance makes it official and he effortlessly returns like he hasn’t missed a beat, with his verse painting the foundations of Grime, highlighting it’s essence and being able to deliver in it’s present iteration, “timeless flows, can’t touch this”, setting the tone for Bizzle to match that energy and remind us of why he was able to breakthrough the way he did. Whilst there are many factors for this new stage of Grime, from DJs, producers and a variety of artists that had not ventured from the sound, however, one of the real reasons for this recent impact is none other than Scorcher and so his feature on this is just mandatory, especially if you know of his origins of clashing and legendary radio sets. Grime consists of elements and together Wiley brings the sound, Bizzle adds the energy and Scorcher provides that street component. A perfect mix of why we fell in love with the genre and even greater example of the growth and direction it’s leading to, plus another great step in it’s evolution. The visuals help portray it further with it’s studio setting and appearances from a variety of the scene’s original members.

More recently, as people online engage with their own verses, I randomly come across none other than Take That’s Robbie Williams flowing, which still baffles me because I never knew he was a barrers like that, he could’ve easily been on this or an official remix even.

This collaboration cements the genre’s reemergence and will undoubtedly revive that live show energy, whilst serving as a sign of more to come.

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Milli Major – My GG ft. Scorcher

As Grime continues it’s revival with the likes of Ruff Sqwad and Scorcher, amidst consistent staples such as Novelist, Manga and Rival, including breakthrough acts like So Large, one person that has maintained the foundations and contributed to it’s survival is Bloodline’s Milli Major. A bridge between Grime and it’s street essence, Mili Major has been conducting behind the scenes through a series of content (including the posse cut Skeemset) and live shows (most recently mashin’ up Prague) and so the OGs reconnect as he links back up with Scorcher for Gun Finger and the new release, My GG.

Gun Finger is great example of authentic Grime, with both veterans effortlessly tackling the high energy Luke Fly production, with it’s Igloo-esque sound bagged up in a more Drill-centric beat, with a hook tailored for a live performance and true-to-self verses that give it that originality of a set with the delivery and execution of a mix & mastered track. A contrast to his new release My GG, which like his previous Tempa T collab, Ooo Na Na, is a genre-elevating sound.

While the content is more gyal-focused gangsta music, it’s another up-tempo catchy number that can add to the dance, the radio set as well as benefit his live performance. Where most artists aim to replicate the streets through their music, Milli Major being stamped and certified allows him to experiment with his sound and it naturally comes across as such. For someone that can easily craft hard-hitting street-orientated songs, to delve into these territories highlights his artistry and with My GG (available now on all DSPs), he takes another step in broadening his range and adding more variety to his discography.

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Ruff Sqwad – Flee FM 2

After returning to the forefront last year with their unique spin of nostalgic genre-establishing riddims and flows, the Ruff Sqwad mandem are back with the second instalment to their pioneering album

The trio add to the success of their Flee FM movement, with Flee FM 2, another 7 tracks, featuring some new vibes and old Grime classics, kicking off with Xtra 2025, a sound many Grime fans new and old will be familiar with and what makes this project special is the fact that whilst some of us may be relishing the nostalgia, a lot of fans get to put names and faces to some of the most prominent sounds to have come out of England, that are being played at sets and raves still. Tracks like Freshers featuring Roll Deep’s Roachee, the Ghetts (formerly known as Ghetto) classic Top 3 Selected is remixed featuring the legendary D Double E. It’s Grime to it’s core, maintaining the high-tempo throughout, with Rapid stepping to the mic for Baileys Freestyle, Slix taking centre stage on Reason and Roachee joined by another legendary figure, Boy Better Know’s Frisco for Lentil Crisp, before introducing the young star RB on the last track Freestyle. Grime has come through stages of dub tapes, CDs, even sharing tracks via bluetooth prior to the YouTube era, and Flee FM gives you a sense of all those classic moments, they’ve really captured the natural essence of the pirate radio days but delivered in the streaming space, and with so much potential for the tracks and artists that can be reintroduced in this redefining format, this now serves as a solid foundation for Ruff Sqwad to continue to elevate Grime’s sound and culture.

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Jordy, Scorcher – Know Me For Music

What happens when one of the best up and coming rappers in the country links with one of our legends?! Jordy has steadily been climbing to the forefront as one of the more prominent rappers in the country, though I was introduced through his appearances on the Filthy Fellas football show, which coincidently I first came across through Scorcher, fast forward in a full circle moment, the two collaborate on Know Me For Music.

Whilst responsible for the recent Grime resurgence, Scorcher has been one of the original hybrids who was able to effortlessly run through tempos and displayed just as much prowess in the rap realm, and this is no different. Jordy has been consistent, crafting out his own audience and organically developing his artistry, though I can’t say I’ve heard everything from him, the features with the likes of Louis Rei and freestyles that I have come across, he’s definitely one of the more talented no frills artists about, and along with Scorcher, doesn’t disappoint. Kicking off Good Measure with the hook and his distinct tone, he’s a true to himself artist and that’s evident with his verse, it’s wordplay with substance, which allows Scorcher to delve into that introspective space for the second verse. My personal favourite is the latter, Ain’t Settling For Less. This time Scorcher starts it off, with a verse that’s reminiscent of his Dear Diary days and though I hold Scorcher in high regard, Jordy steps up, including one of the hardest lines I’ve heard with, “A n***a sayin’ that he made me..that’s too jarring, cos If I bite the hand that feeds me, I’m self-harming”. Though there’s not much to dissect, the one complaint is that it’s only two tracks (Three on Jordy’s bandcamp), as their contrasting individual styles and content compliment each other and makes for an unexpectedly palatable pairing.

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Milli Major – Skeem Set Pt. 2 ft. JME, Scorcher, SeriousXSyikes & Crazy Titch

Milli Major has been holding Grime down for a while now, with an array of content from a short movie, music and events, but ultimately the uniting a host of acts within the genre has to be applauded, with Skeem Set Pt. 2 being another great example of his position in the game.

Few can bring together legends like JME, Scorcher & Crazy Titch with the addition of SeriousxSyikes, if any, over the hard-hitting production, we get a stellar performance from the face of Grime, JME, a verse that could be put up in the V&A with the picture he paints. Followed by man of the moment, Scorcher, further cementing his return to the field with his ballon d’or winning presence and intent. Milli Major glues the track together effortlessly with another heavyweight effort, anchoring for authenticity, allowing SeriousXSyikes to step up and take advantage with his energetic performance, before the Grime icon Crazy Titch, with an exclusive feature from behind bars, in typical Titch fashion, sounding like he hasn’t missed a step.

As Grime continues it’s recent resurgence, with many returning to the elevate the space, the likes of Milli Major have been playing a key part in maintaining it’s legacy and future. With more on the way from the Bloodline representative, rest assured, order is set to be restored.

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Ruff Sqwad – Flee FM

As Grime continues to bubble underground, the legends return to stand upon the foundations they built and renovate the building, with no room more unsung than the Ruff Sqwad mandem.

Still a relatively young genre, over the years, (aside from the mainstream directing their spotlight at the more current trends in music), Grime has struggled with it’s identity and sound, though it’s actually evolved and this entire industry is still running off Grime’s momentum, it just hasn’t had the same level of representation amongst the heavyweight UK Rap and their baby, Drill. Whilst there have been a host of previous and new talents flying the flag, Flee FM sees the heart, mind and soul of the collective reunite with seven solid tracks to cement Grime’s resurgence.

Slix had established himself as a presence on and off the mic, with his fly flee style and entrepreneurial spirit, he’s since been working behind the scenes helping the youth as part of his foundation, along with musician Rapid, though a force with the flows, he’s made a name for himself as one of Grime’s greatest producers, so this blend of old and new production is important to the genre’s growth, along with David is a King, formerly known as Dirty Danger, one of the most underrated musicians to come of the country, with remnants of his advanced compositions in today’s sound, he’s elevated as a person and now an official Sound therapist, that energy and purpose matches the others, making this a concise effort (with it’s radio set transitions) that perfectly blends elements of nostalgia with a much needed direction.

Serving as a reminder, (they haven’t lost a step, if anything, they’re more seasoned), it’s exciting to see what’s next from the collective, with so much room for more, as well as individually, like Rapid recently linking up with Scorcher, these moves will no doubt be influential to restoring that feeling again.

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Scorcher – Behind Barz Freestyle

As the current scene “appears” to flourish, it’s no secret that the standard, identity, authenticity and thus overall feeling is sub par, and whilst even the real ones are able to venture, there does lack a sense of direction, and that makes this return of the people’s champion even more so monumental.

It’s been a turbulent few years for the British legend, one of the Grime’s graduate Rap hybrids, the Leader of the new school, once the clear chosen one to ascend the culture (to where it currently is now), has continued to stand tall amidst adversity, and a man first before an artist, found himself on a hiatus from the art.

Though there has previously been music released, during these times, including the fan favourite Down, plus more recent freestyles, but the presence on the field was missing, and a few decent touches and key passes later, this freestyle has him win the ball back and lead the attack in stellar form.

I had originally quoted some of the lyrics that backed my point, but truth is, there isn’t a wasted bar throughout this freestyle, some things are being said, if you’re listening.

Fresh off a headline show, he’s back to lead the charge with this new collaboration, and there’s definitely a new surge of energy flowing, as his verse here is powerful for the right ears, and actually what the game’s been missing.

Recently collaborating with fellow Grime legend Rapid, that energy combined has now added a much needed component to the genre’s progression. With a project for sure in the works, I look forward to this new chapter. As the game finds itself lost at times under new tactics and infringements, you need the best players and strongest personalities to anchor the ship, dictate play and bring glory back to the people.

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Blay Vision – Turner Ave.

The young producer has been forging his own sound over time, notable behind the boards, producing vibes for a variety of MC’s (most recently Phaze What – Neva Dat), though he’s proving more than able behind the mic also, and with Skepta broadening the parameters of Grime, Blay is one of the up and coming acts to utilise the freedom. His 2017 release Turner Ave might be one of the top Grime projects of the year (amongst the likes of Manga St Hilaire’s Outbursts From The Outskirts).

It’s clear from the get go with These Guys, as an assured Blay lays out the mindset and his intentions,

and the project backs that sentiment, as though you can hear certain influences, overall it really stands alone from whatever else is out at the moment. Track 2, Fully Involved, one of my favourite productions this year, and I’m glad that he attempts to have substance, as if he’s aware of what the production provides, allowing him to structure more thoughtfully, and from a humble perspective of an up and coming act, so the content fits well. I find myself separating the production at times, but in all honesty, I can hear he’s more seasoned as a producer, but the flows are impressive, more so the stories he weaves and the lessons he attempts to stitch together, it’s really well crafted. I really like how the project flows, he most definitely thought about performances, as tracks like the hype Skeen, will undoubtedly get the crowd jumping, and through the raw delivery, there’s lines to take in, “I know man that’ll marry your mum, come to the country and dun your clart”, that’s a reload right there!

[I recognise good ol’ Southampton, after I spent the last couple years there]

Around track 7, there’s a minimal shift, but if you’ve come this far, you’re certainly hearing the rest of the project less critically, like the vibezy My G’s, with it’s catchy hook and satisfyingly piercing synths,

I’m proud of his evolution thus far, from the early sounds of his I have on my old laptop, a more refined sound, and it continues with the JME featured Gone Mad,

he’s back at it right after with Free Mo, which is more him flexing his MC abilities, switching up the flow, and it’s a more musical approach, as it’s another well structured effort that I can see working well live. I like tracklists that aren’t predictable, and as he begins to show his versatility, this is just that, an array of tempos and styles, one minute your just nodding your head to Amnesia,

the next you’re tuned in, relating to the introspective and open Normal, “Anxiety got me thinking a madness, I just wanna be normal”. 

Such records really highlight his abilities, beyond a talented producer, crafting quality songs, whilst still being able to give you the more performance based bangers like 99 Pace

and the final track on the project, Violent, which gives you a more confident Blay, it’s as if you’ve travelled on a journey through the project, and that’s what you want, from an artist’s perspective and listeners alike. It takes a lot of effort to put together a project, let alone visuals and without the support of masses it can be a hit or miss, so props to him as he carves out a moment for himself with Turner Ave, an array of sounds and flows, all rolled up into a dope project.

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