The Press Release for Live From The Breadline
declares that ‘Part 2 is UK urban music’s
best-kept secret’, that over the past decade he’s
‘been constantly ahead of the game’ and
that ‘many of his innovations [have prefigured]
the current Black Music renaissance in this country’.
That the man on the cover image appears to be a white
man makes this copy a tad unsettling, given the history
of white appropriation of black musical innovation (and
is that an air rifle he’s clutching?) Press releases
are lessons in hype and hyperbole, but apart from these
concerns it is difficult not to have one’s hopes
raised given the signifiers – urban, underground,
raw, streetwise and so on - carefully deployed throughout
the text.
Part 2 is probably best known for his well-regarded
productions for UK hip-hopper New Flesh, as well as
remixes for the likes of Roots Manuva and Saul Williams.
Live From The Breadline, however, is his first
release as leader and its fifteen tracks (two of which
are brief skits) feature an assortment of guest vocalists,
including New Flesh’s Toastie Taylor and Juice
Aleem. So does the music deliver? Well, the beats kick,
skip and bounce very nicely, while the bass is satisfyingly
in yer face and shares the limelight with the vocalists.
Live From The Breadline weaves a variety of
styles together that includes elements of R’n’B,
breakbeat, grime, soul, reggae, hip-hop and UKG. If
that sounds like it might be yet another mishmash of
twelve inches, Part 2’s vivid style and attention
to detail binds the project together into a coherent
whole. The vocalists are highly creative and beautifully
produced: it feels like they’re right in your
head, the sound’s so nakedly clear. The subject
matter is like an upbeat Streets
- minus the laconic dolefulness.
Chasin’ features Juice Aleem’s
brilliantly delivered tale of flirtation via texts and
the events of a night’s clubbing. Concrete
Jungle could be a noughties update on The Specials
classic with which it shares its title. It is pure UK,
but there’s no sign of parochialism or US-centric
derivativeness. With its interlacing of spine-tingling
grime bass, ragga jiggery and soul/reggae vocals, it
puts the UK at the centre of the map with the Caribbean
and the States audible, but not crowding the outcome.
And that’s what Live From The Breadline
really delivers – a sense of vibrant life and
attitude exuded with every chorus, stanza, shout and
beat. This reviewer is reminded of The Neptunes’
brilliant productions except that Part 2’s project
is actually likeable, it is possible to relate to its
surfaces and sentiments, instead of being worn down
by the gloss and the fronting that Presents... Clones
seemed to do so relentlessly. Live From The Breadline
delivers a brilliant, visceral ride. Highly recommended.
Colin Buttimer
4.5/5 |
