cooly g wait til night.rar [Full version]
Oct 15, 2013 This feature is not available right now. Please try again later. I've known about it bein Rama for a while now he was the only one playin the beats on radio for about half a year untill recuntly when its taken off. He even has an alternate dubstepforum account for pearson sound but he let it slip in an interview and umm writing credits on the first release.
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Cooly G Narst, Love Dub.rar
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Cooly G Narst, Love Dub.rar
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mutiny by g.f. - ( a night out with the boys ) (83).rar
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Cooly G - Narst Love Dub (HDB020) [320].7z
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Cooly g narst hdb020 web 2009 lir rar
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Cvhc don t wait until night mp3
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Wait til you see my smile mp3
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Cooly g narst hdb020 web 2009 lir rar
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The South London producer/singer's latest album is consistently, deceptively understated. But its juxtaposition of complex drum patterns, slow-motion melodies, and heavily floating basslines makes it feel completely immersive.
When Cooly G released 'Narst' b/w 'Love Dub', her first single for Hyperdub back in 2009, there was an intriguing what-next dichotomy between the A and B sides. 'Narst' was a banger, UK funky's rhythms strongarmed into grimier territory, where dense kicks steamrolled the snares and digital strings ratcheted up the pull between tension and exhilaration. 'Love Dub Refix' found a wildly different use for that bass/percussion interplay: the drums clicked into delicate but elaborate motion beneath that wall of low-end, and it was topped off with a fluid, phased Fender Rhodes and Cooly G's own voice intoning declarations of heart-struck disconnect a'la neo-soul ('must be love… without you'). Either way, she was headed towards something that would take advantage of bass music's increasing genre flexibility, and do it in ways that rewarded close listening and dancefloor physicality at the same time.
Playin' Me is the culmination of a couple of years' work since that '09 single, and what the lead-up singles hinted at-- the '86 Prince-via-Kode9 flourishes of 2010's 'Up in My Head'; the slow-boiling crest of the following year's microhouse-tinged 'Landscapes'-- is elaborated on even further. When she goes back through the lineage of her sound, from funky to dubstep to garage to drum'n'bass, she digs all the way back to the groundswell of synthesized, post-disco R&B to give it a common thread. The first notes on the album belong to the sort of watery funk guitar lick that could've belonged to the solo on a '77 Brothers Johnson record, isolated as an emphatic refrain that would fit well on the intro of a '95 Faith Evans single, and then built around for a dramatic, looming melodic theme that is as good as anything else this year for idealizing what post-dubstep is capable of in a pop-friendly sense. 'He Said I Said' is the track in question, and it's bristling with intimacy and anxiety alike-- but it also sets a precedent for how rhythm is deployed on Playin' Me, vividly developing the tense euphoria and spacious fluidity of that first single.
The vibe of the album is consistently, deceptively understated, intricacy taking priority over immediacy. But by the halfway point, the juxtaposition of complex drum patterns, slow-motion melodies, and heavily floating basslines makes this album's woozy intensity feel completely immersive. The way it passes through all sorts of different stylistic contexts makes it one of those records where its personality's better defined by its moods than any genre affiliations. 'Sunshine' scans a bit like the more reggae and 2 Tone-indebted elements that made Skream! one of dubstep's biggest early crossover LPs, and its lovers-rock swoon fits well. Pushing things closer to a denser rhythmic focus lets her approach house and funky from multiple angles simultaneously, to invigorating effect; check the frenetic but clockwork-smooth collaboration with Baltimore house vet Karizma on 'It's Serious' for proof. And when she lets minor-key menace creep in like it does on 'What Airtime', it's bracing to hear her use those billowy atmospheric flourishes for something that rides on concentrated unease. The big trick in a lot of these tracks is this sly dynamic at work with the way she mixes her songs: if you want to really get a good sense of how she lets the snares play against each other, you need to push the volume up into the red. At that point, the bass will flood even more of your ear-space, while still sounding more warm than abrasive-- it doesn't rattle subwoofers, it melts them.
Fittingly enough, her vocals match the nuances of her production-- melodic but not really melismatic, evocative without shutting out the possibility of some elusive subtext. In a few of the songs-- 'Trying', 'It's Serious', 'Playin' Me'-- her voice is scarce enough to pass for the skeletal remnants of stripped-away vocals in vintage dub versions, allusive flashes of context overwhelmed by the sound system. In others, she's more direct: the deliveries of 'anticipation, waiting… explosiooooon' in 'Sunshine' and 'you want me, I want yoooooou' in 'Come Into My Room' are unashamedly sensual, but in a way that feels more like a deep internal monologue than a performance for an audience. She also somehow pulls off covering Coldplay's 2000 single 'Trouble' by siphoning out all the maudlin Britpop grandeur and replacing it with a vocal that scans a lot more like genuine regret-- though those glitchy, skittering drums have nearly as much to do with it. It's the damnedest thing: Cooly G's music is spare, subtle, often quiet, filled with breathable patches of between-the-beats negative space, and yet there's so much happening beneath the surface that it doesn't really scan as sedate. This is music that knocks you over with a feather.