Longevity. That’s what every artist hopes to enjoy. However, longevity doesn’t come easy. Constantly, an artist has to revaluate and reinvent them self. Their music has to evolve, in an attempt to stay relevant. The Last Skeptik realises that, and in 2014, celebrated his tenth anniversary with the release of his new E.P. I Don’t Even Like You on BBE Music. This is the latest step on a musical journey that began back in 2004. 

It was back in 2004 that The Last Skeptik released his debut single Wordsearch on the Netgroove label. With The Last Skeptik laying down the beats, Wordsearch featured Squared with cuts by Jazz T and Dr. Zygote. Later in 2004, as Skeptik, he contributed a rap to a compilation Deprogrammed Productions Presents…”Friends Of The Family.” Little did The Last Skeptik realise it, but this was the start of what would be a successful career. This was a long way from when a young Last Skeptik skipped school to make his own beats. Throughout his nine year career The Last Skeptik has collaborated with many artists. 

During 2005, The Last Skeptik was involved in two collaborations. There was his collaboration with Conflix on the Think Twice E.P, whichI  was released on the Filthy Habits label. His other collaboration was Kashmere, featuring The Last Skeptik and Diversion Tactics’ E.P. This six-track E.P. was released on Boot Records. Two years later, The Last Skeptik would collaborate on what was his debut album. 

Over the next two years, The Last Skeptik wasn’t just establishing a reputation as a talented producer. He was also the go-to-guy for anyone looking for a DJ, MC and remixer. Then in 2007, The Last Skeptik collaborated with Verb T on The Broken Window. 

While The Broken Window was Verb T’s fourth album, it was The Last Skeptik’s debut album. Released on the Silent Soundz label, The Broken Window was well received. So too was Satisfied, a single taken from The Broken Window. With The Last Skeptik’s reputation and fan-base growing, things were looking good for The Last Skeptik. 

Between 2008 and 2010, The Last Skeptik continued working as a songwriter, producer, remixer and DJ. During this period, The Last Skeptik remixed tracks by Conspicuous, The Streets, Daniel Meariweather, Brad Strut, David’s Lyre, Loudmouth Melvin and Marina and The Diamonds. These were just a few of the artists remixed by The Last Skeptik. He was quickly establishing a reputations as the go-to-guy for anyone looking for a remix. So, with his reputation in the ascendancy, it was time for The Last Skeptik to release another album.

This was The Last Skeptik Presents Same Day Different Sh*t. It was a compilation of remixes by The Last Skeptik Presents. Twelve of the tracks were written by The Last Skeptik. They were an eclectic collection of tracks. So much so, that The Last Skeptik Presents Same Day Different Sh*t is best described as a genre-sprawling album. It’s also an album that demonstrated just how innovative a producer The Last Skeptik was fast becoming. Critics were won over by The Last Skeptik Presents Same Day Different Sh*t. 

On the release of The Last Skeptik Presents Same Day Different Sh*t in 2010, critics hailed The Last Skeptik as one of best up-and-coming remixers and producers. The tracks on The Last Skeptik Presents Same Day Different Sh*t became The Last Skeptik’s musical C.V. One listen, and artists knew exactly what he was capable of. This included rapper Rewd Adams. 

Two years after the genre defying The Last Skeptik Presents Same Day Different Sh*t, The Last Skeptik hooked up with rapper Rewd Adams. The result was the critically acclaimed How Not To Make A Living. Released in 2012, not only did it receive widespread radio play, but further enhanced and reinforced The Last Skeptik’s reputation as a groundbreaking producer. 

After the release of How Not To Make A Living, The Last Skeptik was busier than ever. He had a residency at London’s premier hip hop night Livin’ Proof and has spent time touring the US. The Last Skeptik also has spent time writing, remixing and producing artists. This includes being commissioned by major labels to produce musical luminaries like Kate Nash and Gorillaz. Given how busy The Last Skeptik has been, it’s hard to believe he’s found time to record his sophomore album Thanks For Trying, which was be released on BBE Music on 6th May 2013.

A year after the success of  How Not To Make A Living, The Last Skeptik’s somehow, found time within his hectic schedule to produce his sophomore album Thanks For Trying. It was released to widespread, critical acclaim on BBE Music.

The Last Skeptik’s Thanks For Trying was, without doubt, one of the best hip hop albums of 2013. It incorporated everything from hip hop, jazz, classical, rock, ambient and Eastern music. The result was a truly is a genre defying album. Thanks For Trying was much more than a hip hop album. It’s a compelling, captivating album of eclectic music from one of the most inventive, influential and innovative producers of his generation. Filled with subtleties and surprises aplenty, the fifteen tracks that comprise Thanks For Trying was like an enthralling musical journey that further enhanced The Last Skeptik’s reputation.

Since the release of Thanks For Trying, The Last Skeptik has been busier than ever. Thanks For Trying really enhanced The Last Skeptik’s reputation. This was the benefit of being signed to one of independent music’s premier labels, BBE Music.

With his music reaching a much wider audience, the last eighteen months have been a whirlwind for The Last Skeptik. He embarked upon a gruelling DJ-ing schedule. This saw The Last Skeptik DJ everywhere from America, Japan and the Middle East. He’s also been busy with remixes and production work. Indeed, The Last Skeptik’s music has been used by television companies and advertisers. However, somehow, The Last Skeptik found the time to record his new tenth anniversary E.P. I Don’t Even Like You. 

BBE Music recently released The Last Skeptik’s new tenth anniversary E.P. I Don’t Even Like You. It features seven new tracks. They see The Last Skeptik’s music move in a different direction. Electronica and hip hop are combined by The Last Skeptik on his E.P. I Don’t Even Like You. Five of the tracks are instrumentals. The other two tracks see The Last Skeptik joined by guest artists. This includes MTA Records’ Dream Mclean and pop starlet FEMME. They join The Last Skeptik in his tenth anniversary E.P. I Don’t Even Like You, which I’ll tell you about.

Opening I Don’t Even Like You, is Show Me. Straight away, a vocal is sung through a vocoder. Filters transform the sound. Then a dramatic, impassioned vocal shines through. The Last Skeptik, however, continues to tease you. He’s not finished with his filters and vocoder. Meanwhile, drums crack, synths shimmer, harmonies soar and the vocal stutters. Searing guitars are unleashes, as harmonies sweep above the arrangement to this soundscape. Then as this genre defying track draws to a close,  braying horns are added, proving the icing on this musical cake.

Dark, almost gothic synths open Cheerio. They’ve a late seventies, Berlin sound. Think Bowie circa Low or The Lodger. When drums crack and crunch, there’s a brief nod to Kraftwerk. Then the arrangement takes on an ethereal, cinematic sound. Later, a flute adds a jazz influence, as the track reveals its secrets and subtleties. Listening to Cheerio, one of I Don’t Even Like You’s highlights, it’s no surprise that The Last Skeptik’s music is so popular with television companies and advertisers.

Wrong Tree features the first of The Last Skeptik’s guest artists, Dream Mclean. A futuristic, sci-fi sound gives way to a arrangement that takes on a dubby, then lysergic, hip hop sound. A swaggering rap is unleashed. It’s equal parts machismo and social comment. Meanwhile, the arrangement is a mixture pounding, thunderous drums and sci-fi synths. They provide the backdrop to Dream McLean’s swaggering, strutting rap.

Thunderous drums, handclaps and futuristic synths unite on Eye Gouge. The arrangement veers between eerie, to a sci-fi sound and cinematic. Throughoyt the track, The last Skeptik takes space invader synths and partners them with thunderous drums, handclaps and an eerie cry. It reverberates into the distance. Later, a synth line is picked out, adding to the dramatic cinematic sound. This is a track that would be perfect for a 21st Century horror film.

Propulsion features another guest artist, Femme. Straight away, a melodic, eighties influenced sound unfolds. Stabs of synths inject a sense of urgency. The drums have been reigned in. They’re much more subtle, and don’t overpower the sweet sound of FEMME’s tender, sometimes sassy vocal. Adding an old school sound, are a myriad of snap, crackle and pops. They bring to mind the sound of worn vinyl. Later, FEMME adds harmonies, which respond to her call. They add to the urgency of this melodic, hook-laden, dance track, which the best track on I Don’t Even Like You.

Computer Love sees another change of sound. The tempo drops as washes of synths meander in. They’ve an old school sound. So do the drums. They’re loud and proud, providing a pulsating heartbeat, as the arrangement marches along to the beat of the drums. Banks of synths are deployed, adding a dark, moody sound. This is very different to Propulsion. It’s dark, moody and sometimes, sinister. However, it showcases The Last Skeptik’s versatility. 

Me and My closes The Last Skeptik’s I Don’t Even Like You E.P. Straight away, the track has a much more laid-back, jazz-tinged sound. A sample of a piano, accompanied by a standup bass and drums played by brushes provides the mainstay of the arrangement. It has a hypnotic, mesmeric sound. Literally, it washes over you. However, this being The Last Speptik, it’s obvious he’s going to throw a curveball. A thunderous drumbeat enters and a hi-hat hisses. In the distance, a braying horn plays. So do scratchy strings. Layers of sound assail you, endearing themselves to you, on this mesmeric, laid-back and lysergic track.

For The Last Skeptik, I Don’t Even Like You, which was recently released on BBE Music, is the perfect way to celebrate his  tenth anniversary. After all, the music is cinematic, dark, dramatic, eerie, hypnotic, laid-back, lysergic, melancholy, melodic and mesmeric. These are just some of the words that describe I Don’t Even Like You. So does eclectic. 

Quite simply, I Don’t Even Like You is a genre-defying E.P. Everything from ambient, dub, electronia, hip hop, jazz, rap and rock. A quite disparate selection of influences and genres have inspired The Last Skeptik on I Don’t Even Like You. As a result, no two tracks are the same. Along with his two guest artists, Dream McLean and FEMME, The Last Skeptik has produced a captivating, genre-defying E.P. Several tracks stand out.

I Don’t Even Like You’s standout track is, without doubt, Propulsion. It features one of the guest artists, Femme. Her sweet, sassy vocal plays an important part in a melodic, hook-laden dance track. Tracks like Show Me, Cheerio and Me and My are the perfect showcase for The Last Skeptik’s versatility. These soundscapes are full of nuances, subtleties and surprises. They’ve also got a cinematic sound, that’s bound to appeal to advertisers and television companies. The same can be said of Eye Gouge. It’s the perfect soundtrack to a modern day horror or slasher film. Computer Love sounds like a homage to the new way of making music. No longer are recording studios necessary. Producers like The Last Skeptik, can make music as they travel the world DJing. This wasn’t possible twenty years ago. Now it’s a reality. For producers like The Last Skeptik, this allows him to continue making music during his hectic touring schedule.

Even ten years ago, when The Last Skeptik released his debut single Wordsearch on the Netgroove label, things were very different. The way music is made, distributed and sold has changed beyond recognition. Many artists, couldn’t adapt to the new musical landscape. The Last Skeptik was able to, and has thrived. 

The Last Skeptil is now one of the most successful DJs, producers and remixers. His latest genre-defying E.P, I Don’t Even Like You, sees The Last Skeptik pickup where he left off on the critically acclaimed Thanks For Trying.



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