aaamusic | On 09, Jan 2011

Well, I’d say that so far, my introduction to hip-hop through this journalism deal has been rather enlightening, with some great artists like Shad coming into my awareness. However, ‘Gutter Water’, the new album by tuff-guy hip-hop collaboration Gangrene provides a whole new side to the story.

Starting with a suitably tongue-in cheek intro track, the album then proceeds to launch into ‘Boss Shit’, which is as distorted and grimy in sounds as you’d ever with for. The lyricism is far from intellectual or inspired, but the flow and delivery is swaggering and smooth over the manic, beat-heavy backing, record scratches laid enjoyably haphazard over string section samples. Following on in the eclectic bag of tricks is the horn section buildup of ‘Not High Enough’, which then breaks into a tinkling piano-backed rap. The delicate cascades of notes are contrasted well with the rigid percussive beats, but the vocals here can’t help but feel a little limp, overpowered by the musical alchemy taking place.

Title track ‘Gutter Water’ is some kind of tripped-out easy listening ambience, hybridised Frankenstein-like with gritty hip-hop, the rapping aggressive and cocky, the music possessing a surreal relaxed overtone in slow horn sections and heavy rhythms. Dark and raw, this might not be attention-grabbing, but it more than replaces earlier’s lost vitality. And by means of a deft if infantile toilet humour bridge, we flow into ‘Get Into Some Gangster Shit’, a stripped-down bassy rap. However, despite its moments, the repeated sample and repetitive backing alongside some rather generic lyricism once again feels a bit lazy.

However, the mad scientist approach to backing returns alongside some well-blended samples to redeem the puerile celebration of ‘Take Drugs’. Energetic, mad as a bucket of frogs and incredibly un-PC, this is a track I shouldn’t like (resentment of rap’s misogyny coming up hard here) but I do find myself hooked on merit of its exhilarating mood, lurching rhythms, off-kilter instrumentation and obvious silliness. Couple this with the jangling and percussive pseudo-bhangra instrumental hints on ‘Chain Swinging’, and you have something that sonically is rather fun. However, despite an improvement in vocal power, the rapping still feels underdone and this is not helped by some uninspiring drug lyrics on an otherwise interesting track. This also dogs the funky, laconic ‘Breathing Down Yo Neck’, where a cymbal-driven beat and shifting synths support periodically fun lyrics, but I can’t help but wonder if some of what is being said is pastiche or genuine.

‘Wassup Wassup’ applies a jump-lead to the rapping and indeed everything with a grinding dark synth loops and some real force in the aggressive vocals that overlap and flow with ease. This follows onto the glitched-out backing and claustrophobic multi-tracked vocals of ‘All Bad’. The intro slows things, but the meat of the track is addictive in its sick lurch and simple yet effective format.

I’ll admit that my attention wavered until the intriguingly soul-flavoured and measured yet heavy beats of ‘Shading In The Shadows’ drew me back with powerful hooks. Smoky backing vocals are matched perfectly with the rap flow, and sound effect samples match the narrative, and the music is raw and workmanlike yet with flashes and flickers of the overarching invention to create a short but sweet track.

Closing off is ‘Not Leaving’, shifting rhythm and melodic backing blending with a fluid vocal delivery.

I would say that when this album gets good, there is a sense of humour at play amongst the mad-scientist approach to backing tracks, providing some truly enjoyable music and rhythms, such as ‘Chain Swinging’, and this keeps the listener not only on their toes but more often than not dancing along. But too often the puerile lyricism lets the whole thing down, and when they decide to venture too far into the familiar territory of gritty rap, I begin to wonder whether some tracks are genuine, or incredibly convincing Spinal Tap style pastiches. All in all, if you like your hip-hop dirty, gritty yet never overtly serious, and in possession of some inspired backing, you may find moments to love here. However for the uninitiated, it might prove a little too dense and unaccessible.

Author: Katie H-Halinski