Maxis de marzo: nueva entrega de lo mejor del mes (parte 2)
This is the first big Spanish feature I’ve seen about yours truly. I fired the text into Google Translate but the results were sketchy, like the old fashioned Translate page or Babelfish before they rewrote the algorithms so that they could actually make sense of phrasing and not just translate each word in order. Luckily, a decent translation for the article was provided by a guy replying to the post I made on the Lockah Facebook page.
While we’re waiting for it to be pressed onto vinyl, this new EP from the Scottish Lockah (born in Aberdeen, as he made clear two years ago on his first 7” on Tuff Wax Records) could be the perfect complement for those who can’t get enough of Rustie’s new cuts, reviewed above. Here Tom Banks reaps what he sowed in his last digital EP, released on Jeffree’s, Mad Decent’s trap sub-label, and he takes it to a sphere of glows and lightning, more typical of labels such as Night Slugs. The mix of beats derived from hip-hop and electro (with an implicit reference to Raekwon in the title), and with the well-polished 80s boogie production, worthy of a Miami club where the drugs ran more freely that the water in the taps, it is always an appealing stimulus and one which few people master (Beaumont, Rustie and hardly anyone else). There are tracks such as “Guards Red Carrera” that sound like the soundtrack to “Drive” accompanying images from a documentary of monster trucks crushing cars, and others such as “Let The Cool Air Breeze” which is better not listened to unless you’ve already ironed a white shirt, unbuttoned it at the top and accentuated it with sweaty hair and a gold chain. A classy guy, by God!
Thanks to Aidan Hitchcock for demystifying the funny words.
