Most famous outside the dubstep community for his crossover hit 'Midnight Request Line' released in 2005 on Tempa, he continues to churn out classics at an amazing rate, including his 'Skreamizm' vinyl series and a self-titled album, both also on the seminal Tempa record label.
As well as releasing bad-boy tunes on other labels such as Big Apple (also the name of the shop where Dubstep was founded by Hatcha, Youngsta, Skream and a select few others) and Tectonic (Bristol resident and long-time dubstep devotee Pinch's label), 2008 marked the launch of Skream's own label 'Disfigured Dubz', introducing new artists such as Kulture and Late.
ABOUT S K R E A M FROM TEMPA [ http://www.tempa.co.uk ]
Meet Skream: Croydon's musical wonderkid. At 15 he discovered making music. Five years later he's changed the course of UK urban music, having helped build the foundations of London's most exciting new musical style, dubstep. But he's barely started yet: because right now, Skream is an artist on fire.
Skream's story begins in Croydon, in secondary school year 11. He wasn't getting on with teachers and they weren't getting on with him: but he was getting on with his music. But two friendships cemented then would start him onto the path to musical success.
First he met Benga, another talented Croydon kid who was starting to make music. Then he met Hatcha, soon to be one of the most influential and pioneering DJs in urban music. Around 2000 Benga and Skream set about building on the early dark garage flavours that were to be found on the pirate airwaves around Croydon. Through Hatcha's sets at club Forward» and releases on the seminal Big Apple label, they were about to create a new phase of dubstep.
At first Skream specialised in one flavour of dubstep: dark. His clipped, techy minimal style became a trademark sound. Long before grime existed, it reflected dark murky streets and sinister nights, the sound of decaying London and its frustrated communities, stuck out in satellite towns and sink estates with nothing but a PC and freely available software to channel their frustration into. Stuck in front of a PC for days on end, that's exactly what Skream did.
Then two years ago Digital Mystikz burst onto the dubstep scene, expanding the sound with new flavours and vivid colours. Skream became even more inspired. It not like he wasn't prolific already - rumour has it he's made over 1500 tracks - but out poured a host of bright new tracks from the wonderkid. "Indian remix" took him into trippy Asian territories, "Cheeky..." into Arabia, his unreleased mixes of Sunship fused Jamaican dancehall smut with hooky Kraftwerk melodies. "Smiling Face" broke out cheerful reggae skanks on dancefloors.
But his biggest tune was yet to come. Enter "Midnight Request Line" - on Tempa records - an anthemic explosion of electro arpeggios and dub sub-bass. It's a tune you can sing along to: Skream has it as his own ringtone. When it got dropped by DJ Youngsta at club Forward» grime dons Wiley, Jammer and the rest of Roll Deep began to shock out, flashing their lighters out of hard earned respect. The flip of this mighty release is bassline boomer "I," an excursion into deep dub basslines and shifting cinematic textures.
It shouldn't come as any surprise he likes sub-bass, Skream has grown up around it. His older brother was a member of Croydon's notorious jungle hell-raising raving outfit Intanatty Crew, which featured Radio 1's Grooverider and Bailey's 1Xtra as members. Ollie, Skream's real name, is no stranger to a bit of hell raising himself, famous for his up-for-it behaviour at parties or out on the town. In fact he's the only known music artist with a subdued alter-ego. Most rock stars are quiet by day with flamboyant alter-egos. Our wonderkid is the other way around. But then that's wonderkids like Skream for you: unique.
www.myspace.com/skreamuk
Rutten
Skream Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
[Casey]: Smells, like, so bad to me. Can't afford a bit of solid.
[Marks]: Now look at Herbie's face. He knows what's up. He's just hoping Casey will run out of steam so that he can pass the spliff to his mate, Felix. But Casey's determined to keep on going.
[Casey]: I grows my own shit, too.
[Marks]: He's got to be clever, to get in there. Just a few more laps to go. Casey's doing well. He's using all his best anecdotes, and Herbie now seems quite engaged in the conversation. Felix is trying to get acknowledged.
[Felix]: Yeah, man. Fucking homegrown. ...homegrown.
[Casey]: Yeah, man, that homegrown shit's good, man.
[Marks]: But it's not working.
[Marks]: Wow! Look at Casey's face! Now it looks like it's all been a waste of time and energy.
[Casey]: Millsy? Millsy from Routh?
[Herbie]: Yeah!
[Marks]: But he counters!
[Casey]: Oh, I knows Millsy from down Silhouette.
[Marks]: It's neck and neck here, at the last lap!
[girl]: Hello, my little space kitten.
[Herbie]: Fucking hell!
[girl]: Give us a toke on that.
[Marks]: Boomshanka! An interception! But that's always the chance you take....
[The dialogue in this song is sampled from a scene in the 1999 movie Human Traffic. The preceding is a transcription of that dialogue. The dialogue contains many slang words, which are maintained in the transcription, but proper grammar and punctuation are used for clarity.]
The lyrics to Skream's song Rutten describe a scene of spliff politics, where individuals engage in conversation and maneuvering tactics to obtain a toke from a shared spliff. The singer, Howard Marks, sets the stage for the interaction between Casey, Herbie, and Felix, highlighting the social nuances and power dynamics at play. Casey is determined to secure a toke even if it means feigning interest in Herbie's conversation. However, just as Casey thinks he has succeeded, a new character enters, intercepting the spliff and upsetting the balance.
The lyrics reflect the culture of sharing and socialization associated with smoking marijuana, illustrating the intricate ways in which individuals navigate these interactions. The use of slang and informal language adds to the mood and authenticity of the scene, creating a vivid and relatable picture in the listener's mind. Ultimately, the lyrics depict a fleeting moment of social connection and competition that embodies the spirit of smoking together.
Line by Line Meaning
Now we've reached the hour of spliff politics.
It's the late night hours of smoking weed, where the power dynamic shifts towards the person who has the joint.
It's the time of the night when everyone knows who's got a spliff, and in which direction it's going.
It's the time of the night when everyone is aware of who has the joint and who will pass it next.
See Casey, in the hood? He doesn't know Herbie, the kid skimming up next to him.
There are two strangers, Casey and Herbie, in the same area, but they don't know each other.
But to get a toke, he's got to start up some bullshit conversation, and keep it going, until he gets passed the spliff.
To get a hit of the joint, Casey has to initiate a pointless conversation and keep it going until he's passed the joint.
Smells, like, so bad to me. Can't afford a bit of solid.
Casey dislikes the smell of weed and can't afford to buy his own.
Now look at Herbie's face. He knows what's up. He's just hoping Casey will run out of steam so that he can pass the spliff to his mate, Felix.
Herbie is aware of the situation and waiting for Casey to stop talking so that he can pass the joint to his friend, Felix.
But Casey's determined to keep on going.
Casey is determined to keep the conversation going to hold onto the joint.
He's got to be clever, to get in there. Just a few more laps to go. Casey's doing well. He's using all his best anecdotes, and Herbie now seems quite engaged in the conversation. Felix is trying to get acknowledged.
Casey has to be sneakier to keep control of the joint. He's using his best stories to keep Herbie interested, while Felix tries to get involved in the conversation.
Yeah, man. Fucking homegrown. ...homegrown.
Felix tries to contribute to the conversation by talking about homegrown weed.
But it's not working.
Felix's attempts to be included in the conversation aren't successful.
Aah, I just remembered, man. Millsy's coming down next week with some tie. Go out and hoof it, man.
Felix tells Casey about the upcoming visit of someone who will bring better weed, urging him to go pick some up.
Wow! Look at Casey's face! Now, it looks like it's all been a waste of time and energy.
Casey seems disappointed that he won't be able to hold onto the joint for much longer.
Millsy? Millsy from Routh?
Casey recognizes the name Millsy and asks if he's from a certain area.
Yeah!
Herbie confirms that Millsy is from that area.
But he counters!
Instead of giving up the joint, Casey tries to redirect the conversation by pretending he knows Millsy from a different area.
Oh, I knows Millsy from down Silhouette.
Casey lies and says he knows Millsy from a different area to gain more social status and hold onto the joint for longer.
It's neck and neck here, at the last lap!
The competition for control of the joint is intense as the joint is nearing its end.
Hello, my little space kitten.
A woman interrupts the conversation with a strange greeting.
Fucking hell!
Herbie is surprised at the sudden interruption by the woman.
Give us a toke on that.
The woman asks for a hit of the joint.
Boomshanka! An interception! But that's always the chance you take....
The woman successfully intercepts the joint, but that's always a possibility when sharing weed with others.
Contributed by Hannah W. Suggest a correction in the comments below.
@gabrielaneses9395
I hate myself for finding out about this 14 years after its release. This is amazing.
@slutmachineee5748
All that matters is you ended up finding it
@dylan-np5hf
try 18 brotha
@HoneyABadger
The legend! I remember listening to this when it first came out and then getting it on vinyl! And always consider Skream pretty much the first producer that got me into dubstep back in the good golden days, as cliché as it sounds I have total respect for the man! Spread the love! I'm surprised only 31k views! Choon!
@closuitm
same, this song was one of my absolute favorites and made me find more dubstep songs I liked.
@KeepOnWithTheForce
The spliff politics beat goes so hard
@mephistotellesdr.7622
Great oldschool dubstep
@closuitm
I FORGOT ABOUT THIS SONG. I was trying to remember this guys name for so long.
@anonyma9294
I tried this with an African flute. At some parts It's not as easy as I thought. At other parts it's easear as I could imagine. 😅
@sammimcr9301
I would love to see this in a video! Record your talent dude