Dizzee Rascal
Boy In Da Corner

THE REVIEW

This "Boy In Da Corner" was one of the most talked-about albums of 2003, yet it has only recently reached my ears. Dizzee Rascal was the revelation of the year as well as one of the most frequently mentioned artists by any magazine: his name was taken as the patron saint of all that gritty and angry British hip-hop, gathered under the name of grime.

Could it be because at the time he was just eighteen years old? Perhaps, but not only: indeed, despite his young age, Dizzee crafted this album all by himself. The beats and rhymes all stem from his twisted imagination, and one must admit that the lad certainly lacks modesty, but definitely not style and talent.

Right from the opening "Sittin' Here", we can well imagine what the album's tracks of progression will be: the frantic rapping (which sounds like a cross between Tricky and Ol' Dirty Bastards) rests on extremely sparse beats that are nothing more than a funk drum break reverberated infinitely.
The poverty and avant-garde taste are almost a standard for the other tracks on this album as well, so much so that at some points it slightly borders on monotony. Yet there are many convincing moments in this work, which positions itself midway between a dance sound and certain alternative hip-hop (AntiPop Consortium certainly comes to mind, but the quality level is almost better, especially because there is less indulgence in intellectual digressions).

The funky energy of "Fix Up, Look Sharp" is surprising, resembling a Redman track put through a meat grinder. "Brand New Day" boasts a slightly oriental soundscape that would have delighted even Bjork. "2 Far" is perhaps the most representative track of what grime means, while "I Luv U" seems silly with its simple vocal sample, but soon becomes irresistible. On the other hand, "Hold Ya Mouf'" is exceptional and terribly menacing. The self-praise in Jus' A Rascal could have been more modest, but in the end, it has a fantastic swagger.

The beats often have a kraut feel, between rhythm and repetition. At times, it feels like hearing Mouse On Mars chewed up and spat out. The basslines of almost all tracks feel like punches to the stomach, as if to demonstrate that Mr. Rascal's life in East London was not easy at all. His flow is schizophrenic and perhaps needs slight improvement, but it's impressive that such a young MC already shows so much personality.