It’s been a busy year at threethousand.co.uk, and as we move into our second full year of activity, we shall be making an even more focused effort on showcasing the best that bass music has to offer from around the world. This year has seen us expand the 3000 circle of vision to beyond the realms of UK Bass, and further afield into the realms of dubstep, grime, funky, garage, breaks and beyond.
This latest album project from Lijah therefore is a perfect thing to discuss. I can’t lie, this one nearly slipped by my focus during an extremely busy week of radio work, but my lord I am glad I found the minutes to take a listen. I don’t think Lijah would be offended to hear me say that as an artist, the majority of his notoriety comes from his work within the bass scene as a reliable producer, always ready to supply us with a fresh dosage of 4×4 fire. This project however is a perfect example of a bass producer spreading their wings. There is a world outside of UK bass, a notion that some seem to lose track of whilst burying their head in synthesizer design.
The project takes the name ‘Chapter II’, a fitting title for such an obvious switch up in production themes. We can safely say however that most certainly does not feel like a first dip into new waters for Lijah, as we kick off with the smooth yet dissident arrangements of ‘No Trigger To Pull’ featuring vocals from the magnificent Amelia. From there we move into the eastern inspired dubstep rolls of ‘Soundbwoy Ting’ alongside Logan, before we find ourselves in a more drill-like environment with the choppy drums of ‘Nike + Ralphy’, featuring a sharp vocal from Jasi.
Following on from a tidy interlude we move into a thoughtful piece of lyricism from Emz with a well thought out verse on ‘Malcom X’, followed by a well named chaser as Lijah combines forces with Harry Tremlett on a grimey roller entitled ‘Politics’. We hear a glimpse of Lijah’s original bassline flavours on the more stripped back ‘Simple Request’ before we finish up on ‘Alhassan’, a footwork-woven masterpiece, slapping together junglist influences and well processed percussive pops with incredible results.
Overall, the quality we found within this project shows us that Lijah really isn’t is a one trick pony, and we would urge you to take a listen yourself via the link below: