CULTCHA Clash Outer National Record Review:

The Bug - Fire

(Ninja Tune - ZEN 275)

Reviewed by Jon "Selecta J-Cut" Soldanels

Once again, I've continued my behavior of being a procrastinator. It's a little late to get to this one, been rocking the digital release since August 27 and I received my vinyl copy several weeks ago. This album has already met the ears of many critics, who have responded with resounding approval, so this will really be an act of preaching to the choir in hopes of reaching a few new, lost souls in the process.

The Bug aka Kevin Richard Martin, for the past few decades, has produced some of the top quality dub and dancehall abstractions (if any of his material is considered to be "dubstep" then the emphasis is certainly on Dub, although the description of his sonic output could hardly be fit into the confines of any genre). If you missed it, check out the artist profile CULTCHA Clash Outer-National Artist Profile: Kevin Richard Martin aka The Bug for a discographical, "potted history," as Martin referred to it.

Upon hearing of this album, I assumed that it would live up to it's name. After listening to it, even expecting that, I'm still impressed. Martin has elevated the bar, once again. As an aspiring producer, this is the level of work that I would create if I could, and would definitely feel a major sense of accomplishment for creating.

The teaser tune, which came out a month or so before the album, "Clash," was indicative of the gravity to be expected from this release; sparked by Logan's hardcore lyrical flow, kindled by the producer's dirty-grime-dub-dancehall style which has obviously taken another evolutionary step, on this one, and it's blazing!

The bass is integral, per usual, although the atmospheric elements are ever present. Tempos vary from ambient pulsations to thumping, four to the floor, club-bangers. Something funny, to me, after reading other reviews and articles on The Bug from some 'dance music' writers, 140 BPM has been used as an example of the tempo of a song like "Poison Dart" (from 2008's phenomenal London Zoo on Ninja Tune), which to me, registers at 70 (even when I listen to d'n'b I tend to nod my head in half-time)... there's enough tunes on this LP that could be perceived either way, regardless, the rhythms rock the house.

Equally as important as the amazing soundscape, the diverse array of lyricists give this conceptualized work a sense of urgency and intensity. There's not a single instrumental track on the album, which leaves me hoping for a dub version in the future, but that's just wishful thinking.

Martin encouraged the artists to "write about what vexed them on a daily basis" (The Guardian interview with Kevin Martin, September 1, 2021), to outstanding result. It sounds like the culmination of the combined psyche of humanity in it's entirety after two years of pandemic fueled fear, coupled with environmental catastrophe, economic collapse, a constant barrage of propaganda and misinformation, paranoia inducing surveillance state and a diminishing distinction of what reality even is... and you can feel it in your spine.

The apocalyptic tale is set off by 2019 TS Elliot Prize and 2020 Ondaatje Prize recipient, member of King Midas Sound and frequent collaborator, Roger Robinson. "The Fourth Year," a dark and dystopian spoken word of an age of total isolation, where robots deliver all of the food, the only human contact is through a screen and non-vaccination is grounds for termination. The pulsing synths and subtle percussive sounds give one the feeling of taking shelter during a heavy rain.

Flow Dan, another regular collaborator of Martin's, returns on three tracks. His London-style, Yardie dialect and rapid-fire spitting shine on all of them. "Pressure" hits hard with relentless, resonant sub as it's heartbeat, animated into life by lyrical fury and filthy synth stabs. A hard hat may be necessary when "Hammer" hits, it may be concussive. "Bomb" is his final appearance on the album and his lyrics, once more, do justice to Martin's unique creations.

My personal favorite is "War" featuring Nazamba. This tune is raw, digital, dub poetry. His gravelly voice brings the mighty Prince Far I to my mind. Lyrically, pure righteous rage flows like lava erupted in the heart of Babylon. "Inna dis ya war... ideological war... and it's a chemical war... and it's a global war... a technological war..." dread times, indeed.

"Vexed" features Moor Mother, who Martin collaborated with on 2019's Wrecked LP by Zonal. Her abstract flow, intense emotion and raw delivery could wreck any track, this one's another banger.

The U.K.'s Grime scene is represented by Manga Saint Hilare, whose "High Rise" and "Bang" remind me why I've been a fan of British MCs since the early nineties, when I searched for Gunshot or Hardnoise 12"s in Arizona record store bins.

Grime is just another branch of the Hip-Hop tree, to me, and one that is well in touch with its West Indian roots. An example of this is Logan, who's second album cut is the defiant, "Fuck Off."

Even the cute, Tik-Tok generation themed, "How Bout Dat," featuring FFSYTHO (For Fucks Sake Y Tho) goes hard as a brick wall, cash it ou'side!

Irah brings the wicked raggamuffin flow to "Demon," riding a relentless, bubbling, maniacal dancehall riddim.

U.K. Dancehall stalwart, one-time Guinness World Record holder for fastest rapper, and occasional The Bug collaborator, Daddy Freddy, is featured on "Ganja Baby," a different mix of which was released by Acid Ragga in 2014. This version is infectious and slightly exotic sounding, with a message that I can get behind.

Roger Robinson closes it out on a somber note, written about the tragic Grenfell Tower Fire (June 14, 2017), that killed 72 people and injured 70 more, "The Missing" conjures images of that day and invokes the panic, pain and peril felt by it's victims. Robinson's delivery is reminiscent of Linton Kwesi Johnson, certainly an evolution of dub poetry aesthetic, poignant and relevant lyrically, coupled with The Bug's out of this world, textural atmosphere of sound, a powerful finale to a fantastic album.

The Bug is a well known name across the globe, but we are sometimes slow to catch on on this side of the Atlantic. Obviously, there is an existing fanbase, amongst which are surely some influential people, as is made evident by the appearance of "Fuck You" featuring Warrior Queen (from 2014's Angels & Devils, on Ninja Tune) at the end of episode 9, season 4 of the hit series, Orange Is The New Black. His recently work will not only hit the hardcore heads, but will bring even more mainstream recognition and commercial success (he's just worked with Trent Reznor on production for the latest Halsey album, If I Can't Have Love, I Want Power).

Get Fire from: Bandcamp or Ninja Tune

Also check out the mix-show below.

BBC: Freak Zone Playlist by The Bug

If you have enjoyed this piece, please sign up for the mailing list at CULTCHA Clash Outer National for updates and current features.