By Lesley Macdonald
Pengshui claim to straddle the genres of grime and punk, delivering the vocals typical of the first delivered with the energy and attitude of the latter. Vocalist Illaman has even gone so far as to suggest grime is new wave punk. It’s a bold claim, but this three-piece formed in London have the musical experience which to lend them some credence. Illaman is possibly king of crossovers having been a member of Foreign Beggars, initially an underground Hip Hop group that evolved into dubstep as well as rap band Problem Child. Fatty (bass) has a dubstep history in Submotion Orchestra and drummer Pravvy Prav has worked with various rappers such as Jehst and Maverick Sabre. This self-titled album is their first full length offering after four track EP, ‘EP I’.
In the first track, the band introduce themselves and Pengshui sound like trouble from the off. ‘Wickedest Ones’ merges metallic riffs and rhythmic rants showing off Pengshui’s decidedly raw and raucous nature. A nice touch is the glass synth which adds another layer to the track. Illaman’s cackle towards the end is fitting for a song of this title and leaves you with a sense of what the album is about. The first single ‘Nobody Cares’ follows and is aimed at stirring up a live crowd with the intro “Round and round we go, round and round we go” bound to work the circle pit as the track winds up. The lyrics are designed to mock grandstanders and pretenders in a beautiful display of rhythmic musical and vocal aggression.
‘Blame’ doesn’t hit as hard as the first two tracks but ‘Wiseman’, which features grime MC Footsie, is a short and to the point square up. A challenge to fakes and false fronts, it rips apart the façade, branding the opposition insignificant “fish like nNemo”. There’s no surprise as to what ‘Leave It’ is about. Though the lyrics are vicious this track is lyrically unimaginative. It is followed by ‘Lights Out’ which features drum and bass MC Orifice Vulgatron. This is a song about territory, of the musical type, not physical. At just over two minutes long though, the track is left with nowhere to go and leaves you feeling a bit short changed.
Towards the end Pengshui really begin to shine. ‘No Joke’ is a standout. For the first time the vocal talent required to hit home in the grime genre is truly displayed as lyrics are punched out staccato, sincere sounding in their fast-paced vitriol. Again, it’s over too quickly. This is set to be a massive track and I wanted more. The defiant ‘Rise’ rounds off the album nicely, leaving a message for the naysayers that Pengshui will prevail. There is an epic finish which is promptly ruined by the worst of four interludes that are dispersed throughout the album after every two songs. I enjoyed the first three. They displayed a nice taster of the dubstep, bass laden ability of the band. Unfortunately, there’s no place for an interlude at the end of the album. It takes the edge away at just the wrong time.
So, about this claim that dubstep is the new punk. Pengshui certainly have attitude, short tracks and a three-piece set up. They lack any message of substance though. There’s no politics here, unless you count social politics, posturing and the like, squaring up to the lads on the opposite corner. Maybe this individualised aggression and grandstanding is a sign of the times and maybe that’s what they were getting at. Perhaps I’m missing something. Either way, personally don’t get punk from this. It’s a good album with some great moments. If this were a debut, it would be very impressive. Since Pengshui are seasoned artists I look forward to seeing where they go from here.
- ‘Penshui’ is out now. You can get your copy HERE.
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