Tag Archive: London

Rebecca Salvadori reflects on intimacy, community and liminality within London’s contemporary rave scene in The Sun Has No Shadow

An evocative portrait of the city’s in-between spaces, within which it is possible to extract oneself from relentless urban malaise, suspended in transit from one time and place to another, in a process of psychological and spiritual transformation.

In one of the opening scenes of The Sun Has No Shadow a modulated voice quotes art critic and media theorist Boris Groys, suggesting that: “the openness to exteriority and its influences is an essential characteristic of another feature of the modernist inheritance and that is to reveal the Other within oneself, to become Other.” Under the gaze of experimental filmmaker and video artist Rebecca Salvadori, refurbished factories and warehouses, industrial parks, dimly-lit underpasses and motorway-adjacent woodlands are produced not only as hedonistic spaces, the as yet undeveloped real estate upon which London’s clubs and free parties can find an all too often temporary home, but as liminal sites of transformative potential, in which one is suspended in fleeting moments of intimacy and communal connection. Cutting between non-linear documentary and abstract montage in a dissociative assemblage of image, sound and text, The Sun Has No Shadow navigates a vital shared territory between the moving image and live sound and performance, splicing footage from Canning Town institution FOLD and its beloved Sunday day rave UNFOLD next to testimonials from ecstatic ravers and Salvadori’s own friends. “I have always been drawn towards environments and situations that felt transitional, open, not fully finished,” explains Salvadori. “I believe it might be because these contexts allow you to exist in a less mechanical way. They are more layered and have a space of possibility within them. When an area has been conceived for a specific need, everything feels more compressed and mechanical. The edges of a city are spaces in-between, areas where the intentionality of urbanisation becomes transitional and almost left to itself.”

In this way FOLD, perched on the edge of an E16 industrial estate, takes on the wild aura of the “edgelands,” seperate from the relentlessness of the city and tinged with the transient energy of wilderness, charged with transformative potential. In the excerpt of Salvadori’s film presented above, the filmmaker’s passage through these liminal environments serves as both a record of navigating the complexity of London’s outer reaches and a prescient diagnosis of a contemporary condition. Flashes of hi-vis trousers illuminate the ghosts of the second summer of love haunting Salvadori’s frame, mapping the distance between London’s rave scenes past and present. Loops of night vision footage of Salvadori’s friends at an after party repeat as an unseen speaker narrates the experience of watching themselves on screen, the visual repetitions taking on the constant rhythm of a four on the floor beat. These vignettes, displaced form discernable space and time, seem to wrestle with the psychic difficulty presented by the commercial and corporate intensities of urban life, parsing the tension between a desire for and an assumed need of various kinds of dissociation, be they emotional, political or narcotic. These liminal spaces present an opportunity for escape from the city, but whether this is an escape from an overwhelming network of automation and commodification or an escape into a DIY formation of community is left intentionally vague by the filmmaker, an inscrutability emphasised by facial blur, voice modulation and detached subtitles. “Sometime ago I received a message from someone I don’t know,” Salvadori recalls. They said: In your work everything happens in its exact own time, I felt I was not watching a video, just being in myself, part of a continuous life of something. It was a really weird feeling.”

Salvadori continues: “Just like it might happen in very loud and crowded environments, connections are begun, interrupted, lost and remade; one stumbles across conversations only to abandon them again.” Her deft cuts between the exoskeleton of FOLD, industrial fan and red LED light framed against the chilly grey of an early London morning, and fly-on-the-wall documentation of the club’s inhabitants evoke the exquisite disorientation of the club space, capturing a very particular sort of sensory overload. Soundtracked with distorted fields recordings of the club in full swing, this montage is inscribed with the disembodied words of an unknown raver. Enveloped in a blown out recording of machinic techno churn, the cacophony of image, sound and text approximates the experience of overhearing something beautiful from a stranger dancing next to you, rising above the smoke and the din for an instant. “The subtitles, often sharing personal thoughts, phrases cut out of the context or straightforward statements, add into this constantly evolving layered complexity that I find fascinating, this undefined stream of something,” says Salvadori. “Facial blur and voice modulation are choices born from a combination of both the club privacy policies and a reaction to my attitude towards portraying close friends. With the The Sun Has No Shadow, I felt the need to detach; for the first time those portrayed are not fully themselves, my friends, but more vehicles for a specific symbolic moment.”

This dissociation into symbolism manifests literally in the excerpt’s climax, where the haze and blur of the crowd dissolves into the abstract rupture of what Salvadori terms ‘euroemptiness,’ an evolving graphic language comprised of shifting combinations of animated shapes and colours. “When I started filming I didn’t have any sense of boundaries; myself, the camera and what was being filmed felt equally important, to the point where I found myself disappearing behind the camera,” explains Salvadori. “I had to stop and subvert the trajectory flux: instead of filming everything I saw, I isolated and started making abstract animations. The simple animated geometries have always represented my desire for silence and emptiness. Then years after my first experiments, ‘euroemptiness’ has grown into a portal for new dogmatic messages. In The Sun Has No Shadow, the graphic language is not silent anymore; it is inviting both for myself and those watching to find and follow that light that never fades.” By disrupting linear techniques of film editing, Salvadori formally subverts the momentum of her own frame, reinscribing the transitional liminality from her subject to the screen. The constantly evolving collage of shapes effects an inward turn, pulling focus on the voice and text that is woven into the texture of the frame, another modulated voice relating their experience of being lost in the dance. “I enjoy it because it’s like looking into a lens,” they assert, “a way to condense information whilst the body is undertaking a process, this constant feeling that nothing belongs to you.”

Presented with a desubjectivised procession of abstract images in process, the momentum of the footage preceding it is revealed, a record of transformation within liminal spaces that enacts another process of transformation, once removed, in its relationship with the viewer. This shift in perspective, a rupture of the subjective gaze by abstract projection, opens up The Sun Has No Shadow to the audience. Transient intimacy between strangers, captured in a way that is dissociated from linear time and conventional space, invokes a community in process, constantly fluctuating, shifting shape as soon as a recogniseable group is formed. “Where we had thought to be alone, we shall be with all the world.”

For more information about Rebecca Salvadori and her work you can follow her on Instagram. The Sun Has No Shadow was commissioned by curator Adriana Leanza for the hybrid show Synchronous Errors, which took place at FOLD earlier this year and will be shown at Futur Shock, curated by Karolina Magnusson Murray, at FOLD on June 9.

Watch next: Zoë Mc Pherson moves through a healing dub elixir in I Expect Nothing (Straight)

Fact Mix 856: Klein

London artist Klein features as one of four cover stars in the third edition of Fact’s print publication, captured in the singular vision of photographer Gabriel Moses and in conversation with her friend and collaborator Curtly Thomas. To mark the occasion, Klein excavates a fragmentary soundscape that finds deeply expressive and personal texture within dissonance and disruption.

Poet, critic and theorist Fred Moten describes Klein, inimitably, as “discomposer and multiple instrument,” situating the London based, British Nigerian artist within the Black radical music tradition among those who have redefined and continue to redefine what it is to speak, sing and play. Her virtuosic practice sees her adopting, rearranging and discarding the conventions of discipline, genre and form so rapidly that it can, at times, be tough to keep up. At once prolific and obfuscating, at any given moment she might be quietly uploading new music to her YouTube channel, currently the sole imprint of her internet presence, collaborating with some of the greatest artists and musicians of our time, including Mark Leckey and Mica Levi, or staging ambitious live performances in some of the most important venues in the world, such as London’s Barbican Centre, or Berlin’s Volksbühne. These shows, sprawling works incorporating improvised movement, stand up comedy, live MCs and spirallic performance, are central to grasping where Klein is at as a composer, director and artist, corralling a rich history of influences spanning viral videos, UK grime, cultural theory, mid-Noughties hip-hop and r&b and intimate details from her own life, entangled in everything, all at once, constantly rotating in flux, sensuous and spiritual in equal measure.

All of this in the wake of Harmattan, an eerie and beautiful collection of restless (dis)compositions for broken violin, Yamaha keyboard, trumpet, drum machine, guitar, harmonica and tuba, described by Moten as “a soundtrack of epic revolt against beginnings and ends, drill trapped and re-released into release from communication into lush, unbounded share.” Klein guides us through a sonic dust cloud, which is also a West African season, which is also a supernatural feeling of belonging, through Roc Nation and Ibadan, amidst postcode wars, hand in hand with Charlotte Church and Jawnino, disparate voices melted together in the “broke brocade and sand” of Harmattan. She pulls off a similar trick with her Fact mix, excavating a fragmentary soundscape that finds deeply expressive and personal texture within dissonance and disruption. Of the mix, Klein says: “this is for the topline swolla, shotters, ballers, opps, Ester Dean, Making The Band, Wasiu Ayinde, all the topline dons, without y’all I wouldn’t be here.” Charting her own Black radical music tradition, joining the dots between pop music’s industry insiders, song writers, her own musical idols and the drama of her own life, Klein swerves through foundational tracks, her own compositions and twisted samples, chopping and screwing jaggedly between musical moments in service of diaristic directness, or as Moten puts it in Black and Blur, “total construction as a means of achieving immediate utterance.”

Taking the jubilant bounce of fújì, a Yoruba genre named after Japan’s highest peak and developed out of wéré, improvisational music performed to wake Muslims before dawn during Ramadan, as a marker by which to navigate the music of her life, Klein teases out the connective tissue between avant-garde composition, spiritual songs, nu-metal and hip-hop. She suffuses the sounds of Igwe Remi Aluko, a contemporary star of the genre, with her own original score, adding harmonica and keys to Aluko’s spirit-steadying vocals. She slows the royalty-fee OST of YouTube channel Grace For Purpose’s video delineating the contemporary resonance of the biblical story of Samson and Delilah to a melancholy smudge, before smearing sampled voice and instrumental unrecognizable with the dense feedback and frazzled guitar of Korn’s ‘Here To Stay,’ perhaps a nod to Dizzee Rascal’s iconic sampling of the track in ‘Sirens,’ another gesture back towards Klein’s formative musical experiences. Snapping back to the present with TisaKorean’s slow-mo, sci-fi sex anthem, she wrings renewed expression from interrupting her own flow, clanging and clashing to create singular shifts in sound. It’s a technique born out formally when she infuses unknown dread and churning tension into a recording of a private birthday celebration of Wasiu Ayinde, otherwise known as fújì innovator K1 De Ultimate, with a frozen synth dirge, a disorientating instance of dissonance mirrored in the stark contrast between the doom-laden horns and ecstatic delivery of Shady and Katie Got Bandz joyously chanting “eat the team” in the classic Chicago drill album ‘Go In’.

Shady is overwhelmed by the impossible jazz simulations and Max/MSP patchwork of Aho Ssan; Klein’s own orchestral reprieve of ‘Michael’s Interlude’ running into the lo-fi hip-hop irruption of the recently released ‘XXL’ gives way to the exhumed dancehall of French beatmaker ma2t; Aye Jae Beats’ flex dance music is screwed to a slurred shuffle, as Klein wrongfoots the dance once again, shaking you off any beat you may have been riding, before winding back up into the fleet-footed skip of Wasiu Ayinde, who reappears rejuvenated, his classic 1990 Fuji Collections allowed to roll uninterrupted, space made for the king. Stepping into the spotlight, Klein blesses us with an unreleased cut, a lilting sound collage of overlapping chatter and piercing vocalisations, shot through with noisy loops reminiscent of Aaron Dilloway and pitch shifting turntablism in the style of Shiva Feshareki. Arranging, notably, the religious music and voices of Nigerian Islamic royalty Rukayat Gawat and Lady Evang, Bolatito Oke, a.k.a Malaika Jah in contrapuntal dichotomy, Klein closes with a single, ferocious spin back, instantaneously connecting spiritual musics of west Africa back through the jagged soundscape of her own musical traditions, as well as to the club and DJ culture of her home. It’s a jarring anticlimax that is, in spite of itself, the perfect final note, a closing and breaking of the loop.

Find Klein on YouTube. The third edition of Fact’s print publication launches later this week.

Tracklist:

Igwe Remi Aluko – ‘Oleku’ (Klein’s OST Edit)
‘Be Careful Of This Spirit | Men and Women’s Biggest Nightmare’ [YouTube Rip]
Korn – ‘Here to Stay’
TisaKorean – ‘Backseat’
Wasiu Ayinde’s Birthday [YouTube Rip] (Klein edit)
Shady – ‘Go in’
Aho Ssan – ‘Simulacrum III’
Klein – ‘Michael’s interlude’
Klein – ‘XXL’
ma2t – ‘bustagreed’
Aye Jae Beats – ‘Insiders (Outsiders Part 2)’ (Klein Choppin N Screwin Edit)
Wasiu Ayinde – ‘Fuji Collections’
Klein – ‘In From The Cold’ (Demo)
Charlotte x Joe Interlude (Klein’s Media Trained Edit)
Klein – ‘Comedy Style’ / ‘Skyfall’ [Feat. Charlotte Church] (Edit) [Feat. Rukayat Gawat]
Lady Evang, Bolatito Oke, a.k.a Malaika Jah – ‘Adorin Motito’

Listen next: Fact Mix 855 – Gramrcy

Fact Mix 842: Fiyahdred

An epic, two-hour journey through the wide variety of music that has informed the south London producer, artist and DJ’s sound over the years.

Last year the artist formerly known as Bamz exploded onto Hyperdub under a new moniker and with an omnivorous, explosive sound. Following two essential tracks for Future Bounce and a killer collaboration with Scratchclart with The Classix 2, the south London producer, artist and DJ now known as Fiyahdred shared the irresistible Anyway, five shapeshifting, smoked-out tunes splicing the swing and swagger of UK funky with elements of amapiano, dancehall and hip hop. That project’s title track, ‘Anyway (Do It)’, was amongst our very favourites from last year, a high-sprung, low-swung and sultry ode to smoke that cements the producer as one to keep a close eye on in 2022.

For their Fact mix, Fiyahdred spins us on an epic, two-hour journey through the expanse of sounds that have informed their production over the years. “This mix is my way of showing gratitude to all the wonderful music that has shaped me and how I listen to and create music,” they explain. “Tunes that have been shared with me by my family, friends and all the amazing beings I have met throughout my musical journey.”

They bounce between classic tracks and fresh sounds, from dancehall interpolations, drum machine disco and sultry amapiano to feverish deep house, seismic gqom and ecstatic zouk, all via “the bounciest selections, bodacious basslines and fiyah blends.” In short, it’s an absolute joy from start to finish, a bolt of blazing energy we’re doing our best to bring with us into 2022.

You can find Fiyahdred on Bandcamp, Soundcloud, Mixcloud, Twitter, Instagram, Facebook and Youtube. Anyway is out now.

Tracklist:

Lady Saw – ‘Hice It Up
Gotan Project – ‘Arrabal –
Sean Paul – ‘Can You Do the Work’ [Feat. Ce’Cile]
Alewya – ‘Sweating’
Nessa Preppy x Travis World – ‘Issa Snack (Do This Riddim)’
Abidoza & Major League DJz – ‘Jolene (Amapiano Remix)’ [Feat. Benji Flow]
Musa Keys – ‘Vula Mlomo’ [Feat. Sir Trill & Nobantu Vilakazi]
Sha Sha – ‘Sing It Back’ [Feat. DJ Maphorisa & Kabza De Small]
UNLIMITED SOUL & DBN Gogo – ‘Awoa’
Patrice Rushen – ‘To Each His Own’
Fiyahdred – ‘Bottle Riddim’
Gwen Guthrie – ‘Outside In the Rain’
Peggy Gou – ‘Gou Talk’
Patrice Rushen – ‘Forget Me Nots’
Karen Nyame KG – ‘Koko’ [Feat. Mista Silva]
Can’t Lose – ‘Can’t Lose’
Fiyahdred – ‘Anyway (Do It)’
Scratcha DVA & :3lON – ‘Flex’
Ikonika – ‘No Way’
DJ Mellowbone SA & DJ SUPA D – ‘Chifta (Original Mix)’
Bucie – ‘Amadoda (Blackcoffee Remix)’
Clara Hill & Vikter Duplaix – ‘Paper Chase’
Quentin Harris – ‘Travelling’ [Feat. Cordell McClary]
Aleksandir – ‘I Used To Dream’ (Ikonika Remix)
Kedr Livanskiy – ‘Sky Kisses (На танцполе)’
Ralf GUM – ‘Complicated (Raw Artistic Soul Main Mix)’
River Ocean – ‘Love & Happiness (Yemaya y Ochun)’ (12 ý Club Mix) [Feat. India]
Culoe De Song – ‘The Bright Forest’
Da Capo – ‘Umbovukazi’
Scherzo Africa & Zintle – ‘Yours To Command’ (BiG R Remix)
DJ Tira & Bubzin – ‘Won’t Let Go’ [Feat. Musa]
DJ Sdokov – ‘World On Fire’
Precision Productions & Kerwin Du Bois – ‘Bacchanalist (Antilles Riddim)’
Bucie Nqwiliso – Your Kiss’ [Feat. AT Sikhosana]
Dennis Ferrer – ‘How Do I Let Go’
Vanco & Afro Warriors – ‘Dancer’ [Feat. Charlene Lai]
Omagoqa – ‘Gqom 808’
Bunji Garlin – ‘Differentology (Ready for the Road)’
Wookie – ‘Back Up, Back Up, Back Up’
Dennis Ferre – ‘Destination’
Zebra Katz – ‘Ima Read’ [Feat. Njena Reddd Foxxx]
Hardhouse Banton – ‘Colonel’
Gordon Edge – ‘Set Your Body Free (Original Mix)’
DJ Gregory – ‘Attend 1’
Nathan Haines – ‘Squire For Hire (Capricorn Mix)’
Bucie – ‘Get Over It’
Hardsoul – ‘Self Religion (Believe In Me)’ (Hardsoul Reconstruction) [Feat. Fierce Ruling Diva]
Zafé Chō – ‘Tikitak Tikitak’

Listen next: Fact Mix 841 – Yung Singh

Unreal City is London’s biggest public festival of AR art

Acute Art and Dazed Media present 36 virtual sculptures, arranged between Waterloo Bridge and Millennium Bridge along London’s South Bank.

Pioneering artists from all over the world, including Nina Chanel Abney, Olafur Eliasson, Cao Fei, Alicja Kwade, Koo Jeong A, Marco Brambilla, Darren Bader, KAWS, Bjarne Melgaard and Tomás Saraceno have come together for Unreal City, London’s biggest public festival of AR art.

Acute Art have partnered with Dazed Media to present 36 virtual sculptures, positioned at 24 sites between Waterloo Bridge and Millennium Bridge along London’s South Bank. Using the Acute Art App visitors to the banks of the River Thames can unlock this immersive series of augmented reality artworks.

Ranging from Alicja Kwade’s tiny spinning top and Cao Fei’s surreal depiction of her son to Tomás Sarcaceno’s colossal spider, Bjarne Melgaard’s virtual update of his bronze statue Lightbulb Man and KAWS’ floating Companion, Unreal City inserts a host of artwork into the dizzying scale of the city of London.

“There are constantly new lenses to see through in order to see the world differently,” says Olafur Eliasson. “Now the wonders are outside. Why not look at art? And why not try to scale the art so it fits with the city?”

Unreal City takes place from Tuesday, December 8 to Tuesday, January 5, 2021 between Waterloo Bridge and Millennium Bridge along London’s South Bank. Download the Acute Art App to access the AR festival here.

Watch next: Alex Czetwertynski & Jessica Mitrani traverse the womb of the universe in Vesica Pisces

Patch Notes: Danalogue & Alabaster dePlume

Synth-stacked cosmic jazz explorations from two staples of the London scene.

Dan Leavers, aka Danalogue from psychedelic jazz rock group The Comet Is Coming, met saxophonist and spoken word artist Alabaster dePlume at London’s Total Refreshment Centre, one of the central hubs of the city’s vibrant new jazz scene.

Having moved in each other’s circles for a while, this year the duo came together to record their debut album I Was Not Sleeping, circling back around to the place in which they met to release the project on Total Refreshment Records.

Seeking “utopia amidst a real-world reality of austerity, divisional politics and a UK lurching towards the right wing”, the duo move through a variety of styles and genres on the expansive record, challenging themselves to break out of their comfort zones and switch up their customary instrument choices.

To mark the occasion, we return to their studio space inside Total Refreshment Centre for a synth-stacked live rendition of a selection of the tracks from the album. “This was the first time we attempted to perform some of the tracks live, as UK lockdown has prevented us from touring this material,” the duo explain.

“We were not sure we’d be able to pull it off without the layering of chords/melodies and bass lines, but after some experimentation, and by using triggered arpeggios, we were thrilled to be able to capture the vibe of the tracks on the record, whilst also improvising within the tracks to reinterpret them.”

Danalogue corrals a Roland SH-09 mono synth hooked up to an Estradin EFFEKT-1 Flanger, itself running into a Watkins Copycat Tape Echo, as well as a Roland Juno-60 and Roland VP-330, both of which are connected to a Lexicon plate reverb.

Alabaster dePlume plays a Korg MS-10 mono synth, a Roland TR-808 drum machine, a Roland SH-101 connected to a RE-201 Space Echo and his own patented ‘You’re Doing Very Well’ Spring Reverb. The trigger outputs of the 808 were then synched to the arpeggiator clock of the Juno and the Ext clock of the SH-101.

 I Was Not Sleeping is out now on Total Refreshment Records.

 Watch next: Ash Koosha Presents: YONA Part I – (Under Your Skin) Synthetic Emotions Of a Virtual Poet

Darkstar envision London as a haunted house with their new sample library

Aidan Whalley and James Young take a hauntological trip around the city with their new sample library for Spitfire Audio.

Warp duo Darkstar have teamed up with Spitfire Audio on Haunted House, a new sample library featuring a wide variety of spooky synth textures, processed vocal samples, percussion loops and “gnarly textural London sounds”.

Described as a “distillation of a sonic palette built up over the last few years”, the sample library arrives as a development and expansion of the sounds the duo used to create their album Civic Jams, taking as it’s focal point the notion of London being, in it’s own way, a haunted house.

“Haunted House is those sounds that creep around and lie in the periphery,” says James Young. “The edges of each sound blur because that’s how we like them – noise and all.”

“We’ve never really been about the technical aspect of making music,” explain the duo, “it’s always been the intangibles, the periphery, the things that bleed into recording from the everyday things you do.”

The duo have released an accompanying short film that details their experience with the ever-changing landscape of the London music scene, and the ghosts of the people, places and music that have been lost amidst its vastness, the spectres of which now haunt Darkstar’s singular sound.

Haunted House is available now. Civic Jams and Civic Jams Remixes are available at the Darkstar Bandcamp.

Watch next: Fact Live – Ash Koosha Presents HALLUCiNATO

FACT Archive: D∆WN – Access All Areas

FACT Archive is a feature where we pick out some of our favourite videos and documentaries from the vault.

Back in 2016, we were given exclusive access to R&B supernova D∆WN as she prepared for a sweat-soaked show at London’s XOYO.

Packing her unique stage set-up and energetic crew of dancers and musicians into the intimate venue, we followed the singer from set-up to rehearsal to the dressing room to the stage for a peek at the dedication that goes into a D∆WN show.

Watch next: FACT Archive: From Studio to Screen – Becoming a Composer

JME and Skepta keep it in the family on ‘Nang’

Taken from JME’s recent album, Grime MC.

JME takes to the streets of London in the video for his track ‘Nang’, which features his brother Skepta in the siblings’ first collaboration since ‘That’s Not Me’.

The video captures the brothers Adenuga performing the track in a variety of locations, including a busy motorway, an abandoned high-rise and an industrial warehouse.

‘Nang’ is just the latest in a series of videos for each track from Grime MC released by the BBK mainstay, following visuals for ’96 Of My Life’, ‘ISSMAD’, ‘You Watch Me’, ‘This One’, ‘You Know’ and ‘Here’.

Grime MC is out now.

Watch next: Cam Deas explores time, velocity and simultaneity with ‘Drift Through’

Isolating finds himself on a haunted night-drive in ‘But Please’

Found footage from many hours of trawling through night-drive ghost sighting videos on YouTube while on lockdown.

The Golden Filter’s Stephen Hindman takes us on a haunted night-drive in the video for ‘But Please’, a new track released under his Isolating alias.

‘But Please’ appears on his new EP for Optimo Music Digital Danceforce, System. “Due to lockdown, it was hard to film anything new to fit the aura of the music, so I trawled YouTube whilst listening to the EP”, he says. “I stumbled across a ton of “real” night-drive ghost sighting videos and oddly they fitted perfectly with the track…I assume they are hoaxes…but maybe not.”

Hindman describes his Isolating alias a “weird solo space to make primitive noisy beats and gritty soundscapes” and explains that it has “nothing to do with flattening the curve, but more to do with the social anxiety of feeling isolated upon periodically moving to different cities, neighbourhoods, and apartments all my life, never really letting life get too comfortable.”

“With that in mind, ‘System’ EP was created in a small London room, alone, with modular and analogue gear while watching Tarkovsky films, reading Aldous Huxley books, and hearing about Brexit every day on social media. Those were the days”.

System is out now on Optimo Music.

Watch next: Sophie Marschner turns real-world data into a digital topography in Monolith

Klein pays a haunting tribute to Mark Duggan with ‘mark’

A powerful monument to remembrance and reflection.

Klein virtually explores London’s quiet streets in the haunting video accompaniment to her track ‘mark’, a beautiful and melancholy standout from her third album, Frozen.

Weaving audio collage and plaintive guitar around a stark 10-minute silence, Klein constructs a powerful monument to remembrance and reflection, a tribute to Mark Duggan, who in August 2011 was shot dead by London’s Metropolitan Police.

You can stream and download Frozen now.

Watch next: Artist DIY – Iggor Cavalera

Patch Notes: Paul Cousins

Patch Notes is a series that explores modular synthesisers and the art of making electronic music with hardware.

Paul Cousins is a producer, engineer and ambient composer from London who uses vintage synths, reel to reel tape deck and effects units to create meditative compositions. For the past month, he’s been getting through quarantine by posting a series of ‘Isolation Loops’ to his Instagram.

In this extended session, Cousins creates a dreamy 10-minute track using a Roland SH-101, KORG Poly-800 and various hardware effects.

Watch next: Patch Notes: Hydromantic live from Berlin Atonal 2019

Litter Frog explores Kurdish folklore and her own family history in ‘The Angel’s Voice’ video

Shot between Safeen Mountain in the Kurdistan region of Iraq and her grandparents’ garden in London.

Litter Frog is the musical alias of Mattina Hiwaizi, a multidisciplinary artist, writer, filmmaker and activist whose practice centers around “the miscommunication between the English and Kurdish culture”.

In the video for her cacophonous new track ‘The Angel’s Voice’, Hiwaizi manipulates panoramic iPhone photography and drone footage to draw parallels between Safeen Mountain in the Kurdistan region of Iraq and the walnut tree that grows in her grandparents’ garden in London.

“Mountains are an incredibly important symbol within Kurdish folklore and have been instrumental for the survival of the Kurdish people for centuries”, she explains. “Whether this is by hiding in caves during ethnic-cleansing genocides or by using the fertile land and ecology that surround mountains to grow food and live off the land.” 

“My grandparents’ walnut tree to me is a symbol of this history of cultivation and ecology. This particular tree was planted by a squirrel in my grandma’s friends’ garden who lives a couple of doors down from us and was re-homed to our garden in 1994.”

“My grandad particularly loves walnut trees because they were incredibly special to him during his childhood. In his own words, ‘I like walnut trees a lot. I like the smell and the fruit. There were only a few walnut trees in the village, not a lot like figs or pomegranate or apricots. They were the rare and special trees.’”

‘The Angel’s Voice’ is taken from Elevate, a compilation album from music blog and Resonance FM show Dig That Treasure. All proceeds from the compilation will go to CALM, the Campaign Against Living Miserably.

Elevate arrives on April 27 and is available to pre-order now. Check out the album artwork below.

Due to the outbreak of COVID-19, artists need our support more than ever. You can support Litter Frog by buying her music from Bandcamp.

Watch next: Mentrix and Emile Barret take us on a psychedelic trip through Iran in ‘MENTRIX MIND EXPANDING MAZE’

Noname – With You Lyrics

[Verse]
This is my happy ever suicide
My hands tied behind my breast
My silhouette did pirouettes
The curtains are closing
My baby was my ooh-lah lah, neverlasting
My baby was my cry me rivers and shadow casket
Who could be my lovely, my lovely?
Who could be my only one, my only?
I’m almost just as empty as you think I am, a penny for your thoughts
A wooden hair of happiness, a pretty Ricky Ross
A may-black music, I woke up in my sympathy, became black Judas
All my everythings for sale
All my second hand discoveries, Dungarees faded pale
All my halfway hallelujahs are tippy-toed in the mail
All the fluctuations on scales
And the missing therapy sessions of bullies treating me well
Well, we don’t drink that
If it ain’t the top shelf, nigga you can keep that
Share my life on Telefone, I’m 25 at 306, and 809 became my home
Gave you a taste of my redemption and now I want my drink back
Somebody hold me like I’m almost enough
Somebody told me pray for heaven, saw how tiny it was
Little love from me, we can build this home alone
Alone
Forever with you, forever with you
I’m a home away from home and promise you’ll keep this secret
And promise you won’t forgive me to tell you that smells like peaches
He who leeches on love is a lame, chains and left her for London
Wireless festival reparable, so good when he wasn’t

Young Thug – I’m On Lyrics

[Intro: Young Thug]
Aye
We got London on da Track
You should loosen up a little bit
Girl, you should loosen up a little bit
I just thought
You should know
Thought that you should know
It’s a whole new world
You can be my girl
You should know
Foreign, we could go
Got a lil’ molly and coke
Use your nose
Gotta use your nose
Use your nose
Got a lil’ molly and coke
But you gotta use your nose
Fee-fi-fo
G.I. Joe
We can go high as skies go
Oh, yeah, yeah, yeah
I never seen no bitch that won’t go on a UFO
Ay, ay, oh
Yikes, I know, aye

[Hook: Young Thug]
I’m on, on
I’m on, on
My bag and me, a bunch on
No more public homes, mama
We on, on
Turn the crunch on, I gotta stay on, on
I’m on, on
I’m on, on
I’m on, on
I’m on, on
I been racin’ from the start
Only [?] park the car, yeah

[Verse 1: Young Thug]
Me and you should roll
We should go
I ain’t washin’ my clothes
I’d buy these new clothes
I’d rather buy new clothes
Saint Laurent on my toes
Fifty racks in the store
Fifty more in my coat
Big bank Slime, ho
Spent one or two dimes on her
I spend time with the owners
Big bank, Slime owner
We a different breed
We just tryna succeed
Got some diamonds on my teeth
Tell me who do it like me?
I’m ’bout to tease it
First, I gotta eat it
I got my reasons
I got some reasons
Everyone ’round me bleedin’
Yeah, the top floor of the Four Seasons
I was this close to servin’ them keys
Now twenty hoes on they knees

[Hook: Young Thug]
I’m on, on
I’m on, on
My bag and me, a bunch on
No more public homes, mama
We on, on
Turn the crunch on, I gotta stay on, on
I’m on, on
I’m on, on
I’m on, on
I’m on, on
I been racin’ from the start
Only [?] park the car

[Verse 2: YoungBoy Never Broke Again]
Hope your girlfriend got on green, ah
Hit a lick in all black, Reebok
Come down the block in a tank top
And y’all gon’ kill the scene, yeah
Need the money just for what I fiend, yeah
I’ma try just ’bout everything, yeah
I’ma go all out for the green, yeah
I’ma ball out with my team, yeah
I’ma pull up in a ‘vette (skrrt, skrrt)
You know that I’m reppin’ my set (I’m reppin’ my set)
I just hopped out the jet, yeah
Now I’m headed to the check, yeah
Whole lotta money right up in my jeans
I’ma get up and go get what I need
Beat the game, somethin’ like Billie Jean
Mixin’ red in a pint with the green
Hit the gas, I’ma tear up the scene
[?], you ain’t tryin’ me
Walked in with a slime with me
Hit up Ellie for a brand new ring

[Verse 3: Young Thug]
Yeah, bails like south, yeah
Dick in her mouth, yeah
‘Bout to fuck her on the couch, yeah
Fuck her slow like slouch, yeah
‘Bout to get in my mouth, yeah
Hopped from Ferrari to couch, yeah
Bankhead bounce, yeah
None of my diamonds got clout
I got a car in the house like couch
I got a key to your main bitch house
I steer the Rolls Royce today, ain’t feel like gettin’ rained out
Philippe’s on me today
I got a bitch, I ain’t trustin’ her mouth
I ’bout to kick shit sideways right now
‘Bout to say something right now
I got a pill in my stomach right now
I got a lotta new money right now
Blue face, hunnid by the low
Inside out, white nose
Hol’ up, baby girl, move
Everybody cut my bros
Put my dick in her nose
They might pass that hoe to my bros
I got 20-dollar bills, we cold
Got five, put it right up in her nose, yeah
I know she about the green hoe, yeah
Got Jeffery workin’ on these hoes, yeah
Eenie, miney, mo, which one I’m ’bout to floss
Eenie, miney, mo, which one don’t got draws
I’ma pinky roll, pass her to the dawg
Scottie pimp these hoes, show ’em Michael Jordan
All my diamonds bought without the clout
I put it up as if it was a drought
New York niggas call me without a doubt
I’ma ride for ’em like we at the house, uh
Ain’t got a beat in my trunk, yeah
Like factories, I gon’ ride these cars, yeah
Ride a Maybach like a hump, yeah
Backseat turn to a bunk, yeah
I take a trip to ya chain gang, I wanna go to ya compound
Love for every rich nigga except Donald Trump, yeah
All these rap niggas daddy
I should buy some Vans
Money long as a caddy, yeah
All these rap niggas daddy
I should invest in vans
I don’t do no dabbin’ fresher than some ranch

[Hook: Young Thug]
I’m on, on
I’m on, on
My bag and me, a bunch on
No more public homes, mama
We on, on
Turn the crunch on, I gotta stay on, on
I’m on, on
I’m on, on
I’m on, on
I’m on, on
I been racin’ from the start
Only [?] park the car

RAYE – Ambition lyrics

(feat. Stormzy)

[Verse 1: Raye]
In August, I’m staring at rain clouds
A descendant of London
I watch as people are falling like rain
Encouraged to seek other options
I don’t need other options
You either eat it or you spit it out
You’re either silent or you run your mouth
You breathe in or you breathe out
I’m so cold but the sun’s up
Like it’s winter all year, oh
So welcome you to it now
Oh, wait, that was my sound
Could you dig it up or sweat it out?
Could you give it up and sit down?
But after that, I hope you know your place
Cause you just gave me the damn crown

[Chorus: Raye]
And I’m gonna wear it proud
Watch me as I wear it now
I’mma ride this money like a wave
This money like a wave, this money like a wave

[Bridge: Raye]
Now I made it this far, but this far ain’t nothing
If we’re talking ambition, I think you should know that I don’t wanna settle for nothing
I wanna know that I got myself
I wanna ride my money like a wave
My money like a wave, my money like a wave, yeah

[Verse 2: Raye]
I want the future, I want the best view
I’d like to buy all my day ones a house too
Collie, Ben, Jodie, I got you
I’ve got a list of everything I would do
Make that dumb guy regret what he did do
Then he’ll be calling up my phone like “I miss you”
Then I’ll be like “haha, you can go now
Cause you didn’t wanna know when I told you
I’m gonna make something of my life”
Believe that, yeah babe
I’ve got God, he is on my side
And I’m a child of ’97 so I plan to be on time
And I’m ahead of this game
Yes, I were meant for this life, oh

[Chorus: Raye]
And I’m gonna wear it proud
Watch me as I wear it now
I’mma ride this money like a wave
This money like a wave, this money like a wave

[Verse 3: Stormzy]
You know I only phone back
If I know that it’s the money calling
Tell ’em bitches “do not phone back
I am in the studio recording”
Mummy, listen when I’m talking
Mummy, listen, it’s important
I wasn’t gonna tell you, but I thought I’d let you know
That I just got us both a mortgage
Now it’s top floor with these fancy reservations
I don’t even like it, I’m just here for observations
Tryna tell the difference from my people and my pagans
Cuh’ the last time that I slipped, I had a sticky situation
I will never slip again, you can put that on my savings
They wait for me to fall, I keep on waiting
This feeling is amazing, how’s it feel to hate the kid
But deep inside, you know you rate him? Man, that shit must be frustrating

[Chorus: Raye]
And I’m gonna wear it proud
Watch me as I wear it now
I’mma ride this money like a wave
This money like a wave, this money like a wave

[Bridge: Raye]
Now I made it this far, but this far ain’t nothing
If we’re talking ambition, I think you should know that I don’t wanna settle for nothing
I wanna know that I got myself
I wanna ride my money like a wave
My money like a wave, my money like a wave, yeah

[Outro: Raye]
Now I made it this far, but this far ain’t nothing
If we’re talking ambition, I think you should know that I don’t wanna settle for nothing

Gorillaz – Duetz lyrics

[Verse 1: 2-D]
London outside
Sleeping in a Co-op window
Duetz
Duetz

[Chorus: 2-D ]
Washed away
(Let me get washed away)
Washed away
(Let me get washed away)

[Verse 2: 2-D]
No, no, no, it’s nothin’ new
To force a light above yourself in costume
‘Cause you might not ever make it if you look like that
Get by same roads in costume

[Chorus: 2-D]
(Let me get washed away)
(Let me get washed away)
(Let me get washed away)

A Boogie Wit Da Hoodie – Way Too Fly Lyrics

[Intro: A Boogie Wit Da Hoodie & Davido]
Yeah
Oh yeah
(Let’s go, let’s go)
Yeah
(Let’s go, let’s go)
Oh yeah

[Chorus: A Boogie Wit Da Hoodie & Davido]
I’m way too fly, shine in the night time
I’m a vampire but I don’t bite, come outside when it’s daylight
But please don’t waste my time, I’m timeless I can’t lie
I bet I can hit it, give me one night (give me one night)
If I say the right lines

[Verse 1: Davido]
[?], said you the one though
Oh girl, I thought you said you the one
For your [?] girl, I’ll be a lover
[?], said you be the one
[?]
I was chilling by the bar
Sippin’ at the sea, you was having sex on the beach
Baby girl we gon’ shut down
[?], we go one time
This pussy got me on lockdown
I like it when she comes around, yeah

[Chorus: A Boogie Wit Da Hoodie & Davido]
I’m way too fly, shine in the night time
I’m a vampire but I don’t bite, come outside when it’s daylight
But please don’t waste my time, I’m timeless I can’t lie
I bet I can hit it, give me one night (give me one night)
If I say the right lines

[Verse 2: A Boogie Wit Da Hoodie]
I got the juice baby, yeah, put you in the mood baby, yeah
Sex with you was too crazy, yeah, wish there was two of you baby
Yeah, I need two of you, you should move how I move too, yeah
Black hoodie and some black boots in the 2018 Benz coupe, yeah
Left wrist lookin’ like ooh, and my pinky ring on froze, ooh yeah
Diamonds looking so cold, like an angel in the snow, yeah oh
All my niggas on go, act crazy on the road, mm-yeah
My Patek used to be gold, now it’s 54 a show, mm-yeah

[Chorus: A Boogie Wit Da Hoodie & Davido]
I’m way too fly, shine in the night time
I’m a vampire but I don’t bite, come outside when its daylight
But please don’t waste my time, I’m timeless I can’t lie
I bet I can hit it, give me one night (give me one night)
If I say the right lines

[Outro: Davido]
Shout out to my New York baby
Shout out to my [?]
Shout out to my African baby
Love to my London lady

Lil Skies – World Rage lyrics

[Intro]
Ayy, ayy
This that shit like
This that shit like where you just talk your shit like… haha
Go ‘head O
Ayy, I told them niggas like, look…
Danny, I see you

[Chorus]
Ayy, ayy, I need 20 for a verse, I need 40 for a show
I got bitches gettin’ naked, throwin’ money on the floor
Big Patek bust down, pussy hatin’ ’cause he broke
I ain’t never played the bitch, I’m in the game and that’s for sure
Claustrophobic, dropped the top, I had to switch lanes (skrrt)
My bitch is crazy, in her purse, she keeps a switchblade
I’m out of town, still wear the chain like I’m Johnny Dang
I make it rain in your city, bring the world rage

[Verse 1]
Lifestyle on 300, Sparta’s how we comin’ (we comin’)
Loverboy like I’m McLovin, I got bitches in London
You gon’ take a chance and get nothin’, niggas fake and be frontin’ (they fake)
Whole crowd lit, fist-pumpin’, on the stage, I’m jumpin’ (jump, jump)
I get cash in abundance, know I made it from my grind
I was waitin’ patiently, I knew this shit would take some time
She be sniffin’ too much coco, she can’t read between the lines
Fell in love with all the hype, now she don’t wanna go outside
I bust down the wrist, now my time is full of ice
I bust up my clique, now my niggas livin’ life
And you are full of shit if you think I would take advice
You were doin’ all the wrong to make sure I was never right

[Chorus]
Ayy, ayy, I need 20 for a verse, I need 40 for a show
I got bitches gettin’ naked, throwin’ money on the floor
Big Patek bust down, pussy hatin’ ’cause he broke
I ain’t never played the bitch, I’m in the game and that’s for sure
Claustrophobic, dropped the top, I had to switch lanes (skrrt)
My bitch is crazy, in her purse, she keeps a switchblade
I’m out of town, still wear the chain like I’m Johnny Dang
I make it rain in your city, bring the world rage

[Verse 2]
Ayy, and I can’t be tamed, put this shit on replay (replay)
Run her hand all through my braids, she know I’m the new wave (the wave)
Lately I’ve been on this chase, dark shades, Blu-Ray (Blu-Ray)
You will never take up my space, I don’t care what you say (you say)
I had to run it up
Don’t think that you’ve done enough, I blew up like Mrs. Puff
Now they all wanna fuck with us, and these girls fall in love with us
Like no, no, no, no, no
I gotta let you go, go, go, go, go, for real

Stacey J – Too Much lyrics

Intro
Stacey j
No 1 in African
Eazyprince on beat
Nahahaha
Listen

Verse 1
When am in trouble you gonna
Rescue me rescue me
If am in pain you gonna console me
Console me
When I need you uhh you gonna satisfy me satisfy me
You stand by me when people stand against me
Cos you my baby

Hook
E dey sweet me for body yoh
E dey sweet me for body oh oh
Baby carry me go away baby carry me go away
Dodorimado dodorimado oh oh narararara

Chorus
Baby you are too much oh
You are too much oh
Me and you go dey
Baby you are too much oh
You are too much onyekemo
Baby you are too much oh
You are too much oh
Me and you forever ah ah ah

Verse 2
You are giving me everything that I need oh
Ah ah ah
You showed me too much love baby oh
Your love dey killing me softly
Your love dey killing me eh eh
For your love I go go to American for your love
I go go to London oh my baby yeah
Baby yoh oh oh
You are my irreplaceable my one and only
No one but you, no one but you ah ah
Your love dey sweet for my belle
E dey totori my heart
Oh my baby oh
Dio dio dio dio dio dio oh
You are too much oh

Hook
E dey sweet me for body oh
E dey sweet me for body oh
Baby carry me go away baby carry me
Go away
Dodorimado dodorimado oh
Narararara

Chorus
Bsby you are too much oh
You are too much oh
Me and you go dey
Baby you are too much oh you are too much oh
Onyekemo oh
Babby you are too much oh
You are too much oh
Me and you forever ah ah ah

Is stacey j
Stacey j upon the sing
Ah ah ah ah
Eazy prince upon the beat oh
Ah ah ah ah

Jessie J – I Believe In Love lyrics

[Verse 1]
I find myself daydreaming of a better world
Memories can bleed in my open heart
London clouds are crying
But I’m dancing in the pouring rain
Grown up life is to learn not to fall apart

[Pre-Chorus]
And I’m closer to high vibrations
Climbing up the sweeter and deeper waves
And what I can do, to make it
To be happy
To be true to me, in every way

[Chorus]
I know I’ll be alright
I know that I’ll survive
I know I’ll rise above it
‘Cause I believe in love
And even when it’s hard
Livin’ with my scars
It never miles to nothing
‘Cause I believe in love

[Verse 2]
Nobody tells me how to grow, no
I just gotta know
Emotional, but I won’t define myself on the past
Balance is key
Understanding I can won’t be always in control
Sometimes the right road goes by taking the broken path

[Pre-Chorus]
Now I’m closer to high vibrations
Climbing up the sweeter and deeper waves
And what I can do, to make it
To be happy
To be true to me, in every way

[Chorus]
I know I’ll be alright
I know that I’ll survive
I know I’ll rise above it
‘Cause I believe in love
And even when it’s hard
Livin’ with my scars
It never miles to nothing
‘Cause I believe in love

[Bridge]
Yes
Keep it simple
Follow my heart
This love I’m into, yes
[?]
The more the time flies away
The closer it feels to wise with age
No energy is giving me life

[Outro]
‘Cause I believe in love
I believe, I believe in love
Yeah, yeah, yeah, yes
‘Cause I believe in love (I believe, I believe in love)
Oooh yeah, yeah
‘Cause I believe in love
Ohh, ‘cause I believe in love
I believe in love

OBLADAET – PANDA FREESTYLE (feat. STED.D) lyrics

[Интро: Obladaet x sted.d]
Панда, ха
Ра-ра-ра
Пррра
Окей
Окей
Панда
Е—еее
Панда
Панда, панда, панда, панда
Панда, панда, панда

[Куплет 1: Obladaet]
Делаю музыку, она не для стада
Много работаю, но не для стажа
Волнует прогресс, но даже на старте
Вижу успех после смс с банка
Total black, phantom
Я в монохроме, будто бы панда
Lacoste крокодил или вкинут на камо
Тусуем как психи, похожи на панков
Total black, phantom
В монохроме – как панда
Льем Bombay на пол
Вылез джин с даблкапа
Всё о себе, врубай за пасхалки
В вашем кино буду в роли бастарда
Видел их путь на банковских картах
Я должен не спать, чтобы выспаться в Ламбо
Делаю музыку, она не для стада
Много работаю, но не для стажа
Волнует прогресс, но даже на старте
Вижу успех после смс с банка
Total black, phantom
Я в монохроме, будто бы панда
Lacoste крокодил или вкинут на камо
Тусуем как психи, похожи на панков
Total black, phantom
В монохроме – как панда
Льем Bombay на пол
Вылез джин с даблкапа
Всё о себе, врубай за пасхалки
В вашем кино буду в роли бастарда
Видел их путь на банковских картах
Я должен не спать, чтобы выспаться в Ламбо

[Бридж: Obladaet]
Райдим, райдим, ха
Мы райдим, райдим
Панда
Пра-пра-пра
Ха
Панда
Е-е
Панда
Е-е-е-е
А, а
Панда, панда, панда, панда

[Куплет 2:Obladaet]
Видел меня на этих сайтах?
Я не просил, вы сделали сами
Скатился и меня везут эти сани
Жизнь как экзамен, живу как дизайнер
Броуди, ты знаешь?
В таксе AUX? что делать ты знаешь
Группис жалеют что с нами связались
И грязные мысли под чистым кристалом

[Куплет 3: Obladaet]
Total black, phantom
В монохроме, как панда
Льем Bombay на пол
Вылез джин с дабл капа
Забудь мне не нужны баттлы
Все само ползёт ко мне в лапы
Мы будто в тумане, тут вроде не London
Я должен не спать, чтобы выспаться в Ламбо
Они пишут “ты топ, Обла”
Давай как раньше, стоп, Обла”
Меняюсь, но я все тот Обла
И отдай мне кэш за альбом года
За альбом года?
Я правда душу за альбом продал
Оу, черт! я записал альбом с богом
И альбом стильный, будто альбом с модой
Collezioni
На красных глазах мы летим на зелёный
Вся туса на траур, ведь убились в субботу
Что делал вчера всегда помню сегодня (Помню сегодня!)
Основа на поле
Ты хотел дроп? трек снова на воле
Ты лезешь с советом – меня не заботит
Я занят делом, но я не на работе

[Бридж: Obladaet x sted.d]
А
Ха
Панда, панда, панда
Е-е-е
Пау, пау, пау
Панда
Панда, панда, панда

[Куплет 4: Sted. d]
Totall black – phanthom
В монохроме, как панда
Кубок ядреного пойла в банду
Вывод нала на новый bottle
Я сыт по горло унылым адом
Их слэнг подобен кретинам с арго
Разлом в культуре за пару сек
Едем на это кино – в икарусе
Oh my gosh, правда
Ты выиграл суку в корейский рандом
Зачем сундук, у меня есть карта?
Мы в booty bay с моей командой
Е-е
Свеж, как дъявол
Внутри меня кто-то, он рвётся когтями
Среди безнадежных кварталов рецепты от кашля, как рай для бродяги
Айо
Я снова болен – в моем бомбее густое горе
Мы видели много людей, но не один их них не подарит покоя
Я в этих пустышек теряюсь easy
Смешался с толпой, их никчемной жизнью
Я обеспокоен
Но кап полон: в нем чай с мятой, вискарь с колой
Totall black – phanthom
В монохроме, как панда
Кубок ядреного пойла got em
Вывод нала – кислотный слалом
Мы катим в кромешной тьме
Я демон от музыки – всё в огне
Ты лезешь с советом – дам ответ
Душа – мертва, я не с ней

[Аутро: Obladaet]
А-а-а
Панда, Панда

OBLADAET – JUMANJI lyrics

[Куплет 1]
Ты всем нужен, до тех пор пока не сел в лужу
Но всем лучше, если б не было тебя, слушай
Я свой мир рушил, в один миг свой мир рушил
Собирал по частям и рушил
Но это не Lego, не игрушки
Вставляла меня, пробовал эту наркоту на себе
И все больше рубил ветку, на которой сидел
Меня не отпускает и это во мне и по сей день
Жала на кнопки, играла мной, как RPG по сети
Важно, что скажут со стороны и все ну чего они пялятся?
Это из рук вон, а я из рук вырывал тебя, будто черная пятница
Ты шла за мной вслед, но чаще казалось, что я просто пятился
И этой ночью мне не спится, будто я чертов пьяница
Я в черном, все попытки в итоге оказались никчемны
Нервы не к чёрту
Меня не было тут, но появился останусь с ночевкой
Похуй, о чем ты?
Ой ладно, все течет Темзой. Oi, London
Пожирал взглядом, и не ставил крест на ней
Будто бы на тишке Boy London
Быть человеком – замком
Строже программы “Человек и Закон”
Ты будто попала под дождь, а я был тем самым человеком с зонтом

[Припев]
Джуманджи
Мы играли в игру
Джуманджи (х8)

[Куплет 2]
Aw God shit
Мы играли в игру Джуманджи
Я кинул кости и ждал тебя тут
Твои слова на листах – бумажки
Мой черный фасон – сияющая дельта
Ты чертов масон
Не мог проснуться, думал что это сон
Ведь ты попалась, твое сердце в моем черном лассо
Черный список, но не Black Paper
Все, что есть в ранце, будто Backpacker
Иди по кривой, хоть был вектор
Кидай больше слов, ведь тут был ветер
В ушах Hope Виз Калифы
Уже кабина едет, как вниз на лифте
Дальше идти или тут залипнуть
Добиться своего и снова вниз с Олимпа
Не ждать зеленый, а двинуть на красный
Пусти на самотек, ведь нахуй стараться
В голове бардак, было все напрасно
И снова Twitter, WhatsApp, мой Ask-book
Нет слов, будто нет азбук
Снова сжигать мосты? Не, я пас тут
Ведь их развели просто
Одно поле, но мы по флангам разным
Холодный рассудок, в руках пара сумок
Никто не осудит и куда я по сути
Холодный рассудок, в руках пара сумок
Никто не осудит и куда я по сути
Холодный рассудок, в руках пара сумок
Никто не осудит и куда я по сути

[Припев]
Джуманджи, мы играли в игру джуманджи
Джуманджи, мы играли в игру джуманджи
Джуманджи, мы играли в игру джуманджи
Джуманджи, мы играли в игру джуманджи
Джуманджи, мы играли в игру джуманджи
Джуманджи, мы играли в игру джуманджи
Джуманджи, мы играли в игру джуманджи
Джуманджи, мы играли в игру джуманджи

Hanson – Finally It’s Christmas (Lyric Video)

It’s been said many ways
Feliz Navidad and Happy Holidays
Don’t matter if you’re nine or ninety-eight
Everyone’s waiting for the chance to say

Finally it’s Christmas, yeah, feels good
Around this time of year
You can’t deny there’s something in the air
If you’re in London or in Santa Fe
You’ll hope for snow to fall on Christmas day
Finally it’s Christmas

Don’t delay
Santa’s on his way
So get your stockings up
In time for Christmas day
Don’t dismay
Throw your cares away
It’s gonna be okay
Finally it’s Christmas
Finally it’s Christmas
Feels like we’ve been waiting all year
Finally it’s Christmas
Can’t you feel the Christmas time cheer

All of the plans are made
So tell your urgent caller it can wait
Just sit back and listen for the reindeer on the rooftop
Flying North Pole to Tulsa on a non-stop

I hear the church bells ring
The chorus welcoming the newborn king
Good will and love is what the savior brings
Now the world comes together and sings

Finally it’s Christmas
Feels like we’ve been waiting all year
Finally it’s Christmas
Can’t you feel the Christmas time cheer
Finally it’s Christmas

(Shake your Christmas bells)

Don’t delay
Santa’s on his way
So get your stockings up
In time for Christmas day
Don’t dismay
Throw your cares away
It’s gonna be okay
Finally it’s Christmas day

Shake your Christmas bells

Finally it’s Christmas
Feels like we’ve been waiting all year
Finally it’s Christmas
Feels like we’ve been waiting all year
(Finally it’s Christmas)

Finally it’s Christmas

Chronixx Calls For Buju Banton Concert Promoted By Government


If Chronixx has his way then the government would promote a massive concert for Buju Banton when he is released next year.

The young reggae act made a surprised performance at Dubwise in St. Andrew last weekend where he calls for the Jamaican government to support reggae music, as well as, to host a massive concert for Buju Banton. “It is the number one export in this country,” Chronixx said about reggae/dancehall music.

“It’s the only thing that we export all year round. The city of London invite me the city of Kingston neva invite me to do a show yet, enuh,” the singer added. “They don’t think it’s worth it to say we are going to put in our budget $20 million for Buju Banton and Sizzla to perform.”

Buju Banton is a legend in reggae and dancehall music after starting out his career doing hardcore dancehall and later transitioned into Jamaica’s more conscious musical art form. The Grammy-winning reggae singer is currently serving a 10 year prison sentence for drug trafficking and will be released from prison at the end of next year. Buju was convicted in 2011 for three counts of drug trafficking and filed numerous appeals which he lost.

Do you think that the Jamaican government should fund a Buju Banton benefit concert when he is released?

Richie Stephens to be Honored by ASCAP For Rihanna’s “Work”


The American Society of Composers, Authors, and Publishers (ASCAP) set to honour Richie Stephens on October 16th, in London, England.

ASCAP is the only American based association that protects the copyrights of songwriters, composers and music publishers by monitoring public performance of their music, whether it be live performance or via broadcast, and appropriately compensate them.

Richie Stephens is a successful Jamaican singer/ producer for over two decades; he was born and raised in Westmoreland. Stephens recorded his very first song in 1984 but did not hit stardom until the 1990’s . The reggae crooner was not only a Grammy Award winner but was also awarded the Jamaican Governor-General’s Achievement Award for contributing to civic, social and recreational projects in and around his birth parish.

Stephens will be given an American Society of Composers, Authors, and Publishers (ASCAP) award for his contribution to Rihanna’s chart-topping single ‘Work’. ‘Work’, captured the song of the year and also sold the most digital copies for 2016. Stephens contributed the Sail Away ‘riddim’ on the Pot of Gold label to the hit, and was credited on the song as a co-writer.

In April, Stephens was awarded his first American Society of Composers, Authors, and Publishers (ASCAP) Pop Music Awards in Hollywood. “I am so blessed to be honored in the United Stated and now to be recognized in England. It is a major accomplishment at this time in my career. I share this award with my fans globally and three members of the Ska Nation Band who will accompany me on the red carpet in London,” said Stephens

Some of Stephens most popular songs includes “Winner,” “Color of Love,” “Live your Life,” and “Reggae Evolution.”

To tune into the awarded video click on the link:

AJ Tracey – Quarterback

[Chorus]
Get into the bag, I want all of that
Got her number but I ain’t calling back
Automatic whip, no stalling that
Man’ll call the plays like a quarterback
Get into the bag, I want all of that
Got her number but I ain’t calling back
Automatic whip, no stalling that
Man’ll call the plays quarterback
Get into the bag, I want all of that
Got her number but I ain’t calling back
Automatic whip, no stalling that
Man’ll call the plays quarterback
Get into the bag, I want all of that
Got her number but I ain’t calling back
Automatic whip, no stalling that
Man’ll call the plays quarterback

[Verse 1]
Running up checks like a doctor
I’m tryna win gold like Oscar
A new flow, try and do it too, impostor
Got them all running off the beat like Costa
My team got a five star roster
Your bitch threw a fit when I tossed her
If she wanna fuck twice, that’ll cost her
If she wanna fuck twice, that’ll cost her
Leave me be, get out my face
I secured the bag and went on my way
They behind, they’re not on my page
Go learn to grind and get on my wage
You ain’t bae so don’t call man bae
You ain’t my mate so don’t call man A
Young nigga, they know my age
Free my bros, they locked in that cage
And I’ll still miss the drop if I want
Turn up, finesse the chick and I’m gone
I get head and keep all the lights on
No wasteman can jump on my song
They thought I would flop and they’re wrong
Still here, fit as hell my life’s strong
Still here, fit as hell my life’s strong

[Chorus]
Get into the bag, I want all of that
Got her number but I ain’t calling back
Automatic whip, no stalling that
Man’ll call the plays like a quarterback
Get into the bag, I want all of that
Got her number but I ain’t calling back
Automatic whip, no stalling that
Man’ll call the plays like a quarterback
Get into the bag, I want all of that
Got her number but I ain’t calling back
Automatic whip, no stalling that
Man’ll call the plays like a quarterback
Get into the bag, I want all of that
Got her number but I ain’t calling back
Automatic whip, no stalling that
Man’ll call the plays like a quarterback

[Verse 2]
I’ve got her number but I’m just texin’
Hittin’ up my line on the next ting
I don’t want you I want next ting
Baby girl I owe you a sexing
Break man’s soul when I’m flexing
But he try cap so I decked him
I took a grey ting to my hotel
And i had her on her knees when I checked in
My LA dons make the Draco fly
Like bread before the Draco sign
Came through, I’m here to take what’s mine
No "Whatless" old man can make me sign
I was doing laps on my Ridgeback
Nah i was doing laps on a specialized
If i had beef then i slid back
Girl you wanna fuck? Better get in line
AJ, T
Be like, me
London’s best star in QB
If people say "fly" I’m like wait, who? me?
Made the trap jump, Jordan, 2,3
My bitch’d bad, thick and bou-jee
I was in the states counting, blue, cheese
Step up on the stage and they never boo, me
Sleep on a nigga, go ahead and you’ll, see

[Chorus]
Get into the bag, I want all of that
Got her number but I ain’t calling back
Automatic whip, no stalling that
Man’ll call the plays like a quarterback
Get into the bag, I want all of that
Got her number but I ain’t calling back
Automatic whip, no stalling that
Man’ll call the plays like a quarterback
Get into the bag, I want all of that
Got her number but I ain’t calling back
Automatic whip, no stalling that
Man’ll call the plays like a quarterback
Get into the bag, I want all of that
Got her number but I ain’t calling back
Automatic whip, no stalling that
Man’ll call the plays like a quarterback

Playboi Carti – Magnolia (On TRL) (Live)

[Tag]
Yo Pierre, you wanna come out here?

[Intro]
In New York I Milly Rock, hide it in my sock
Running from an opp, and I shoot at opp (what)
And I’m on the block (what, what, what)
And I’m on the block (what)
In New York I Milly Rock (hello?) hide it in my sock (what)
Hide it in my sock (what) selling that rerock (what, what, what, what, what)

[Hook]
In New York I Milly Rock, hide it in my sock
Used to sell rerock, running from the cops
Shooting at the opps (Yo Pierre, you wanna come out here?)
Shooting at the opps, cause I run they block
Gimme top (top) in my drop-top
All these hoes gon’ flock (flock, flock) when I drop (drop, drop)
All these hoes gon’ flock (flock, flock) when I drop (drop, drop)
All these hoes gon’ flock (flock, flock) when I drop (drop, drop)

[Verse]
Woo, woo, woo, woo
Woo, woo, woo, woo
All these hoes want cash, all these hoes want bags
Fucking on yo’ bitch, uh, I’m her dad
All these niggas sound like cash (sound like cash)
I’m a soldier, damn, I thought I told you
Shootin’ like a soldier, like I’m from Magnolia
All these, niggas, always, fold
Big, bank, never, fold
Sippin, Act’, fill that shit slowly
Bitches, on me, say she like my clothing
I’m in London, Young Carti global
Designer is on me, call it dirty laundry
All these bitches want Young Carti, Young Carti (yeah)
Ay, Young Carti, Young Carti (what)
Young Carti, Young Carti (yeah)
All of your bitches they loose
All of your bitches they loose
All of my bitches they rich
And they stay rockin’ that Rick
What, what, huh, what, what, huh
Rich, rich, Cash Carti, bitch
Rich, bitch, got a rich clique
I’m suckin’ on the clit, she suckin’ on the dick
Give that hoe a tip, told her "Buy some kicks"
Then I brush my teeth, pop up in a whip
Glocky in the whip, glocky in the whip
And I’m cocky, fuckin’ on a thotty
She just wanna plot me, bitch can’t stop me
I’m riding in a Mazi, this ain’t even my Mazi
Oh, that’s not yo’ thottie, yo’ bitch look like a aunty
Walked in with Ashanti, damn, that look like Shanti
Damn, that look like Carti, I think dat be Young Carti
Heard he spent a hunnid on a fucking watch piece, that’s filthy

[Hook]
In New York I Milly Rock, hide it in my sock
Running from an opp, then I shoot at opp
And I’m on the block
And I’m on the block
In New York I Milly Rock, hide it in my sock
Hide in my sock, selling that rerock
What, what, what, what, what
In New York I Milly Rock, hide it in my sock
Use to sell rerock, running from the cops
Shooting at the opps, you know what I’m sayin’?

[Outro]
Yo, Pierre, you wanna come out here?
Bitch ass nigga, fuck that nigga man!

James Arthur – Prisoner lyrics

If I’m underneath the table
Then pour me another drink
Oh, I don’t want to remember
I don’t even want to think
I’m a slave to my addiction
I’m a hazard to myself
On a fast track to Perdition
Oh, I’m heading straight to hell

When I throw up out your window
You should confiscate my key
I will drive you up the fucking wall
Is it too late to believe? Woah

I tried so hard to change
But the devil locked my door
I wear these heavy chains around my neck like a prisoner
I just want to love
But he won’t let me go
Loosen up my chains, oh I’m a condemned prisoner

Oh oh oh oh
Oh oh oh oh
Oh oh oh oh
A condemned prisoner

I stood there in the spotlight
With the city at my feet
But I was a dead man walking
Nothing ever comes for free
So I moved on down to London
Where I traded in my soul
I could not fill my heart
With all those one night stands and gold

So throw me out your mums house
I’ve been living there too long
Well she never liked me anyway
‘Cause she knows I’m northern scum

I tried so hard to change
But the devil locked my door
I wear these heavy chains around my neck like a prisoner
I just want to love
But he won’t let me go
Loosen up my chains, oh I’m a condemned prisoner

I think my minds on the blink
So I get high, so high and I drink
I suffered enough of the heart palps when I think
Discovered it up at the bar 9 drinks in
Now I’m at the disco, convinced the girls think I’m the bizzo
Course I’m on the brink
Looking at me funny then course I’m gonna swing
Karaoke? Course I wanna sing
Oh, pour me another drink
It always ends the same

Oh oh oh oh
Oh oh oh oh
Oh oh oh oh
I’m a condemned prisoner

I tried so hard to change
But the devil locked my door
I wear these heavy chains around my neck like a prisoner
I just want to love
But he won’t let me go
Loosen up my chains, oh I’m a condemned prisoner

Skeme – Red Coupe (feat. London Jae)

[Hook: London Jae]
Red coupe, chanel boots (ooh)
Lil mama you fine, I had to tell you (ooh)
Girl I’m a hustler, I might just sell you (ooh)
Not here on a deal, I’m tryna nail you (ayy)
Stunt hard and you know it
I’m on them bars and you know it
I got ’em cars and you know it
In my garage and you know it
Red coupe, chanel boots (ooh)
Lil mama you fine, I had to tell you (ayy)

[Verse 1: Skeme]
There right here just me and London
I might take your hoe out to the London
Might just jump in that pussy no bungee
I not a last nigga who will get no money
Real blood like a vampire
I want nothin blue but them hunnids
And I need at least like a rack of those
I don’t know what the rap niggas actin’ fo’
Baby don’t fuck with nothin’ else but them real niggas
She allergic to fake shit
I give that dick to her back to back to back to back
I don’t need the brake shit
See i give the rollie a facelift
VVs flooding on the face bitch
Pull up in foreigns and just murk in the parking lots
And then i go beat the case bitch
Red Coupe with chanel boots
That’s type of girl i can call boo
She the type that you saw as ready for you
Everytime you tell her fall through
You don’t be giving me problems and nothin baby
That’s why I skip all the talking and get to the fucking baby

[Hook]
Red coupe, chanel boots (ooh)
Lil mama you fine, I had to tell you (ooh)
Girl I’m a hustler, I might just sell you (ooh)
Not here on a deal, I’m tryna nail you (ayy)
Stunt hard and you know it
I’m on them bars and you know it
I got ’em cars and you know it
In my garage and you know it
Red coupe, chanel boots (ooh)
Lil mama you fine, I had to tell you (ayy)

[Verse 2: Skeme]
Lil mama you know that you fly
You know that you fire
You know that you flyin
Girl let’s put tac on my wrist
Gotta tell that don’t you waste time
With the mimes
Baby you know that you fly
You know that you fire
You know that you flyin
And if you fuckin those broke niggas
I think there to stop for a change yeah
Benzie i m switchin my lane yeah
Rari i m switchin my lane yeah
Lambo i m switchin my lane yeah
Pour up and sip for pain ,yeah
Pour up just for pain ,yeah
Pint me a perk for the pain ,yeah
Sip on that remi(?) pour me molly
To come to and get you the thang yeah
(Hoooooh shit)
Don’t play with this plan
Because girl that’s a violation
Ain’t no time like the present baby
So what’s use of all that time wasting
VVS’s only shine crazy
I mean VVS’s only shine brazy
And I get that dick to her on that drank
And pour another line baby

[Hook]
Red coupe, chanel boots (ooh)
Lil mama you fine, I had to tell you (ooh)
Girl I’m a hustler, I might just sell you (ooh)
Not here on a deal, I’m tryna nail you (ayy)
Stunt hard and you know it
I’m on them bars and you know it
I got ’em cars and you know it
In my garage and you know it
Red coupe, chanel boots (ooh)
Lil mama you fine, I had to tell you (ayy)

[Outro: Skeme]
I just to had tell you something baby
Listen, stop playing around with all that bullshit baby
Because if you do that you slippin soon you know what I am saying
You need to turn around to see what you trying down baby
Because it’s real shit going all around this motherfucker
You didn’t knew now you do
TM88 you a fool for this shit nigga
S/o to my nigga Weezy going crazy brazy crazy
West side Inglez, I love this shit

Stronger now – Popcaan lyrics

Lyrics Popcaan – Stronger now

One go enuh
It real
God over devil enuh
Ghetto yute still
Stronger now yeah
Stronger now
Woyoiii.

A fight dem a fight
And a rise man a rise
Most time I gi give things
But man advertise
Bad news woman dem love televise
More time dem haffi wonder
If me vulcanize.

Cah man stronger now, stronger now
Unruly stronger now, stronger now
Notnice stronger nooow, stronger nooow
Unruly stronger nooow, stronger nooow.

We nuh give a f*ck weh di media say
We just listen weh di real a say
More time dem laugh just teeth deh deh
Dem nuh waan see you reach no weh
Me know people a try hard fi break me
Thats why me nuh trust dem lately
Stress pon mi brain, so much frustrate me
Man a foward from dumplin and gravy.

So, write me down inna you history book dem
Yow give me me Grammy and shook dem
Billions gone inna me book dem
From me see it inna me yute dem
Me see it inna me pipeline
God inna me corner
Greatness run inna mi family
From mi likke bit mi popular.

Cah man stronger nooow, stronger nooow
Stronger nooow, stronger nooow
Weh dem a say? A fight dem a fight me?
Stronger nooow, stronger nooow
Me stronger nooow, stronger nooow
Me story, top story.

Dem, cyan forget the name Popcaan
Cyan forget the name Popcaan
Pon the Gaza block man born
Now we reach the top platform
Some a wonder how di f*ck that gwan
P***y, dem a underestimate badman
Right now mi colder than London
Nuh stop shake the hater dem madman.

Write me down inna you history book dem
Yow give me me Grammy and shook dem
Billions gone inna me book dem
From me see it inna me yute dem
Me see it inna me pipeline
God inna me corner
Versuri-lyrics.info
Greatness run inna mi family
From mi likke bit mi popular.

Cause badman stronger nooow
Top story
Unruly stronger nooow
Yeah man a one go enuh
Unnuh neva do
Stronger nooow, stronger nooow
Stronger nooow, stronger nooow
Unruly, unruly, unruly, unruly
Stronger nooow, woyoi
We stronger nowww.
Popcaan lyrics
Video now