I Done A Album I Done A Album


Beardyman BeardymanI Done A Album

7.3 / 10

Beardyman  I Done A Album SUNDAY BEST

You can have a beard like Beardyman’s, you just need to get rid of your shaving kit. But I assure you, you can never have his prodigious respiratory skills. To call it “beatboxing” would do him no justice. What this man achieves with his throat goes way beyond the reproduction of hip-hop beats – the man has taken the technique to a new level, expanding its reach and daring to even make Aphex Twin fans go crazy on his stuff on occasion.

Darren Foreman is a one-man band in future form. Those who haven’t witnessed his live performances should really go on YouTube and admire the vocal acrobatics the man performs with his voice and some knick-knack. And it doesn’t end there. The satrap does it with a delicious sense of freaky humour. With his live act based on dubstep, drum’n’bass, grime, IDM and techno made with his mouth and his weird gags (made with god knows what), the Brighton showman has earned the respect of press and public. A great achievement, as his schizophrenic formula has all the characteristics of something that could be taken for a joke and little more.

“I Done A Album” is a strange fusion of deranged beatmaking, human beatboxing and surreal clowning around. Full of hilarious skits, the record floats in a lake of vocal samples, fart sounds and some latest generation electronic devices. The style book is close to British hip-hop but also picking from black American music: the dark funk with bad ass rap – “Big Man”–; polyrhythmic chaos from the Rephlex school – “Game Over (Latex Quim)”–; hip-hop a la A Tribe Called Quest –including a sensational Q-Tip imitation on “Smell The Vibe”–; digital R&B for humid nights – “When You See The Light”–; dubstep with touches of grime – “Gonna Be Sick”–; Afro-beat with reflections of house – “Twist Your Ankal”–, etc. Whatever you want, whenever you want and wherever you want.

And all that in a lysergic cocktail of hysterical laughter and high-end production, which never sounds overdone. The record maintains a perfect balance on a strip of tolerability between jokes and quality beats, and on “Vampire Skank”, the duality between comedy and good music reaches its sublimation: the track starts out as a soundtrack for a Rumanian wedding and ends up mixing gypsy allure with a devastating dubstep beat. Never mind asking yourself if he’s an entertainer or a beatmaker. In the world of Beardyman they are one and the same thing.

Óscar Broc

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