Ratty Rids The Clubs From The Evil Curse Of The Private School DJ’s

Shotta Tapes | Rat Heart | STD003


Ruffcut batch of warehouse scrappers and basement brukkouts

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Format: Vinyl
"Gassing the tempo and playing it loose & tracky as f*ck, Rat Heart’s 5th solo album in the space of 18 months twists his grimy kaleidoscope to spy a more manic, ruffcut batch of warehouse scrappers and basement brukkouts injected with levels of scuzz and blunted vocals. It’s an instant classic shot at the rise of cosplaying posh DJs, alongside thee rudest steppers and spannered grime. Aye, you’re in for a treat - Massive RIYL Michael J. Blood, H-Fusion, Demdike Stare, Actress, Laswell,

Hints of this sound are strewn across Tom Boogizm’s gush of Rat Heart releases, but never quite so intently and single-minded as on ‘Ratty Rids The Clubs From The Evil Curse Of The Private School DJ’s’. Under that canny titular nod to Scientist’s classic album, he makes absolutely no bones about his antipathy toward the way dance music - traditionally a working class past-time - has been cuckooed and blanched by the British middle/upper class in the past decade (obvious correlations with 12 years of Tory dickheads?). To be fair, the politics aren’t overbearing - he’s not trying to be Wigan’s Chumbawumba - but they’re inherent to what makes him tick, and patently result in a brilliantly dare-to-differ sound.

Taking a big lick of the salty chip, he comes off like MES meets H-Fusion in ‘A Poem 4 The Modern Day DJ Private School Online Activist’, before cycling thru some of his strongest uptempo shit, keeping toes off the ground between the ghettotech percs of ‘Stressss’, his outstanding rimshot stepper ‘Teeth Like a Burnt Fence M8’, and lip-bitingly tight hi-hat thizz on ‘Leigh via Hag Fold’, plus the Sockethead-adjacent ace ‘Yeye’ and a Devil mix style mutation ‘No Tick 4 Lads in V-Neck Shirts (Brave Lil Piggy Mix)’.

There’s something else happening on this one too; a very specific je ne sais quoi that’s giving us momentary flashbacks to Laswell, Jean-Michel Basquiat’s ‘Gray’, even John Cale’s super distinctive production style on 'Squirrel And G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out)’ - bits like the claggy ambient of ‘$hatterdance’ and hot-boxed grogginess of ‘Wot Happens if U Just Eat Crisp’ - all designed to ideally temper the flex."

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