10 Tracks That Prove UK Hip-Hop Is Coming Of Age

If you like your bangers served with substance, here are some artists who might convince you to dust of your Technics.

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There are lots of fantastic things about being part of music scene that exists on the margins. The sense of belonging to "one big family"; the chance to get up close, personal and probably smashed with your favourite artists; the overwhelming smugness you feel when your mate asks you what's playing on your stereo and it's some obscure 12" you ordered from Japan (yes, we're all dicks). That said, isolation is not always the best incubator for high art. UK hip-hop, probably the most maligned of the "urban" genres, provides us with a stark example.

With its lack of external criticism, some artists have been able to get away with all sorts of patently unacceptable stuff: skeletal musicianship, questionable politics, and an inexplicable over-reliance on cock jokes. Despite a roster of breakout artists grafting hard against the trend, this rock-bed of sub-par spitting seems to have kept the scene in a state of indefinite adolescence—at least, until now. In the last few years, UK hip-hop has undergone somewhat of a transformation. Those rappers who were responsible for reinvigorating the scene in the noughties have shed their pubescent acne, come down off their benders, and started questioning their culture.

Elsewhere, numerous young artists—raised on a diet of Odd Future-born nihilism and the glorious resurgence of grime—are dismantling the stubborn boundaries between urban genres, and redefining what it means to be a UK MC. Basically, it's all got a lot less embarrassing for everyone. If you like your bangers served with substance, here are ten tracks that demonstrate how far the scene has come of late.

808Ink – "Crooked .Bad"

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A decade ago, having "edge" in UK hip-hop meant talking indiscreetly about your weed habit, and maybe indulging in a little light homophobia. Today, we've finally got the real thing. Mixing brutalist bars, heavyweight production and curve-pushing art direction, 808INK are one of the most exciting and intimidating acts to emerge out of the scene in the last year. They're also incomprehensibly slept on, so get involved before they blow up and leave everyone in the dust.

Dirty Dike – "Isleham Swamp"

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2015 was a very important year for High Focus lynchpin, Dirty Dike. Having built up a reputation as a drug-huffing manchild famous for giving zero fucks, he suddenly got all studious and locked down not one but two albums of his own (certifiably banging) production. As if that wasn't enough, Mr Dikestar also released a solo record that, whilst maybe not totally dismantling his chaotic public image, certainly combed its hair and gave it a new-found air of respectability. Despite the willfully ridiculous title (and the occasional reference to fisting Cliff Richard), Dike's new record Sucking On Prawns In The Moonlight shines with symbolism, complexity and, in places, a remarkable seriousness. More than that, though, it is the sound of someone letting their guard down. A brave move, and one that will hopefully encourage other MCs to do the same.

Kojey Radical – "Open Hand"

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With a style that feels almost above genre, it's maybe a little reductive to include someone like Kojey Radical on a list of brilliant UK hip-hop. He features here partly as a hope of things to come, and partly because he deserves every iota of attention you can give him. An unapologetic poet spitting devastatingly political verse, every inch of Kojey's output is crafted beyond belief. "Open Hand" is a track to be rewound again and again, for the weight of its commentary and the breathless intensity of its performance. For those who like their music with depth, it doesn't come much deeper than this.

Ocean Wisdom – "Ewok"

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Where noughties beat-making was marked by a purist approach with a heavy emphasis on turntabalism, young UK hip-hop artists are melting genres together like a fire in HMV. And you'd have little choice, if you were Ocean Wisdom, because this kind of blink-and-you'll-miss-it flow works best on a grime beat. Although Ocean has dropped numerous Dirty Dike-produced bangers, which are all more than worth your time, this collaboration with Kidkanevil is just plain ridiculous. Plus, the video for it has a dancing Ewok and Darth Maul robbing a corner shopand who doesn't want to see that?

Luui – "Behind The White Door"

With a whole heap of kids growing up listening to Tyler and co, it was only a matter of time before a tide of disenfranchised youths bought themselves copies of Abelton and started rapping about their crappy childhoods. But for all the navel-gazing college students now using SoundCloud as some sort of 21st century LiveJournal, there are artists like Luui making diarising an art form. After dropping the seductive, STWO-produced "With You" last year, Luui returns with "Behind The White Door", a track marked with a tendency to over-share that you could almost call a trademark. In a world where too many MCs are hiding behind their Instagram filters, this kind of lo-fi, don't-care jam is a total dream.

Lee Scott – "Don't Tell Me"

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Lee Scott has always taken the piss. But until the release of his undeniably brilliant solo record, Tinfoilfronts, this frighteningly entertaining brand of satire was the preserve of a handful of fan boys and girls, buried deep in the back catalogue of Liverpudlian crew Children Of The Damned. Now firmly under the scene's spotlights, the self-described "Marxist, intellectual Waka Flocka fan" has just dropped another blinder in the form of the Dirty Dike-produced "Butter Fly". Dry, droll and subversive, Lee is Chris Morris in a Kestrel-stained tracksuit, and his deserved success over the last few years says a great deal about the changing landscape of UK hip-hop.

Dead Players – "Drenching"

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With at least a quarter of all UK hip-hop's output comprising of Tesco Value party rap, it's no wonder some MCs have started to wake up on the wrong side of a four-day weekend. Leave it to morbid mavericks Dead Players to write a fitting soundtrack to everyone's nightmarish comedown. "Drenching", taken from their colossal second album Freshly Skeletal, is a feverish examination of intoxication culture with a video that will make want to crawl back under your duvet. Lyrically speaking, these guys have got the whole scene by its balls—anyone who says otherwise is probably just jealous.

Crave Moore – "Corbyn"

If the phrase "South London model cum rapper" makes you want to throw a brick at someone, we hear you. But despite being unfortunately photogenic, Crave Moore displays a duality rarely seen in hip-hop. While his lush, slow jam beats lull you into a false sense of Zen, that unhinged flow—occasionally overwrought, audible spittle—tells you in no uncertain terms that everything is not going to be alright. It's in this sweet spot between senseless and incensed that Crave created his own inimitable style. 

Edward Scissortongue – "Same In The Dark"

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Try as he might, young Edward Scissortongue always seemed a bit out of place when he first started barring as part of now-infamous quintet, Contact Play. A penchant for weirdness and unanchored allegory made his lyrics conspicuous amongst the tales of squat parties and ill-timed bodily dysfunction. Thank goodness, then, that his label allowed him to go full-on Beatnik weirdo for his solo project—one of the current raft of emcees choosing electronic producers over turntablists to score their tracks. Task Force this ain't, but if Scissortongue proves anything, it's that rappers should read more Sartre.

Mr. Key & Greenwood Sharps – "Cowboy Builders"

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UK hip-hop's "too many dicks on the dancefloor" situation has not made it the most welcoming environment to MCs looking to vent their feelings. It's hard to imagine a record this bottomlessly tragic having ever been released ten years ago—let alone on one of the scene's monster labels. Yet Mr Key's opus Yesterday's Futures is as beautiful as it is bleak; a love-sick, world-weary epic delicately scored by Greenwood Sharps, and a demonstration of what happens when rappers let their demons win out. One of the standout records of 2015.

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