Review: Lee Scott And Dirty Dike – Butter Fly: UK Hip Hop Is Back In High Focus
By Jake Leins
Lee Scott And Dirty Dike are back to finish what they started. When Dike co-produced “So Cactus, So Owl” From Lee Scott’s last Album “CactusOwlMoonGoat” They realised that it was not the time to end this epic combination of rapper and producer.
Although there was no or little announcement for this project, it was 2013 when Dike passed the baton of buttery beats over to Scott, forcing the birth of one of the smoothest, funkdoobiest albums ever to have come of the High Focus record label.
It has been common knowledge that Dike can produce some of the jazzyest, slickest beats in UK Hip-Hop since he produced the beats for Rag N Bone man’s “Put that soul on me” EP. He is very dexterous with his music and can really set a scene whether it is a hype, gully track or whether it is an array of spacious, ambient sounds to envoke peace and relaxation. This is the first full album project that Dike has had the privilege to have input to the production and mixing.
Lee Scott has rapidly become a big face in UK Hip-Hop in the last 2 years. As one of the founding artists of Blah records, usual Hip-Hop listeners could possibly see Scott’s lyrics as unconventional rap, he seems to have a tried and tested equation to writing his words, which lyrically come off the tongue with such poetic flow, to an unbelievable point that it makes you question how he was able to think up and combine these usage of words and phrases with his own creative spin. In 2014 Scott Released his long awaited, award winning “Tin Foil Fronts”, which skyrocketed him enough to join the ranks of underground Hip-Hop greats such as LeafDog, SkinnyMan, Fliptrix, the list goes on. It goes without saying that with these two artists, sat in their comfort zone, will and have created a masterpiece.
The self-titled “Butter Fly” was the first track on the album. It starts the album off on an all-aggro feeling snapping up the listeners attention with the jazzy Dike beats and Scott’s signature lyrical attributes. The music video is almost a Rockumentary, showing Dike and Scott at “Melonskin Studios” where the project was created. Video below:
“Don’t Make Me” is the next track, Dike has set a moody and gloomy tone on this one using a “How Many Mic’s” – Fugeesque bass, some detuned piano plucks with some nice layered re-verb. Dike’s programmed drums are the eop of a 90’s Hip-Hop drum kit, this all goes hand in hand as Scott speaks out his act, that is arrogance and obnoxiousness that give those distinctive Lee Scott rhymes. The music Video with aid of “BP Productions” stars Dike & Scott in their own Cadillac astral travelling through time and space. See it below:
Track three is called “Money Grip” and it is another down-beat instrumental, as if Dike and Scott wanted to start on a slow, dragged feel. Scott is in full flow captivating the listener with full force, unstructured-Scott-Raps.
Following “Money Grip” comes “Walk The Walk”, a track exclusively about Lee buying some Ellesse shoes. At this point in the album the tracks start to become more progressively upbeat.
“Manatee Rap” proceeds “Walk The Walk” which has the aloof flow and sound of freestyle. Dike has produced this track to adopt a celestial and wide open, unimaginable space sound to it, Scott’s fantasies deciphered into a verbal picture. Its clever south park sample really coexists perfectly with the track. You can watch the video below:
“Watch TV” is one for the conspiracy theorists, Scott depicts his views on people who let TV dominate their every being by letting the media distract with such things as fake women, materialism and asking the big questions such as; “Why society is so submissive with having having its brain washed?”
The next track “Eight O Clock In The Morning”, Dike momentarily lowers the tone using shrill white noise and booming television skits as if the two were floating above the stratosphere, picking up TV satellite & radio reception creating a kind of isolated, solitary feel, this blankets the listener with some overly dramatic horns snowballing into an unnerving array of men chanting ‘Chop, Chop, Dig, Dig” as if to portray that the subject matter (Lee’s Life) is a hard and slow slog. This unravels into a darker beat as Scott begins a third-person portrayal of self-examination, collectively reveling in the idea and act that is Lee Scott. Video below:
This leads into the Blah Cult outlook and the name of the track describes that perfectly. “Sell Drugs”, is a track which covers the topic of cold-saggin’ (taking Valium and watching the day go by, while selling drugs) a type of gangsterism in which Lee Scott has created, which is to be taken with a pinch of salt, as it seems in my opinion, as a gimmick.
Before Dike coaxes a really quite beautiful track, using high flute hits that decrease down in scale and nice bassy synth tones for “Everythang Is Money”, it hasn’t been portrayed in the track, but it isn’t about currency it’s about things being positive, There used to be the expression; ‘Everything is money’ meaning everything was ok and Scott has combined this into one of his tracks. This is definitely a tune that easily portrays the world within the unconscious.
As the track “Don’t Tell Me” comes in full swing it gives the listener the impression that Butter Fly is coming to an end. Laced with the classic vinyl crackle and the psychedelic guitar riffs contributed by JCA (J.Allen). Personally this is my favourite track on the album, it just has everything you want in a Hip-Hop track; smooth jazzy beat, detailed metaphors, double-time rap, half-time rap, it literally has everything a Hip-Hop junkie looks for in a beat that bangs hard. See the video to understand what I am trying to illiterate:
The twelth and final track on the album, the only track co-written by Blah grunt, King Grubb the “Butter Tits” outro has to be the cheesiest outro to be released in Hip-Hop this year. With slow, summery guitar riffs (which I think were left over from “Don’t Tell Me”) it is almost a gangster ballad, but you would have to listen to the track to know what I was talking about.
The exclusive combination of Dike & Scott really give “Butter Fly” its own distinct buttery sound, keeping the album from diverging from the main subject – Butterness. Dike’s production is a sort of classic blending of old school jazz, funk, soul and Hip-Hop, it really helps old school heads reminisce. Scott really keeps it consistent to the subject matter with his style of conscious, intelligent wordplay. His combination of fluid flows, switched up past-time expressions and detailed metaphors is really the icing on the cake.
Being released on High Focus Records, Scott has ensured “Butter Fly” has been kept almost entirely Blah-esque. Dikes production has been no less than flawless. When Rag N Boneman’s “Put That Soul on Me” was released, its audience were more than impressed at Dike’s production, he had high expectations for his next project and he has raised the bar even higher with “butter Fly’s” production. This is almost a Blah X High Focus album both combining troops that are pretty much veterans in the underground hip-hop scene and letting them loose for a week in a studio its definitely not the usual Lee Scott type of beats on the album, different doesn’t necessarily mean bad, it’s actually quite the opposite “Butter Fly” is anything less than a masterpiece, in my opinion it is some off Scott’s best work to date and it is a vital piece to listen to for anybody who bares appreciation for either artist, their creation is a buttery wonderment.
You can buy this lactose-intolerant piece of work here:
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