Saturday, April 26, 2008

[Bring the Noise deleted scene #72]

Home Sweet Home
Uncut, late summer 2005

by Simon Reynolds

Grime has reached a crossroads. Everyone agrees that this is the year it’s going to blow, but nobody knows for sure how to make that happen. One strategy is for grime to simply be its in-yer-face self. Another involves toning it down just a tad. This is what Kano, one of the scene’s top MCs, does on his long-awaited debut: downplay’s grime’s adrenalin-jolting, abrasively avant-garde aspects in favour of midtempo grooves and listener-friendly gloss. In Kano’s case, though, this shift suits the exquisite poise and panache of his delivery. Unlike the aggy bluster of most grime MCs, it’s easy to imagine him winning over Jay-Z fans with the slick sinuousness of lines like “I’m trying to perfect my flow/So my dough grows loads/Like Pinocchio’s nose.”

Kano understands that uncut grime can get wearing over the length of an album. So he and his handlers’ solution is to pull together a well-sequenced smorgasbord of faintly calculated versatility, ranging from turgid metal (“Typical Me”) to the deliciously frivolous “Remember Me”, a samba novelty similar to Roll Deep’s hilarious “Shake A Leg”. Ripping the monster riff and drum rolls from Sabbath’s “War Pigs” and adding scratching and cowbell, “I Don’t Know Why” comes off as an awesome Def Jam tribute, right down to the nasal, Beasties-like tang to Kano’s vocal. “Signs in Life,” meanwhile, offers stirring orchestration and semi-conscious lyrics about maintaining a steady course despite the slings and arrows.

Unsurprisingly, the most exciting cuts on the record are the grimiest. The fogeyish (for a 19 year old!) whinge “Nobody Don’t Dance No More” cuts from sexy, swingin’
2step to bombastic, ungroovy grime to illustrate how kids today nod their heads to the MC’s words rather than shake booty to the DJ’s beats. Equally scene-reflexive, “Reload It” in contrast celebrates the MC’s ascent to supremacy, noting how crowds today demand that DJs rewind a track to hear favorite rhymes, as opposed to the tune's breakdown or intro. Pivoting around a phased riff and live-sounding drums that recall the Experience’s Mitch Mitchell as much as peak-era jungle, “Reload It” is a pure rush of energy and euphoria.

Yet the best track on Home turns out to be the most subdued one. “Sometimes” compellingly captures a moment of precariousness and self-doubt in the young MC’s upward arc. “I know I’ve got far/Is it too far to turn back?” he muses over a sad-eyed glide of synth-and-violin. Poised in limbo between the fickle streets and a potentially unswayed mainstream, Kano’s reverie serves as a poignant allegory for grime’s own crossover dilemma.


The grime cliché is the ravenously hungry MC for whom music is the only escape route from ghetto life. But it seems like you were spoiled for choice, with career opportunities ranging from university to professional football. In “9 to 5” you rap about not letting “my laziness ruin” your MC prospects like it did with soccer.

“I used to play for Norwich, the schoolboys team. But it was far away and I was quite young, to be doing all that travel. I wasn’t feeling it. So that faded out. It wasn’t a conscious choice between football and music, though, it was like different stages of my life.”

Exemplifed by the classic early single “Boys Love Girls,” a bonus track on the album, your songs have a rather cold-hearted attitude to romance. Even on the rhythm-and-grime track “Brown Eyes,” you’re besotted, but the chorus still insists “I don’t want to fall in love”.

“I ain’t really a romantic person. I’ve had experience with girls, but not that much experience with relationships. My view on them is that I don’t really want to get involved. ”

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