Wiley - 'Treddin' On Thin Ice' (XL)
4/5
By: Kevin Molloy
Lo and behold, the language of the txt-msg is upon us. What started as an economical way to use communication was inevitably linked with a defiant assertion of individuality in the misspelling of English (how many groups of young men have been known as 'da boyz'?). However, much as it might be wearing a little thin, don't let it put you off Wiley; he has more to say than would ever fit into 160 characters.
That's not to say the content is necessarily much deeper than your typical SMS; Wiley fits rather a lot of words into his three-quarters of an hour, but not many of them yield much beneath the surface. Whilst he follows a trend in abandoning the 'gangsta' ('I think that life is worth more than drugs or money'), perhaps what is most refreshing is when he actually admits, elsewhere, that he is driven by material needs. On 'Reasons' he pleads, 'we're just trying to make some money', and 'Pies' sees Wiley admit that he's trying to satisfy his belly (and numerous other wants). Introspective commonplaces abound, but there's an endearing quality in the manner that Wiley relates them to us as if they're unique and revelatory. Ego is perhaps a successful MC's most important tool, and Wiley possesses a more than ample share.
Hailing from the Roll Deep posse (from whence Dizzee Rascal came) he is following his fellow's footsteps to fame (both are also signed to XL). Similarities between Dizzee and Wiley, however, end with their label. Wiley's humour is more akin to Mike Skinner's, whilst the record sounds, in many places, as if the backing has been pulled from the sound effects to old Atari games and daytime TV game-shows. This bizarre concoction, it seems, must be part of what Wiley calls 'Eski-beat'. The definition of his own genre is part of Wiley's fiercely independent nature; first single 'Wot Do U Call It?' rails upon the pigeonholing of his tunes with a surprisingly catchy and uplifting effect. One thing you never seem to get from Wiley is a whinge - nor a full-out assault. On numerous tracks he refuses to apologise to anybody for his newfound fame, but reminds each subject that anybody can make it too if they 'work hard, like me'.
Wiley's sweeping use of sound-bites can produce some great effects, but on other tracks everything is just too clean; this marks perhaps the biggest difference between himself and Dizzee - Wiley's music is lacking in the danger and innovation that made 'Boy in Da Corner' a Mercury Prize winner, and in the passion of Dizzee's panoramic commentaries.
Yet, that aside, there are few bad moments to this LP. But with a little time in the fame-game Wiley could go one of two ways: he could almost certainly return to the studio within the year and record another 15 tracks to a similar standard. On the other hand, with his burgeoning skill as an MC, he could return to the scene with a truly unique offering. Here at rockfeedback we're certain he's got it in him. But for now, this is a more than worthy debut. Just remember: he tends to get a bit worked-up if you try to define him, so, for now, we'll just call it 'quality'.
Artists in this article: Wiley
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