The previous Deadboy music was inventive and obviously excellent, but this is something else entirely. A brave leap forward and an immensely gratifying experience.
Favorite track: White Moon Garden.
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Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Local Action are proud to present White Magick, a six-track EP by Deadboy that represents his longest and most complete release to date.
Deadboy is an innovator. His 2009 and 2010 singles ‘U Cheated’ and ‘If U Want Me’ predicted exactly where UK dance music would go after dubstep, though unlike a lot of the acts that followed in his slipstream, Deadboy’s music was never polite, and bassline house, dancehall and grime were as big influences as the r’n’b, pop and garage sensibilities that he combined so effectively. His vinyl-only single ‘Fireworks’ remains a high point for that era of UK club music, with even Drake singing the track’s praises on radio.
Future EPs like Blaquewerk and Here saw Deadboy continue to apply his unique approach to club music, but on White Magick, he lets in influences from outside the club in ways that he hasn’t before: the influence of new age and ambient music is obvious from the opening notes of ‘White Moon Garden’, while ‘Copwar’ and ‘Sad Sniper’ are the two grimiest tracks that he’s released yet. ‘Inner Palace’, meanwhile, is a reminder that six years on from ‘U Cheated’, there’s still no one combining experimental club music and pop hooks like Deadboy.
released April 20, 2015
• Mastered by Shane @ Finyl Tweek
• Cover illustration by Michael Dixon
• Design by Devilmode
As far as dream pairings go, they seldom get much more mouthwatering than Yaroze Dream Suite, the meeting of two instrumental grime's most futuristic minds; Miles Mitchell (aka Mr. Mitch) and Yamaneko. Constantly eager to discover new ways of pushing the genre, forward their eponymously-titled EP is an intoxicating mixture of melodic simplicity and percussive inventiveness that seems to act as both a fond farewell to grime's past and a tantalising glimpse of we what we might expect from it next. "In The Moonlight", for example, hitches the soulful vocals of Hannah Mack to theatrical steam organ stabs and just enough claps to keep the track from simply floating away. "Awakening", however, acknowledges grime's past with much gun-cocking and drums that sound like uzi bursts, but where once that would be the cue for a gruff MC to unmuzzle his paranoid angst and ratchet up the tension yet further, a mournful synth melody which gradually increases in volume as the track progresses creates an aural paradox which could be descriptive as the EP as whole. It's a mesmerising record and with new solo albums from Mr. Mitch and Yamaneko just around the corner, I for one am drooling at the prospect of what grime's next Great Leap Forward might have in store. Nic Brown