Oh man am I loving the noise these sick twists have been making — this is from their forthcoming '#2040' EP and jeebus hyperion Christ I don't think I've heard such a thuddingly bruising hip-hop track since the last Kashmere or Sir Smurf Lil albums. Stupendous production from Zygote as always, he knows the devil's in the detail and beyond the fantastic low-slung fuzz-synth funk grind it's the sudden splashes of dubbed-out keys and flickering guitar that make 'The Cake Is A Lie' such a compellingly deranged delight. Also check out the brutal and bristling 'Vapourous', like 'The Cake' now available for nowt on their Bandcamp page. My favourite UK artists at the moment.
Chinking and clinking with subtle sparkles, seductive hummed "ohhs" and "ahhs" give an instant feelgood vibe. ‘Coming 4 U’ is a liquid roller with elements reminiscent of late '80s/early '90s R&B, with its muted piano chords and female vocal. The choppy, scuttling breaks bring some bounce as the sub softly plays its integral, understated part. Quality, vocal liquid at the standard we’ve come to expect from Break.
It’s great to see a keystone UK soul singer still making music with the underground and not desperate for that major label homogeny that many others think is the natural progression. Here, Omar’s silky vocals bed in nicely alongside the electronic syncopations from EVM, reminiscent of the Co-Op days alongside the Bugz and 4Hero. Marcel Lune further breaks things up with his staccato remix, heavy on the West London flex.
Here we have two of the hypest names in the new wave of breakbeat bass on one release. Denver's Wuki delivers a searing slice of ravey ghetto-edged electro, featuring cool organ-style keys, wicked brass stabs and that repeated vocal refrain: "Don't talk shit 'til you learn to hold a mic right/Fuck what you heard about my life". But it's New Yorker Tony Quattro's killer remix that just shades it for me, sending tribal percussion, whistles, blips and trappy percussion over deep 808 bass for a heavyweight reworking that will have 'em crying into the bassbins.