One of the great things about the advent of cheap studio technology is the fact that anyone can invest in studio software, record and send their music out into the world. You could argue that this is also its downside, in that often the enthusiasm of making the music isn’t checked or balanced by the quality control systems that used to be built in when it was someone else’s money involved. This isn’t a criticism, more an observation, after all the more people being creative in any form the better.
Thankfully, some music just sells itself, and Dirty Mouth is one of those songs which automatically gets noticed against the background noise of bedroom wannabes and home studio tinkerers. And one of the main reasons it gets noticed is because of the way it thinks, its regard, or should I say disregard to genres and its sonic scope. Whilst it begins in a sultry R&B, underground, alt-pop sort of place, it is the sonic dressing it gains along the way which is the charm and by the end of the song it has wrapped itself in squalling rock guitars and skittering trap percussion, dance cool and rock muscle.
The real charm is its genre-hopping nature and it speaks of Markk’s eclectic musical background and influences which range from metalcore to soulful R&B, from Britpop to classic rock. But it is the fluidity and eclectic nature of Dirty Mouth which marks him out as a real post-genre artist, one who knows enough about the musical rules to know which ones to break or ignore all together. If this is the sound of the future of commercial music, it can’t come fast enough.