Artist: King Cannibal
Title: Let The Night Roar
Label: Ninja Tune
Genre: Electronic
Bitrate: 186kbit av.
Time: 00:59:22
Size: 83.65 mb
Rip Date: 2009-09-23
Str Date: 2009-10-13
01. Intro 0:59
02. Aragami Style 6:14
03. Murder Us (Featuring Jahcoozi) 6:15
04. Virgo (Featuring Face-A-Face) 5:02
05. So... Embrace The Minimum 5:47
06. Dirt (Featuring Daddy Freddy) 4:57
07. Colder Still 6:07
08. A Shining Force 6:11
09. The Untitled 5:40
10. Onwards Vultures 5:31
11. Flower Of Flesh And Blood 6:39
Release Notes:
Please give a fearful, uncomfortable but admiring and heartfelt round
of applause, please, for Ninja Tune's first (only?) hard man - King
Cannibal aka Zilla aka Dylan Richards. Coming through with a
razor-edged, utterly uncompromising industrial mash-up of sounds and
rhythms from dancehall and drum & bass, Radio 1's Mary-Anne Hobbs has
already declared his music to be "too dark!" And that was before she
had heard "Let The Night Roar," a record so obsessed with violence in
its many manifestations that he named it after a quote from
nutter-cultist Jim Jones (that's the man behind the Jonestown
Massacre).
Up until a couple of years ago, Zilla was best known for a series of
remarkable mix tapes, including "A Friendly Game of Chess" (w/ Buddy
Peace), "One Foot In The Fire, One Fist In The Air" and compiling Watch
And Repeat Play for Warp Records (again with Buddy Peace). But King
Cannibal was born when Richards began experimenting with using the
sonic palette of drum & bass over dancehall rhythms. The track he made
was "Aragami Style". Not for nothing has Amon Tobin described it as "A
great tune...put together like a DJ's wet dream."
Richards used this as the leap-off point for the album which would
become "Let The Night Roar". As he puts it, "This album is really about
me laying out the core elements to the 'brual deluxe' sound of King
Cannibal. For this project it was all about establishing what makes a
King Cannibal track and working to get those ingredients right and how
they translate through genre and mood switches."
"I never really meant to make music with a theme," Richards offers,
"but at the half way point it really became clear that it had built its
own regardless of what i was consciously thinking. It is quite
obviously, sonically speaking, a violent piece of work, but where as
most albums who tackle this subject fall back on its links with horror
films I've really tried to make this about real life happening outside
of our windows, in our backyards and in our small lives. We get trapped
into thinking a certain way, doing things we don't want to do just so
we can live to postpone our ambition another day. Its about cutting
through these things with a positive violence and letting 'the night
roar', for the night is when we finally get to do the things we really
want to."
Tension and release, exhilaration and fear, sex and violence, all the
elements of great music are here. Be afraid. Be very afraid.
sire@hush.ai