Download Uk Grime Music

Grime is a genre of electronic dance music (EDM)[3] that emerged in London in the early 2000s. It developed out of the earlier UK dance style UK garage,[4] and draws influences from jungle, dancehall, and hip hop.[2] The style is typified by rapid, syncopated breakbeats, generally around 140 beats per minute,[4][1] and often features an aggressive or jagged electronic sound.[5] Emceeing is a significant element of the style, and lyrics often revolve around gritty depictions of urban life.[6]

The style initially spread among pirate radio stations and underground scenes before achieving some mainstream recognition in the UK during the mid-2000s through artists such as Dizzee Rascal, Kano, Lethal Bizzle, and Wiley. In the mid-2010s, grime began to receive popular attention in Canada.[7] The genre has been described as the "most significant musical development within the UK for decades."[8]

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Though they are often compared, Grime is generally considered distinct from hip hop due to its roots primarily being genres such as UK garage and jungle.[9][10][11][12][13] Many but not all grime artists are from the Black British community.

Grime emerged in the early 2000s in London.[14] It has origins tied with UK pirate radio stations such as Rinse FM,[15][16] Deja Vu, Major FM, Delight FM, Freeze 92.7 and Mission.[6][14] and it was through pirate radio that artists could first present themselves and build an audience.[17] In the late 1990s, UK garage grew in popularity and also found crossover commercial success with shows on Kiss 100 and BBC Radio 1. Whilst much of the popular UK garage sound fused soul and R&B influences, a 'darker garage' sound was also appearing which was more instrumental and less vocal, which allowed MCs to lay down lyrics over them. The role of MCs became more prominent on radio shows, and collectives such as So Solid Crew (on Delight FM), Heartless Crew (on Mission), and Pay As U Go (on Rinse FM) would begin to pave the way for what would eventually be called "grime".[18][19][20][21][22] Members of these crews would begin to experiment with accessible music creation software such as Fruityloops to write their own instrumentals which were cut to dubplate for shows.

The first grime track is often debated. Some will credit Pay As U Go's "Know We" or So Solid Crew's "Dilemma" (both were released in 2000), however, "Eskimo" by Wiley (produced in Christmas 1999 or early 2000,[23][24] but released in 2002) and "Pulse X" by Youngstar (released in 2002), a member of Musical Mobb, are also often considered to be contenders.[25][26][27][28] Dizzee Rascal personally claimed his song "Crime", released in 2000, was the first grime song.[29] DJ Slimzee and DJ Karnage have also suggested "Year 2000" (released 2000) by Wiley as a contender.[30] Other tracks that were among the first to be labelled as "grime" include "Ice Rink" and "Igloo" by Wiley, "Creeper" by Danny Weed, and "Dollar Sign" by Sticky featuring Stush.[16][31][32]

Wiley at the timed dubbed the sound 'eskibeat' rather than "grime", which had yet to gain popular usage.[26][20][19] His song "Eskimo" was characterised by its sparse and cold production, and "awkward, off-kilter rhythms". Wiley explained this colder, darker sound, reflected his mental state at the time, stating "The music reflects what's going on in society. Everyone's so angry at the world and each other. And they don't know why" to Spin magazine in 2005.[20] The name "grime" was coined by journalists who initially termed the music's sub-bass heavy sound as "grimy", which subsequently became "grime". It has also been suggested by artists themselves that the term fits as the music frequently talks about "grimy goings-on" in deprived areas.[26] Initially, some referred to the genre as 'grimey garage'.[33]

At this point, the style was known by a number of names, including 8-bar (meaning eight-bar verse patterns), nu shape (which encouraged more complex 16-bar and 32-bar verse patterns), sublow (a music style and movement created by Jon E Cash with Dread D (T Williams) and crew "The Black Ops",[34] the name sublow being a reference to the very low bassline frequencies,[35] often around 40 Hz) and eskibeat, a term applied specifically to a style initially developed by Wiley and his collaborators, incorporating dance and electro elements. This indicated the movement of UK garage away from its house influences towards darker themes and sounds. Wiley's song "Wot Do U Call It" was released in 2004 and was made to address the identity problems grime was experiencing at the time, and to establish its separation from garage.[16][36][19] It became Wiley's first grime hit song.[17]

Grime is not an offshoot of early electronic music, but rather a subgenre that draws from a wide variety of influences. Early innovative artists such as Dizzee Rascal and Wiley were able to take the strong thumping drums of drum and bass, lyricism and vocal styles of UK garage and alter some of the rhythms of dancehall to capture all three genre's essences and add a new half-time, down-tempo dimension to the mix. The genre's popularity grew exponentially in the United Kingdom, as people across the scene's musical spectrum appreciated grime's eclectic mix of instrumentation and subcultures. This hybridisation united many different music scenes, allowing for it to spread in the same word-of-mouth and mixtape-based style as hip-hop, yet still appeal to fans of electronic music. It also paved the way for more electronic music artists to incorporate stronger Jamaican influence in the future. Grime never received the same attention worldwide that it did in the UK. Much like many other less mainstream forms of British electronic music, its main scene and fan base remain in the United Kingdom.

Although grime is recognised as a creative and innovative musical style,[37] there are other contributing factors to its rapid and widespread growth in popularity. The MCs producing current grime music are overwhelmingly young as a group, the most well known names in the industry, Dizzee Rascal and Kano, both getting their first hits at the age of 16 with "I Luv U" and "Boys Love Girls" respectively, and the resultant package of "youth making music for youth" is seen as a crucial factor for grime's success.[38]

The genre was predominantly non-visual in its early stages, meaning you would primarily only hear artists on pirate radio or through their music as opposed to actually seeing what they looked like. This changed with the rise of various DVD series' such as Lord of the Mics, Lord of the Decks, Risky Roadz, Run the Roads and Practise Hours, filmed by amateur videographers such as Roony 'Rsky' Keefe and Troy 'A Plus' Miller.[45] The DVDs often featured artists giving interviews and performing freestyles.[46][47][48][49] These videos often featured record store Rhythm Division on Roman Road in East London, which served as a key community hub for both developing and established Grime MCs during this time. The store was frequented by artists like Wiley, Skepta and Dizzee Rascal before its eventual closure in 2010.[50] Jammer created Lords of the Mics in 2004. The DVD primarily showcased underground artists clashing (or "battle rapping") each other.[51][16] Lord of the Mics was originally sold by Jammer, Jammer secured an exclusive deal with ukrecordshop.com which helped catapult sales worldwide. The DVD eventually helped smaller grime artists find a platform through selling the DVDs to independent record stores throughout the UK and eventually helping grime form an internet following from uploads to YouTube.[52] This series built a unique platform for artists, because the majority of prior exposure for these artists was through pirate radio. This video series allowed artists to be more visible, and spread their sound.[53]

In 2004, grime received its first UK Top 20 single with Lethal Bizzle's song "Pow! (Forward)". The song would prove controversial for the alleged fights it caused in clubs, leading to many venues banning the song from being played.[54][16][20] This made it difficult for Lethal Bizzle to find a platform to perform his music.[55] Lethal stated in 2012 to The Guardian that he was unable to play in urban clubs for over a year due to the bans placed on him. Many other grime artists also experienced difficulties performing in clubs due to Form 696,[56][22] a police risk assessment form that many clubs were asked to fill in by the Metropolitan police. The form was created in 2005 after a spate of gun violence in clubs.[57] The form was criticised in 2009 by John Whittingdale, a Conservative Party MP, for being "draconian". The form was also criticised for allegedly targeting black music nights due to it asking specifically what ethnic groups may be attending the event.[20][56][58] Many grime raves were shut down by police using the form. Lethal Bizzle stated in 2012 this led to a shift from making grime music for the clubs, to making grime music for "in-your-house listening".[56] Form 696 has been blamed for contributing to the decline in popularity grime experienced during the late 2000s.[20][59][22][58]

By the late 2000s, grime had begun to enter into a decline.[61][62][14][36] Record labels, radio, and the media struggled with knowing what to do with grime, and as a result limited its impact and exposure.[20][19] The rise of dubstep and UK funky also made it harder for grime to gain a limelight.[26] Many grime MCs also began to move towards commercial electro house-influenced rap and away from grime music.[63] Artists such as Tinchy Stryder, Chip, and Wiley began to shift away from grime music and instead began releasing music with pop elements to much success.[58] Wiley's track "Wearing My Rolex", produced by Bless Beats, has been credited for kickstarting this wave of commercialisation,[6][64][65][66] but while it managed to gain a number 2 spot in the official singles chart,[67] many of the initial attempts to replicate this success failed. Tinchy Stryder's "Stryderman" only managed to peak of No. 73,[68] while Roll Deep's "Do Me Wrong" failed to chart at all.[69] Skepta's "Rolex Sweep" only peaked at number 86,[69] although it did briefly start a dance craze after it was released,[64][70][71] received a remix by the band Coldplay,[72] and featured on the comedy show Misfits.[73] Dizzee Rascal found more success than most, with his songs such as "Dance wiv Me"[74] finding itself on the number one spot on the UK Singles Chart.[75] The wave of commercialised music received some criticism from fellow grime artists for being inauthentic to the original sound.[63] 006ab0faaa