Record Label: One Handed Music
Paul White is sure to further solidify his reputation as one of the most innovative producers in hip-hop and beyond with his new EP. The South Londoner is joined by the motley crew of Trim, Sean Price, Homeboy Sandman and rap superstar-in-waiting Danny Brown, who recruited Paul to produce nearly half his forthcoming album 'Old' and cited him as “my fav producer to work with”.
First single 'Street Lights' features Danny Brown, whose vivid portrait of a Detroit blighted by poverty and neglect is a perfect foil to White’s pounding war drums, strings and spectral choir. Trim, the ex-Roll Deep member and James Blake collaborator, invites you to 'Get Your Head Round This'. He weds his unique delivery and caustic punchlines to a beat which shows that while other producers flock to the trap, Paul White heads to the toy shop. New York heavyweight Sean Price offers grim threats over the exotic instrumentation of 'Slugs Don’t Hug' before rap’s most likeable lyricist, Homeboy Sandman – who featured on Paul’s last full-length, 'Rapping With Paul White' - lets in a little light on 'Find A Way'. His melodic, contemplative wordplay over a bassline groove and psyched-out washes of reverb should allay any doubts that hip-hop ain’t what it used to be, while serving as a teaser for his Paul White-produced EP due on Stones Throw this year.
Though it boasts an enviable roster of MCs, 'Watch The Ants' also contains plenty for fans of White’s instrumental work. Alongside the rappers, familiar names like Roland, Moog and Korg crop up throughout. They’re joined by an array of more surprising instruments such as finger cymbals, conga, and kzink kzink, all of which White plays himself – and see if you can spot his vocals. He can still make a killer beat, but on 'Watch The Ants' Paul White hints at forthcoming explorations of krautrock, new-wave and psych. 'Minus', 'Divining Rod' and 'Seagull Conscience' are hard to categorise, existing in intriguing sound worlds of their own.
'Watch The Ants' unites all White's tendencies, from prog and psych to his beats sensibility and easy affinity with rap, with a newly expansive and ambitious approach. Brimming with new ideas, Watch The Ants may showcase Paul White’s well-documented hip-hop chops to perfection, but it also positions him on the cusp of an exciting new musical phase.
1. Watch The Ants 02:37
2. Street Lights ft. Danny Brown 02:51
3. Divining Rod
4. Seagull Conscience
5. Slugs Don't Hug ft. Sean Price
7. Get Your Head Round This ft. Trim
9. Until Tomorrow
10. Find A Way ft. Homeboy Sandman
"Texture Like Sun’ is the follow up to the much-loved self-titled debut by Anglo-Mauritian producer, singer and percussionist Joseph Deenmamode aka Mo Kolours. The Guardian described ‘Mo Kolours’ as “the best album Curtis Mayfield never made with A Tribe Called Quest and Lee Perry”. “This record is about cycles. From the tiny cycles of loops within songs to the broader cycle of the whole album, which is designed to take you away and bring you home again at the end. Loops within loops. Loops overlapping in different ways and shifting as they go can take you very far away. You hear it in lots of African music, in jazz and hip hop”. Mo Kolours explores this theme through both music and lyrics. ‘Pass It Round’ is about giving and receiving, and the importance of depending on others. ‘Orphan’s Lament’ is named after a Mongolian folk song, and Mo Kolours' own words urge the listener to “fall to get up again” among a set of inescapably linked opposites. The message may be optimistic or otherwise, depending on the listener’s point of view. The theme also appears in his choice of cover versions as he reinterprets songs absorbed in his youth: ‘Harvest For The World’ by the Isley Brothers and The Stranglers’ ‘Golden Brown’, from which the album title is derived. Raised on the traditional sega music of his father’s Indian Ocean homeland alongside records by the likes of Jimi Hendrix and Michael Jackson, Mo Kolours adds hip hop, dub, soul and other electronic styles to his individual sound. His approach could find him placed alongside Madlib or The Gaslamp Killer but he would be equally happy in the company of James Blake, Erykah Badu, Theo Parrish or Moodymann. His energetic, improvised live show sees tracks layered up from loops of voice, percussion and drum machine before skewing in new directions. It’s a thrilling approach which has taken him to clubs and festival stages from Brighton to Brisbane, as well as to the BBC’s hallowed Maida Vale studios at the invitation of Gilles Peterson. Mo Kolours will be touring widely in support of ‘Texture Like Sun’.