S-Type - King Tuts Wah Wah Hut, Glasgow, Sat 30 Mar 2013
- Colin Chapman
- 16 April 2013
The LuckyMe-signed producer shows why US hip hop labels are after him
The Blessings’ Martyn Flyn and Dominic Flanagan and the acts on their LuckyMe label are more familiar with organising and playing at club nights, so it’s something of a surprise to find the duo hosting a gig at King Tut's, a venue better known for helping up and coming guitar bands break out of the unknown.
However, perhaps this makes their choice of venue apt; it’s the live, hometown debut of the hotly tipped S-Type, aka Bobby Perman, whose 'Billboard' EP they released last year. Its six tracks of hip hop beats, chopped vocals and anthemic synth lines earned the producer numerous plaudits as well as Radio One airplay and for many, marked him out as one to watch in 2013; with remixes of Aluna George, Jamie Lidell and Lianne La Havas set to drop as well as further productions of his own, this could turn out to be justified.
Taking to the stage late, following a live set from the musically-likeminded Nightwave and DJ sets from his LuckyMe compadres, The Blessings and Éclair Fifi, Perman is met with a suitably noisy reception of whistles and cheers as he steps behind his set-up of electronic drum machine and pads, synth and Mac.
‘Sensei Star’ soon bursts from the speakers, the beatless, Mike Slott-collaboration with its xylophone chimes, breezy synth and emotive piano acting as the ideal attention grabbing intro, before giving way to the body-shaking bass, skittering drum pattern and whirring riffs of ‘Flyp City’. Perman later adds snappy percussion, hitting the drum pads, amid forceful, techno-esque stabs and 808 claps, highlighting his fondness for combining hip-hop elements with club-orientated, electronic sounds.
Elsewhere, ‘Whole Lotta Love’ sees twisted samples of rappers’ lyrical couplets, sped-up and slowed-down over dipping synths and stuttering, military-style drums, while the loping funk jam of ‘Walrus’ combines a flute loop, vocodered vocal and rising topline across a compulsive, head-nodding beat. However, it’s the triumphant horns of the Karate Kid-soundtrack sampling, ‘You Da Best’ and the infectious, anthemic fanfare of ‘Billboard’ that gain the best reactions, the latter closing tonight’s performance to scenes of delirious, air-punching - both tracks offering hints as to why S-Type’s production skills are in demand from some US major label hip hop acts.