Track Listing

1. Angry - The Bug, Tippa Irie
2. Murder Me - The Bug, Ricky Rankin,
3. Skene - The Bug, Flowdan, Killa Productions
4. Too Much Pain - Aya, , The Bug, Ricky Rankin,
5. Insane - The Bug, Warrior Queen
6. Jah War - The Bug, Flowdan
7. Fuckaz - The Bug, Spaceape
8. You & Me - The Bug, Roger Robinson
9. Freak Freak - The Bug
10. Warning - The Bug, Flowdan
11. Poison Dart - The Bug, Warrior Queen
12. Judgement - The Bug, Ricky Rankin,

Product Details

• Amazon Sales Rank: #74039 in Music
• Released on: 2008-08-12
• Number of discs: 1
• Format: Explicit Lyrics
• Dimensions: .20 pounds

Album Description
London Zoo was born of three key moments. An introduction to the thriving Dub-Step scene (of which The Bug is very much a pioneer before it carried a name) and it's key producers (via Kode 9) where Kevin realized there was others on the same sonic trajectory as himself, an introduction to Warrior Queen via his work with Wayne Lonesome on the Razor X Productions project, and a Mary Anne Hobb's Breezeblock session which introduced him to Flowdan (Roll Deep), and Ricky Ranking. All three of which figure heavily in the end result and live presentation. The Bug is the main project for Kevin Martin, a producer who over the years has also been behind a diverse range of projects. He is part of Techno Animal / Ice / God (all with Justin Broadrick of Godflesh / Jesu), King Midas Sound, Razor X Productions (with The Rootsman), Pressure and Ladybug.

Amazon.com
The Bug, aka Kevin Martin, has built up all kinds of cred in the 20 years he's spent tinkering around the edges of space jazz, ambient techno, and sub-genres (dancehall, illbient, grime, etc.) that float under the radar of the casual dance fan. His raging experimentation and massive, thumping drum machines are volatile and ominous, a taste that takes a little time to acquire. On London Zoo however, Martin merges the dark brashness of his beats with a game cast of MCs and vocalists bent on slamming The Man and venting about a political and spiritual malaise. It's an effective combination of music and words, and produces a relatively approachable—and exceptionally timely—record. The emphasis on dub and reggae patois makes the lyrics hard to discern, but there’s no missing the flowing, wrathful passion. "Angry" sets the pace early, as Tippa Irie tears into Bush, Katrina, and a manufactured climate of fear. Flowdan's Rasta delivery makes an impact as well, especially the dub-step bomb throwing session "Jah War." Martin understands tonal contrast, and so Zoo’s women are just as hot; check out the brutal dystopia of "Poison Dart," with Warrior Queen's filthy, spitting diatribe. Meanwhile, quieter non-vocal tracks like "Freak Freak" give the listener a needed breather. London Zoo is a volcano of a record, belching bass and vocal lava flows into the air with righteous fury. Buy this and watch your sub-woofer erupt.--Matthew Cooke

Customer Reviews

Steppin' out
'London Zoo' could be the album to bring broad public awareness to the underground dubstep scene. Not that I myself feel that it's really necessary to commercialize it, but on the other hand, I am not one to whine about more people enjoying the genres signature slow, hypnotic grooves and rumbling wobble-bass lines.
Now, The Bug's interpretation of hard dub comes in a more hooky and easily digestible, jungle-like form (at least on this album), often heavily reliant on excellent guest vocalists, most notably Flowdan, Tippa Irie and Warrior Queen, and often following general song-patterns - not at all what we're used to from Rusko, Caspa, Skream, Benga, Cotti and Cluekid's 2-4 hour mixes. The tracks here are also less just about the BASS which might upset some of the more hardcore steppers, and I too feel that some heavier bass-hooks could have been beneficial for the album, as a form of introducing a more original dubstep-y feel. But as mentioned before, this album is probably intends to show a more accessible side of it all.
And after listening to dubstep on and off for about 2 years, I have to admit that it _can_ get weary with the nearly constant reliance on wobbling bass, almost any artist (I've heard) have had for the entirety of the genres existence. Even though that, of course, what was got me into it, it's lovely to hear something a little different.

And that small leaning towards a more pop-oriented audience paves the way for the tracks on 'London Zoo' to actually show something that, up to this point seemed alien to the dubstep scene: Hit potential.
Tracks lasting your average 4-6 minutes, sporting memorable choruses and danceable rhythms. The first one that comes to mind as appealing to the broad club audience is "Poison Dart" featuring Warrior Queen, as well as the hysterical rant - the album opener "Angry" with Tippa Irie.
And my personal favorite, the much remixed "Skeng", also simply have to bring some attention to 'London Zoo'. The pure awesomeness of this track is almost overwhelming. Flowdan's baritone Jamaican flow is such a pleasure to listen to backed up by a very, very! dope slow-rolling beat, it consumes you, leaving you utterly stunned - in fact, Flowdan is probably what saves the album for me. I'm not totally into the jungle-dance stuff, although on a purely objective level I admit it's well done.

All in all, I can highly recommend 'London Zoo' to folks who want to discover a lighter side of dubstep. But for a more "old-school" record, with equally manageable track lengths, check out Fabriclive.37

Bugged!
The Bug's first release on the Wordsound label was well wicked. He made an alternative score to the movie the Conversation. No wonder he went with the name the Bug. That movie is F$%^ked Up! London Zoo drops us right in the middle of the dubstep scene. This album sounds best in a cloud of smoke. The track that will twist your noodle is Poison Dart feat. the Warrior Queen. The Bug and Warrior Queen need to do a full-length project. Their chemistry is aggressive, yet very calming. Don't Sleeeeeep!

Aurally stimulating
The sound engineered by the Bug on this collection certainly didn't resonate with me at first, but after multiple listens, the many layers of complexity gradually softened up my ears and now just keep calling me back. Very interesting stuff.