(12.22.06) Skream’s first proper album seems to split the critics, like only affirmed Top-10 pop chart stars usually do. I think that those who are enthusiastic are refusing to look at some evident flaws, while on the other side I am more than surprised reading comments that label Skream! as a major disappointment. It’s like a big name who dominated the electronic scene for almost 20 years, suddenly runs out of ideas and decides to put out a bunch of leftovers to gain some more money (these things happen and not many complain, actually). Here we’re talking about a young musician, who demonstrated his talent all over a long series of 12’s released since 2004; I do agree that some of the vinyl tunes, especially those on the Skreamizm series, are the highlights of Skream’s career, but this doesn’t necessarily mean that the album tracks are weak.
The Hitchcock strings of “Tortured Soul” build up the right tension before those familiar spooky electro bleeps of world renowned “Midnight Request Line.” Sadly, on the CD version there isn’t the Digital Mystikz remix, filled with disturbing sines in Ryoji Ikeda style. Actually, I would have also loved the other vinyl only tune on digital format, because “Dubbers Anonymous” is absolutely creepy, nocturnal and addicting. There are, instead, other amazing tracks, in a more light-hearted Jamaican flavour, like “Blue Eyez,” that is a four to the floor ragga explosion, with joyful horns and upbeat guitar riffs, supported by deadly sub-bass pulses. As you could easily guess, “Auto-Dub” goes on in a similar style, balancing a stomping beat with upbeat keyboards and never-ending reverb, and so “Check-It” (featuring Warrior Queen) is split between sunny reggae chants and wobbly bass driven rushes. Deeply rooted in dub (someone calls it digidub) but with a more melancholic edge is “Dutch Flowers,” another stunning example of how Skream can mesmerize with simple melodies, coupling a warm bass with distant whistles. In the same vein comes the rework of “Rottan” (of Skreamizm 1), called “Rutten,” with a rarefied beat and a flute solo that doesn’t sound poppish at all. “Tapped” is a well conceived grime hit single, Skream perfectly tailored beats and synths on JME’s lyrics, even if a topic such as technology induced paranoia should have been investigated more deeply, no doubt that Spaceape’s rich speeches are more interesting. “Kut-Off” instead of dubstep, sounds more like an exercise in baroque electro arpeggio, but what is really out of place is the eight minute jazzy two-step cavalcade of “Summer Dreams:” this would have fit on a MJ Cole record, and by no means is this to be considered an offence. Dubstep owes much to UK garage’s brief two-step era, and I have been a fan of MJ Cole, Zed Bias or Wookie’s stuff around 2000, but a laid back episode such as “Summer Dreams” makes little sense especially when juxtaposed among loads of dub heavy tracks.
While Skream! is not a perfect album, it’s still full of enjoyable instant tunes that will help understanding Skream’s wide fame especially to those who are not deep into the dubstep scene. For those who know and who expected more, let’s hope that Tempa satisfies us all with a double CD release of past and future Skreamizms.
Skream! is out now on Tempa. Buy it at Amazon.com
