Foreign Beggars’ “The Uprising,” Reviewed

If you're familiar with UK grime/rap music, you're likely familiar with the critically acclaimed trio Foreign Beggars.

Here's a brief rundown for the uninitiated: Two of the members, Orifice Vulgatron and Dag Nabbit met in Dubai during the early 90s playing in various hands. By the late 90s, they began making hip-hop and started throwing drum & bass house parties and raves soon after. The duo separated but continue to produce and perform together.

DJ Nonames met Metropolis at University in 2000. Orifice mets DJ Nonames. Magic happens. By late 2002, the first Foreign Beggars material was released. Awards like "Best New Act" at the 2004 UK Hip-Hop awards follows. Collaborations with the likes of Noisia, Flux Pavilion and Skrillex follow too.

And now comes their newest album The Uprising, out now on Deadmau5's Mau5trap label. There's production from Knife Party and a drum cameo from Tommy Lee on the song "Minds Eye," one of the better songs on the record.

In parts, The Uprising sounds more like a dubstep or drum & bass record with a vocal sample added on top at the last minute ("We Does This" and "Working Angles" come to mind). The Knife Party-produced "Apex" almost runs into this problem at times but is largely successful.

But when the marriage of grime and bass-heavy, electronic beats really work, The Uprising shines. The more sparse, minimal beats on songs like "Flying To Mars," "Goon Bags" and "Palm Of My Hand" serve as perfect backdrops to Foreign Beggars' often frenetic flows. "Anywhere" is the triumph of the album: airy chorus, dancehall influences and a filthy drop that should put a smile fans' faces.

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Written By: Julian Caesar