The Bug

The Bug is one of the incarnations of British musician, record producer and journalist Kevin Martin.  He has used many different monikers to release music that he has created.  Usually each moniker is a different style of music that he’s doing, whether it be dub, jazzcore, industrial hip hop or dubstep.  Martin plays a multitude of instruments, including the saxophone and synthesizer, and is also a turntablist.

For the Bug, Martin gets his musical influence from dancehall, noise, grime, and hip hop (think more like Dizzee Rascal).  Martin first started using the Bug moniker in 1997 when he released Tapping the Conversation, an alternative soundtrack to the Francis Ford Coppola film The Conversation.  London Zoo is the third album to be released under the Bug moniker and is the subject of this writing.

#24 – The Bug, London Zoo (Metascore = 90)

I wasn’t immediately turned on to Dizzee Rascal until I gave his album Boy in Da Corner a second chance.  This will be probably the third time I have heard this record, though the first in probably a year.  “Angry” features reggae artist Tippa Irie; the track mixes the reggae rapping of Irie over a club beat, giving the song what I call a “head nod” effect.  This is the dancehall sound I mentioned earlier.  “Murder We” features Ricky Ranking and continues the dancehall sound that was used in “Angry”.  “Murder We” is a statement song if you listen to the lyrics, with Ranking rapping about people dying and how political despots make him want to lead a rebellion.

Deep down this record is rooted in political and social turmoil around the world.  The singers/rappers reflect on war, bloodshed, inner-city issues, and topics that are as relevant today as they were when this record was released in 2008.  “Insane”, featuring Warrior Queen, sounds like it would fit just as well on an M.I.A. record.  Flow Dan pummels in “Jah War”; the theme of this song should go without saying.

Martin puts together a mixed palette of sounds to complement his singers/rappers.  The sounds range from sledgehammer-to-the-head dance to paced dubstep to atmospheric trance.  The sequencing of the record helps balance the sound so that the listener doesn’t feel overwhelmed and can understand the true meanings behind the tracks.  The final tracks tend to be drawn out, but “Judgement” does feature some interesting atmospheric sounds as the track closes out.

Overall I was more impressed by this record during this listen than I was other times.  I don’t think this record was worthy of a 90 Metascore, but I do believe it is a great record worthy of a higher score.  If you are interested in dub or dancehall or have an interest in post-rave music, this might be up your alley.