USER REVIEW

The self-prescribed 'King of Radio 1' is moving in a new direction.

In the wake of his smash-hit, Wearing My Rolex, Wiley's latest release, 'Grime Wave', is a fine exposition of what Wiley himself has described as 'commercial grime'. The appeal to a wider market is evidence of an artist trying to claw back missed opportunities, of a Wiley engaged in his own 'Race Against Time', and in the process showing the detractors that grime music offers more than the perceived and abundant stereotypes.

'Grime Wave' shows a Wiley that firmly pushes his own agenda, carrying the scene with his own manifesto of promise with the first hook, that he personally has to 'make sure grime stays, one day you'll see grime pays'. The title-track sets for what is to follow, an attempt to make a more palatable grime that can 'pay'. While this invariably means experimentation, the mixtape does not descend into a hot-potch of different elements, and the faith with the more conventional lyrical content keeps this release rooted in the underground.

Locality is stressed, and the insular Bow E3 has been left behind for a representation of Living in London.

The title tells its own story, as does Local Lad, and keeping things close to home is reflected in the features on this CD. Pay As You Go and Roll Deep veteran Flow Dan is seemimgly omnipresent, with the youngers forcing themselves into the reckoning, such as South London's Messy and Roll Deep upcomer Brazen. Jookie Mundo manages to squirm onto the last two Wiley releases in a row, and Cookie proves he's still alive on 'Anything is Possible', which also features Boy Better Know's Frisco.

Wiley tries to reach out from below, and he does with some success, partly opening the door yet willingly keeping it ajar.

The highlight for newer fans is If You're Going Out I'm Going Out Too, a tune with a nice vibe that is indicative of a newer sound.

Creditably, the track, while adding diversity, does not dominate, being wedged between underground favourites Local Lad and Grime Kid.

The CD's emphasis on hooks serves its purpose, and the structure of the songs on here are tight enough, even if at times they seem a little strained and manufactured.

The door that has been partially opened allows a glimpse of Wiley as war veteran, being unable to resist an exuberant war dub in Fire Ain't Burning No More, to pledging 'if Kane tried to war I'd merk him on sight', in addition to 'if any of them man are at the shop I'll run up in the shop like "rudeboy open the till"' on Where You Gonna Run Too.

Bar the mellow Sky is Falling, the production is strictly Eskibeat, with the recently successful duo of Wiley and Bless Beats shouldering most of the job in hand.

Maniac only has one track on this release, but in Grime Kid it is easily one of the best on the CD.

Fire Ain't Burning No More has a bold bass that at least partly extinguishes Fire Camp, and the minimalist vocals emphasise the self-assurance of another Wiley production, Badman Talking.

Sell-out claims, along with Wiley losing hunger according to a current crew member, are completely unfounded in light of this release.

What is most striking is a Wiley who is more than on point, firing rounds of bars on Local Lad , Grime Kid, and Where You Gonna Run Too, with a flow on Fire Ain't Burning No More that puts Little Nasty in his place.

In the Wiley cannon, 'Grime Wave' is certainly up there. While the songs are familiar, it is more than a decent effort and one which anticipates well for 'Race Against Time', while more than appealing to a new fanbase. Nine months and counting.

I’ve heard more than a couple riddims all seven Tunnel Visions, and I would just like to say, you can take three of the best from each, put em together and I bet it’s not better than Freedom of Speech…

If Wiley did this, there probably wouldn’t be a lot between them.

The Tunnel Vision compilation is now available, but that’s what it is - a compilation, a gathering of certain tracks that don’t have the collective unity of a particular mixtape unlike Ghetto’s third solo release, Freedom of Speech. Such unity is characterised by a Ghetto that is far cry from the mellower J. Clarke on Ghetto Gospel, with a gritty content allied with beats only provided by Lewi White and Smasher. In such conditions, as well as Ghetto being in his arguably best persona, Ghetto stays true to his mixtape title and what follows is very much an example of Freedom of Speech.

The CD gets off to a familiar start in Commandments, a track that has enjoyed much airplay from Logan Sama’s Kiss show and pirate radio stations. On this tune, Lewi is cold, a trend that continues as the mixtape progresses and this relatively laid back track serves as a contrast to a GH that is truly all-out in the dark, gritty, and graphic tracks that shortly follow such as Darkside Freestyle Threats, and Buss 1. Ghetto holds it up on the freestyle, even if the bars may be familiar, and he calls upon MCs Griminal and Brutal for Threats whose token contributions, while still contributing well enough to the track, don’t quite match Ghetto breathlessly going back to back on microphone with Devlin in what could be seen as the mixtape’s highlight. Even Mercston manages to wriggle his way into proceedings via his Orange connection at the end of one of the most played hits from the mixtape, Mountain. The excerpts from phone calls emphasise the CD’s stress on freedom of speech, and they can also be heard on one of the most praised songs on the mixtape, Convo with a Cabby , as well as on Threats.

The ‘angry’ Ghetto certainly takes centre stage, but it would be wrong to suggest that there is a lack of versatility on this release. The dubstep-like beat of What It Takes proves welcome after the intensity of the more hype tracks, and the I’m Ghetts Remix (featuring Chipmunk) is a slower track taking the focus away from the roads. There is hip hop too but its done well by a more mature Ghetto from 2000 and Life, giving the CD another aspect to it as well as bringing out a different side to Ghetto’s style of spitting. The contrast is also lyrical; the Ghetto who has something to say also comprises the conscious, with good concepts and towards the end tracks such as ‘Brothers with Arms’ and ‘How It Is’ bring into focus wider problems that contribute to Ghetto’s fundamental identity on Freedom of Speech.

For a release that has been widely pushed in commercial stores, and one that followed Ghetto Gospel, it is admirable that Ghetto has said everything he wants to say and more in a true instance of ‘real talk’, creating a grime mixtape that is diverse yet of high quality and portraying the genre’s energy as well as the undeniable talent that it can call its own.

The ‘skippy-flow man’ has thrown down the gauntlet, and put more than a decent claim to the throne with a release that is one of the best to emerge from the grime scene. Go and support.