Killa Kela : 'Amplified'
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Released: 21st September 2009
Label: 100% Records
So, the UK debut album from Killa Kela (whatever happened to his other album, a straight up slice of UK Hip Hop performed solely via his mouth I wonder?) is upon us, and about time too I say. How long has this chap been floating around various different UK scenes, predominantly hip-hop orientated ones? Well, tracks from the aforementioned ignored old record featured on a DJ Plus One mixtape back in 2001 (Champion Sounds, look it up. It has old Estelle when she was still “hood” amongst other things and is really quite good) before he hooked up with Beni G and started making bass-tastic tunes as one half of Jack Beats.
This record is an entirely different beast to, well, either of the aforementioned albums. Featuring many collaborations once more, though this time from a wide cross section of the music scene pie. We have nu-rave covered in the format of Does It Offend You, Yeah? “mastermind” James Rushton, French house with Alan Braxe, the Allies Crew (A-Trak, Klever, Dj Craze, all DMC world Champions) in the shape of Craze and upcoming urban artist Bashy alongside a multitude of other well known artists and producers. A strange selection for what one would typically regard as an artist very much from the urban and hip-hop scenes. Well, I would say to that, “what is wrong with expanding your boundries and trying new things?” The answer? Nothing, of course. There are certain provisos for entering new arenas though, and I am not entirely sure that many are adhered to on this record.
While not a bad piece by any stretch of the imagination, it does seem to lack some of the innovation and catchiness of Killa Kela’s previous output. Opening track ‘Built Like An Amplifier’ comes across as an offcut from the DIOY,Y? record, while ‘All Killa No Filla’ aptly demonstrates just how far Killa Kela’s skills have come along. It really is an accomplished piece of beatboxing that may or may not feature live instruments, I cannot tell. He’s that tight. The problem is that it just isn’t a brilliant song.
Things pick up somewhat with the influence of Alan Braxe on production who tries to play to Kela’s strengths whilst adding a touch of his French know-how. From this we emerge with ‘Crouch Touch Pause Engage’. The song is more typical of older Kela with slow rumbling bass from his throat over clicking beats and Braxe’s production. ‘Everyday’ is another attempt at a more electro-pop song, hooks and choruses and all, though with Braxe at the helm it is pulled off with more aplomb and comes across like a solid pop song that could, perhaps, be worthy of Phoenix.
The Craze collaboration is more of a straight up banger with some intensive scratching from the three times DMC champion. Solid bass and bouncy beats all the way. ‘She’s So Sweet’ is an above par song with a nice bass line, but the vocals leave me distinctly uninspired. ‘Situation’ is a slightly more r&b flavoured piece that just leaves me a little cold, not up my street anyway but I still can’t really take positives out of it. 'Cards And Cheques’ is a reasonable piece of grime influenced menace, though Bashy’s vocals only compile a very small part of it and are not outstanding, but decent all the same. I can’t say the same for the chorus.
‘Get A Rise' is a fairly shouty piece of drum & bass I’ll glaze past quickly. ‘Couple Of Wasters’ is a slightly more valiant attempt at a d&b piece, but is still a little weak in the vocal region, even if the beats and bass are pretty tight. Which brings us to closer ‘Came With Me’, a slow burning piece which closes the album out nicely with organic growth, big atmospheric synths and a big kick drum from Kela.
Oddly, a mixed bag, with some collaborations that work and others that don't. Kudos for the experimentation, but unfortunately we find Kela perhaps a little out of his depth in terms of musical knowledge and pandering to collaborators who are not at the forefront of their field or on top of their game. As they would say on International Superstar Soccer 64, “A valiant attempt, but thwarted.”
Words: James Hoste
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