Hailing from Barrow in Furness, Andy Turner, producing under his hip-hop moniker, Aim, is one of the more illustrious artists to come out of the Cumbrian town. The son of a jazz drummer and instrument shop owner, Turner’s musical-mindedness manifested itself when he opened his own record shop in the town, Speed Limit Records. His passion for beats took him to Manchester and the rave scene that was blossoming around the now-legendary Hacienda nightclub. These trips to the North-western powerhouse enabled him to bring both the freshest records to his hometown and inspired him to put on parties, giving him the chance to play out regularly and establish himself as a DJ.
On hearing a demo tape of his, Mark Rae immediately signed him to Grand Central and it was on this label that Aim released his three full-length studio albums. Cold Water Music, his debut album released in 1999 was an expansive collection of glacial, expansive breaks that really signalled his arrival in the hip-hop world. His track ‘Ain’t Got Time To Waste’ even featured in the game that defined my generation’s youth, Tony Hawk’s Pro Skater. The album featured New Jersey emcee YZ and also witnessed the beginning of his fruitful partnership with NYC artists and long term collaborators QBall and Curt Cazal aka QNC.
After a nine year hiatus, Aim came back with a remix last year that got many people excited for more productions and his first album since 2006 does not disappoint. ‘We Don’t Play’ comes out hard and enlists the rhythmic flow of the legendary Grand Puba. Full of ethereal background noise and a roaring, relentless bass synth the first track sets an atmospheric tone for the rest of the album. Following this ‘The More I Get The More I Want’ is a squelching homage to consumerism, comprising extra-terrestrial sounds and a steadfast beat complimented by dreamy vocals that contrast with the nature of QBall’s bars, Nike’s dulcet tones emphasizing that “you got all you need”.
With a straightforward beat accompanied by a dubby, meandering synth, ‘The Reunion’ emphasizes the flow and rhyme of both QBall and Reasons and this uncomplicated instrumental puts the two emcee’s rapping skills on a pedestal. ‘1000 Reasons’ is more anthemic than the other tracks, with much reasoning as to why “I wouldn’t date you”. Containing a catchy horn hook and a trippy vocal sample the tune is a feel-good track that has a more relaxed vibe than the previous tunes.
Utilizing a jazzy hook and nomadic beat, ‘How It All Got Started’ harkens back to a bygone era. With an old skool, laidback feel this is one of the picks of the album which all hip-hop heads would appreciate. You could imagine Eric B or Rakim hopping on this beat in which the rapport between instrumental and emcee seems effortless, complimenting each other perfectly to create a smooth outcome. Indeed, the next track, a tribute to one of the best hip hop partnerships of all time – that of Guru and DJ premier- is a scratched-up collection of Gangstarr tunes, glued together with a cloudy sample of the 1994 classic, ‘Mass Appeal’. A raw beat and standout saxophone sample give ‘On The Block’ an unadulterated quality that shines through with QBall’s lyrics on point to give the track its organic, unrefined feel.
Surging on in the same vein as ‘The More I Get’, ‘Taking Shots’ is a combative and pumped up number that wouldn’t be out of place in a movie training montage. The tune surges and the lyrics of QBall and Dimes ride the tune’s instrumental waves to great effect in an energizing contrast to the previous, more relaxed tracks. ‘Igotchu’ continues this harsher tone with a growling bassline and a dubstep-inspired wobble.
‘It Ain’t Nuthin’ comes out all guns blazing and doesn’t let up. A groovy bassline, coupled with a horn intersection and memorable chorus give the tune a relentless energy. Add in the weightless, soaring synth and you have a track that relishes the spaciousness of trip-hop while packing the punch of a more OG sound. The finale, ‘She Ain’t You’, is a heartfelt, emotive refrain which showcases the more sensitive lexicon of the multitalented rapper. The warm, piano-led beat matches QBall’s flow perfectly and once again compounds the harmonious way in which Aim and QNC collaborate.
Throughout the album it is clear to see the wide range of both the producer and emcee. While it is clear that they are both adept in exploring the multiple dimensions that their genre has to offer, for me, they are at their best when collaborating on groovy, mellow beats which exhibit both the emcee’s verbal acrobatics and the producer’s ability to complement this.
Ali Hares