The repellently titled opener ‘Minger’, begins with a simplistic and ominous string and horn combination, before propelling in to a sub-heavy drop that has since long ago become a standardised framework for club music of the Trap/Grime/Hip Hop ilk. Nevertheless, the energy of the piece is undeniable and effective within its frame of reference. The hackneyed synth line is rescued from the brink of the pop charts by its compelling rhythmic pattern, a case which is also applicable to the drum programming automations later in the track. The B-side, ‘Yeah, Yeah, Yeah (Dun Know)’ has more to offer in terms of musicality and timbre. The repetitive vocal hook quickly becomes absorbed by arpeggiated synth lines and percussive one-shots immersed in delay. The classic 808 drum kit is harnessed proficiently complementing the light and airy synth lines and reverberated vocal. Busy kick patterns add pace and propulsion to the half-time drum programming. Whether it’s a textural, aesthetic intention or not I’m unsure, but the production value throughout ‘Minger’ espouses one that is overly compressed and condensed. Darq E Freaker - MINGER - Numbers / NMBRS35 - 12 Inch Vinyl Record. Infusing UK grime and Hip-Hop with electronica reminiscent of Capcom arcade games, South London producer Darq E Freaker quickly gained attention from some of rap’s most eclectic artists following his work with English grime MC Tempa T. Advantageous to the producer, critiques such as this would most likely go unnoticed within the intended context the tracks potentially operate within. CHERRYADE EP (CLEAR RED MARBLED VINYL) Oil Gang / oilgang003. A remix for Scissor Sisters and a collaboration with London Grammar exemplifies the audience Freaker is intending to impact. Considering these factors, the release is perfectly acceptable. Productional finesse and creative innovation can be found elsewhere. Those of you looking for clues can head over to his (not entirely SFW) tumblr in the meantime.This release executes the unambiguous criteria it sets out to fulfil. It will certainly be interesting to see where Darq E Freaker goes from here. Talking of variation, this one features sirens. So it’s with perfect timing that he provides the backing for this new track (below) which forms part of Wiley’s ‘Step’ freestyle series. You can certainly see why the pair were keen to work together and I suspect it won’t be the last time they team up.Īlthough there are clearly signature elements repeated across his tracks which mark them out as Freaker productions (the aforementioned organs and flutes) there is enough variation and innovation to keep you guessing and leave you wanting more. Their hook-up for ‘Blueberry (Pills & Cocaine)’ (below) was not particularly surprising in itself – Brown has been a vocal admirer of Freeker in previous interviews – but more unexpected was just how brilliantly the manic Detroit rapper and unhinged South London producer have combined here.īrown’s wild delivery and aggressive flow are a near perfect match for Freaker’s off-kilter organs and flutes laid over neck-snapping drums. The collaboration and the video for Blueberry itself are refreshing proof positive of the increasingly blurred geographical boundaries when it comes to making music nowadays. Probably the biggest boost to Darq E Freaker’s profile this year, however, has come in the form of a collaboration with freewheeling rap mentalist Danny Brown. Next up was the huuuuuge instrumental Cherryade (below), one of the standout tracks of last year. First up was a collaboration with one-time Lidl shoplifter Afrikan Boy (remember him?) for a take on Jeb Loy Nichols’ ‘Hard Times’ (below). South London grime producer Darq E Freaker has been slowly making waves as an exciting talent ever since Tempa T’s ’09 banger ‘Next Hype’ , but things are starting to gather pace for him since the tail end of last year.
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