BEATS AND RHYMES

We've got love and hugs and kisses in spades for Rephlex Records but what the fuck are they doing releasing that Grime compilation? Talk about a misnomer. Do they really know about the most exciting/violent/retarded musical movement this country has seen since Oi? Not judging by the tracklisting. Note to everybody who bought that record in the hope of learning about Grime music in the 04—pop down to Big Apple Records in Croydon and pick up the following DVDs—Lord Of The Decks (Vol. 3 should be out by the time you read this), Conflict (Dizzee Rascal and Crazy Titch coming close to a punch up live on Déjà Vu FM), or anything else in a jiffy bag with a logo designed by an autistic ten-year-old (and not even one of the crazy talented ones) on a photocopied piece of paper inside. The quality of packaging and camerawork is shocking, but they are the best insight yet into Grime and the gypsy musical revolution it's creating in Britain (what did we tell you—black Oi! for 2004).

Right now, things are developing so fast on the streets of Bow that by the time this goes to press four entire postcodes in East London will have collapsed in on themselves. White people in the media and Americans take note, Dizzee and Wiley are just the tip of the iceberg, and next to blow should be Kano, who bridges the gap between the shock of Dizzee and commercially accessible Yank rappers. If you go to record shops try and pick up his collaboration with Wonder, "What Have You Done For Me Lately" (White label)—it's been around for a minute but is still the best thing we've heard this year. Also worth picking up are Geeneus' remix of Wonder's "What" (the original instrumental of which will appear as a track on Dylan Rascal's forthcoming second album on XL, out in July), or that other Bow wonder, the five-foot Tinchy Strider's "Move" (hold tight Rapid on the beat). Also peep Tinchy in the incredible video for the remix of The Streets' "Fit But You Know It" (679). Why more people don't realise how fucking cool you look with four killers following you around in matching romper suits beats us. And that crazy finger movement he does for the ladies? Standard.

We heard some tracks from the Shystie album last week and it's not bad for a girl. She can rap, but unfortunately Diamond In the Dust is mostly so fast and whiney that only her and her mans know what she's saying. When she does slow down on a couple of standouts (a game show track and a live one with guitars and everything) she smashes it. Shystie doesn't really have any kind of following from the world of garage/grime.

Talking of girls who carry lyrical scurvy and flick-knives, Lady Sovereign looked like she was off her bonce on pills at Fabric the other week while supporting Dizzee Rascal. We're not saying she was on pills per se, just that she looked liked that. Meanwhile, the man with the current best name in What you call it? Garage—Terra Danjah —is blowing up big and just signed one of his singles to Virgin for lots of money.

The latest whitey hip hop joke, Goldie Lookin' Chain is OK by me. It's always good to see young Welsh people making money, but it's a shame that no-one remembers Glock and Steal who they're effectively ripped their whole act off. If G&S are reading this, stop driving your cab around Gwent for a minute and get your lawyer to holla at East West Records.

TOSH LYONS & PETER SHILTON