I don't like the Irish hip-hop scene. I'm not sure why, but it doesn't feel right. After trying to listen to a few artists, the only one that really stands out is Lethal Dialect. His lyrics are unique without being over-Irish; his image isn't overly Irish either. National pride and all that, but when you hear someone who sounds like the little lads running round the town annoying everyone, it's easy to have beef. Overall, he hits all the right criteria without trying too hard, or (God forbid) being generic. With one of the most unique sounds of this era that I've heard coming out of Ireland, 'LD foive owe stoyle' for life, bro.
Being most familiar with his work on the LD50 and LD50 II albums, they're the ones being discussed here. Personally, LD50 is the preferred one, but it's the one I would be most acquainted with. No real reason, just because. The Beginning, the first track of the album, is a nice intro. Nice flow, exceptional lyrics. It is probably fair to say that one wouldn't imagine the Dublin accent having such a flowing ability, but it sure works here. Although the slurs occasionally reduce into phonetic sounds, they still reach home. Sounds like he's talking through his cheeks. That piano in the background is an ambient allure, and carries the song forward in an oscillating way. The beat is simple, but it makes for a catchy one. Very little use, compared to others in the field, is made of double-vocals, but it isn't lacking. Makes the song more powerful.
Smashing through Metamorphose and Cold and Calculated (both bangers in their own rights), the next tune we would be familiar with is The National. For any Dublin Gangsta TV fans, a mix of this featured on Love/Hate, albeit the original is much more intriguing. Including an intro of 'fuck peace, go to war with police', you gotta love it. Probably the song that made me fall in love with LD. A driving piano riff, pumping beat, and Dublin slurs and references make this a real smasher. Envisage cruising through the North Quays in your Mitzi Turbo with this blasting through the speakers, seeing the police, and shying away because you ain't gangster. That's the embodiment right there. But in all seriousness, it's the standout of the album. To me anyway. The lyrics are key, and the phonetics are unreal. A mention of ending 'up in a Wicklow grave' was a bit of a Represent moment. What the song is about is pretty obvious; growing up in Ireland and the shit that happens. I think.
Listening to the album, it's like it has been recorded in a graveyard bunker, or a small corridor. There's this filter atmosphere, like a deep mist, layered on the tracks. Makes it sound like the tracks are descending through space and other quantum shit. But in honesty, there is this strange atmospheric ambiance.
The rest of the album sounds industrial, with odd samples here and there, and even features The International, which brings the album full circle in a sense. If you like Irish people, and you like scumbag accents, give this album a listen. If not, go fuck yourself.
LD50 II is a deep contrast to the first. The first is a dark album; dark beats, dark lyrics. The second is a lot brighter, and a lot more cheerful. Almost. Beginning with The Sermon, and a driven beat, the album has a strong opener. A bit of a stab back at people talking shit about him, 'fuck what fees you're earnin', he really lets loose on the rhyming skills. Every line rhymes throughout the initial half of the song, which is down right incredible. Who knew so many words could rhyme? To keep that going until 1:25, or thereabouts, is mad skill. There's a bit of an interlude, then the beat kicks in again, and the lyrics start flowing. The flow is astonishing, and he keeps it going until the end.
Carrying from here, the album launches straight into Outstr8, featuring GI. In a documentary, LD gave a bit of context on where Outstr8 came from; it is to clarify a statement, like 'that weed is really good, out straight.' Hope that sorts out any disputes that may have arisen. The synth line is accompanied with female vocal samples, but the main aspect carrying the song is that sweet, sweet synth. It's so dreamy, makes me melt. Worth a listen for any ambient-style fans.
Into Dark Horse, the intro is LD talking about how he's always viewed himself as a Dark Horse. Running through the rest of the album, the songs follow the same ideas; unique lyrics, slamming beats, nice synth lines. I think I summed that up in the most unoriginal-sounding way. Fuck it, swag.
Go listen to The Bet (Skit). It's so cold 'I have stalactites hanging off me balls'. Haha. Word.
Another cut above the rest on the album is Snakes and Reptiles. After some chatting shit, it launches right into the beat. Some weird kick is used, and entwined in the beat is a flute/breathy sample. I recognize this from somewhere, but I can't for the Jesus-on-ice-skates of me remember where from. The kick dances around the processed snare, creating a smooth flow, smoother than the flow of the Liffey. With LD spitting out his lyrics, the song really ferries forward. That flute/thing sample howls away in the background, creating a deep soundscape for the listener. Existential in feeling, and slave-hating in lyrical content, it questions the life we live, and if we are truly free. Maybe, maybe not. You decide.
Finishing on Get To My Dreams, the album truly is a lot different to LD50. The lyrics are different, the beats are different, everything. The accent even seems a little less harsh too. Again, if you like Irish rap, give it a listen. If not, again, go fuck yourself. Overall, the first LD50 has that filter effect going on, for lack of a better expression. That's some transcendental shit. The music has massive soundscapes behind it, making it an audible orgasm. Kind of. Both albums are free to download through the bandcamp pages (link below), so why not? If you hate the police but are afraid to express it, here's the music for you. If you like Irish hip hop, here's the music for you. If two and two makes four and/or five, here's the music or you.
Another enjoyable marshmallow-river-flowing track is 13 'Til Infinity. I'll slap a link down below for all you baes. Presenting himself as a much more relaxed and laid-back geezer than other songs, the video shows such a snuggly fellow, no homo. Instead of the guns-blazing gangsta G, the song travels through some carnival, I love the teacups. Can't leave home without someone wearing a snapback though. Beaches and bitches, and a drop of champagne, it appears to be one big fest. Sausage fest? Why, no. Your average fest. With everyone all smiles it is pretty tough to imagine him as the artist behind the National or others. Still, the trackies give him away, to be fair. A few stares into the moderate distance here, a bit of melancholic shots here, the video borders stereotypical, but we'll forgive this. Cruising round that joint in his bumper car like it's a Mitzi Turbo, lad. And of course, who could resist a few drinks with the lady? I like her hair. Some blinking effects shows the lovely Irish countryside, probably Dublin but I don't know, and it ends staring out at the sea. Or ocean. Whatever, swag.
In the interest of being hip and cool, and keeping up with the times, I took a goggle at LD's newer track with JackKnife J; Headstrong, which features an appearance from the lovely Jess Kav. Until now I can't recall hearing the song, unless by chance unbeknownst to me. A few slow shots into the iconic 'Victory 13 Crew' jumper/top, the song starts slow, with lazy rapping. A simple beat, with soundscapes bigger than Skyrim's lands, it stands out as atmospheric. Jess Kav has a powerful voice for the chorus, and the reverb really swirls around behind the music. Always an enjoyable little effect in the video is LD actually recording the lines, dropping out of the song to hear him speaking properly. A few scenes walking through the city, presumably Dublin, the focus seems to be placed around that jumper. Halfway through, after second chorus, sudden jumper change, into 'Since 88'. Not sure what that one means, mate. And of course, into the live shots. Some really clean shots show LD and the gang looking happy out. Nice to see. All in all, with more reverb than Mrtn Gurx's kick drum, the song is a deep ambient release, and displays more atmosphere than Saw. A few more shots of the wonderful city, and you can't exclude the Ha'penny Bridge, the video ends when LD turns round to the camera, and a shot of Liam Pritchard is shown. A nice dedication, the video ends on a melancholic note, fitting the song well.
If you like the Irish scene, there's endless links in the sidebar on Youtube, go figure. Personally, LD comes out on top. With his image, his accent, and everything else, he really shows as professional. Not many have the ability to appear professional, and it lets them down. How and ever, see what you think. Script.
Averagity rating: Above average. Surpasses average.
Facebook: https://www.facebook.com/pages/Lethal-Dialect/186626141358217?fref=ts
Twitter: https://twitter.com/Lethal_Dialect (@Lethal_Dialect)
Bandcamp: http://lethaldialect.bandcamp.com/
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