Review: Sharp bass fusions from newcomer Huffy on J Beatz Crown Jules imprint. "Midfield" shoots and scores with staccato bass and drums stabbing and flexing in unison. "Silah" takes down a grimier path with broken glass textures and iced-out sci-fi aesthetics while "Farewell" lifts the spirits with a palette of east-facing pipes and woozy, blurred stop/start cuts. Finally "Profit" seals the deal with a spiritual groove that touches on the deeper side of trap and wave music. Rich in soul, variety and space.... Huffy's puffing on a long game.
Review: Serious grime business from long-standing Enfield roadman. Fresh from his adventures on Project Allout, here he brings clutch of war jams, each one riddled with dark energy and heavily coded drama. "Chestplate" looks towards the dubstep side of the game with its epic warbles popping on every chiselled snare, "Immortal" features a slick spar between Nico Lindsay, Capo Lee, Merky Ace and Blay while the instrumental reveals the powerful synth horn funk they're spitting over. Further into the EP we wade to find gold at the end of the gloomy, pensive "Dartford" tunnel before taking more of a chiller approach on his warped and wonderful remix of "Drunk".
Gyal From Brum (Instrumental) (instrumental) - (3:45) 140 BPM
Hop Scotch - (3:14) 93 BPM
Sket - (3:48) 93 BPM
Nutshell - (3:42) 140 BPM
Review: Vibed-out instrumentals from heavyweight grime flexer J Beatz. Five tracks deep, each one hits the spot: "Stinjan" gets down with a classic housey twang and groove so heavily swung it's almost broken beat or UK funky while "Gyal From Brum" continues the house theme with a deep swimming string hook that lilts with hypnosis. Deeper we travel for some serious turn-of-the-century assaults with "Hop scotch" and "Sket"; all snares, orchestral drama and brutal body bass, file for special occasions. Finally "Nutshell" closes the EP on a sultry R&B flex. Low-slung feels, smoking 808s and lavish strings. More fire than two whole series of The Apprentice.
Review: Crown Jules is known for an uncompromising approach to all tings bass. Here it presents a selection of tough cuts from the label's roster. "Ram Jam" begins with some ominous hip-hop-on-a-tropical-vibe attitude with plenty of carnival tempos and stabby fake horns to boot. Next, and "Muky" by Sean D is a menacing bouncer that builds intensity with an incessant buzz and shrill high-end melodies. J Beatz appears with Limit for the dark alley grind of "No Signal" lastly Beat Boss 4 champion, Sware, rocks up to deliver "The Flow", a slice of elasticated electro with a hint of ghetto sass.
Review: Crown Jules is an independent music label founded by the North London producer Jason Jules, aka J Beatz. He and Spooky join forces here and it's set to be another busy year for both producers and it's no surprise given the work-rate from them isn't stopping. They are both highly skilled producers with respected reputations. Anyone doubting their abilities are gravely mistaken as their Maggie EP proves that they've got patterns for days in the beatmaking world. Starting off in properly wonky business with the gritty title track, next "Ponders End" shows they've got skills in the hip-hop department too on this dope urban jam. They save the best for last on their explosive grime anthem "Sargent" which is actually by J Beatz but remixed by Spooky.
Review: Crown Jules is the up and coming North London based grime label founded by producer J Beatz, also known to his mum as Jason Jules. Now the imprint introduces the somewhat illusive, Sware, who if his two word artist bio is correct is a 'grime producer'. 'Irish Don' is ram jammed with quick moving reverberated synths and bass, the quick snaps between beat and open space make the track seem almost aggressive. 'The End' is slow moving and has a creepy house atmospherics, but the track is made fun with its blobby bouncing sub. The distinguishing feature of 'We Got Amm' is its foggy, echoing shroud which masks the whole track in a sense of paranoia, you won't be prepared for the onslaught of automatic gunshots. 'Lava' takes the sounds oldschool, with wobbling, warped subs and a simple space laden beat.