Review: Wiley, The Marble Factory

A veteran of the pirate radio scene, Wiley’s visionary production and lyrical versatility has paved the way in the evolution of the grime genre. By 2003 his early releases Eskimo and Morgue conceived a sound rich with the influences of prevailing jungle and garage styles, though simultaneously spiced with something altogether alien.

The menacing vibe, unnerving synths, skewed bass lines and frenetic lyrical delivery marked a distinct step away from the champagne glamour of the UK Garage scene. His instrumental role in the formation of Roll Deep saw the birth of one of the the genres first collectives, further stretching the art form and launching the movement into the public limelight.

Opening up, Ms Banks introduces her RnB infused Day One’s, offering a heartfelt profession on the importance of friendship with a considerate dash of dancehall flavour. Following up her track Come Thru uses a brilliant combination of swinging accordion to an almost disjointed yet metronomic clap and a self assertive lyrical swagger true to the grime ethos.

Taking to centre stage donning a maroon Barcelona FC tracksuit Wiley cannons into I Call The Shots featuring fellow grime visionary JME. Far from bragging Wiley gives his humble acceptance of the Godfather title, highlighting the devout work ethic he’s applied in pushing the limits of the wider movement.

https://www.youtube.com/watch?v=QnQSjLb-Oxc

Launching into Speaker Box, the rampant swerving bass line sets the crowd into a furore. With support on production from Rotterdam’s own NoizBoiz, the track is highly reminiscent of the signature eskimo sound that still codes the genres ancestry.

Wiley roars into effect with a history lesson on his ascent through the industry from a personal perspective. “Don’t matter what the time is I make time.” He has never ceased in stressing the critical role of hard work and focus in reaching success, embodying an inspirational doctrine of Tunnel Vision that titled multiple volumes of earlier mixtapes.

https://www.youtube.com/watch?v=sa1glDxNvfk

Stepping back in time the DJ rewinds with Gangsters to the joy of the old faithful. An industry anthem blending a piercing synth and scratchy bass line as Wiley recounts his own experiences of the criminal underworld and gives comment on the issues involved with the presumptuous assumption of a gangster identity. With the crowds mixed reactions of hysteria and indifference to this injection in the set list, Wiley takes a moment to acknowledge and salute the die hard grime contingent.

Attesting to his careers commercial crossover Wearing My Rolex livens the congregation before plundering back into the nitty-gritty as Back With A Banger ignites the dance floor. Preditah’s production gives a great punchy drum sequence and tightly punctuated string synths as an enlivened Wiley’s rhapsodic onslaught commits his musical return to the pavements. “Fire in my belly cause I’m back in the manor.” Many of the raw tracks featuring on Godfather mark a stark reversion to the essence and fundamentals upon which he pioneered a scene at the dawn of his career.

From twelve studio albums to countess white labels and mixtapes, Wiley’s discography is diverse as it is extensive. Godfather hosts an impressive sit down of industry talent and still working with the affluential Boy Better Know collective, his Godfather II promises another feast. A rousing performance dispatched with the genuine ardour of an artist beholden to his origins, the material performed from his previous and forthcoming album are almost a love letter to the movement he founded and has nurtured.

Justly dubbed the Godfather of Grime the ‘E3 Tiger’ is still hungry and on the prowl with his paws firmly rooted in grime. Landing at the Brixton Academy on March 2nd his closing tour leg on home turf stands to be a triumphant homecoming for grime music, with the Godfather II album soon to follow.

https://www.youtube.com/watch?v=gcroTw04i-w