‘Don’t Miss What’s Right In Front Of You’ is very Parisian in terms of the sound, I think that might just be the choice of instruments, but I like it, it sounds inspired without sounding like the soundtrack to every french love story montage ever.
Opener 2:32am introduces the theme of insomnia, referenced in the title. It begins with static, and the repeating tones and strange countdown of a numbers station, creating a feeling of paranoia, solitude and trepidation. The first beat blasts in over the samples with the assault of first-wave dubstep or lo-fi, underground trap, Meraki’s flow a devastating barrage of triplets, sometimes nasal and imperious, sometimes breathless and anxiety-ridden: “Welcome to the shit show, my life.”
The tone for the track is set from the get go. No need for messing around with turn arounds or fills, the piano and backing vocals are all that's needed. It's almost like Gordon needs his listener to be relaxed to enjoy this song. The piano is very mellow here, it does a great job of outlining the chords while a guitar is finger picked over it. The guitar isn't too sharp in the mix but you can hear it well enough, even in those magical moments when the keys and guitars line up to hit the chords on the same beats. Even the electronic drums contribute to how much of a relaxing experience listening to this track is. They're lower in the mix than a full kit might have been. In a way it's more important that the bass drum is felt rather than heard. It fits well considering the other instruments are being played around each other almost as much as they're being played with each other.
The words "Handsome bastard" are thrown around a lot these days. But Matt Scott is releasing his latest single "Kicking Leaves" on the 30th of November and it's only fair he should be recognised for what he is. So 'mon in and sit with me, let me tell you all about a brand new single from Matt Scott. A musician, a story teller, and a downright handsome bastard.
Around the middle of this year my passion for gig going went from what always felt like an eternal roaring flame to a dwindling spark that was close to being extinguished.
I just wasn't feeling it anymore.
The rise of excitement pre gig had vanished, the losing myself in the moment of a good show had went awol, and post gig I wasn't feeling much of anything at all.
While MVCC’s flow and the Kid Robotik production are among the best on offer in this year’s bumper crop of rap releases, it’s the thematic concerns which elevate this to must-listen status. “My circle is smaller now, got a page in my book, let me draw it down,” rhymes MVCC on Sao Feng, eloquently expressing the sense of a shrinking, indifferent world which grief brings.
Like Physiks and Shogun, who both feature heavily on the album, Gasp’s brilliance also lies in being able to straddle different stylistic trends in rap music, from the intense assault of trap beats with dizzying multis, to head-nodding boom-bap and back again. His origins in the seminal crew The Being mirror the creative energy which saturates this impressive, dynamic album.