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Cadell enters grime battle with ‘WWIII’

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Cadell enters grime battle with ‘WWIII’

Cadell enters grime battle with 'WWIII'

Cadell enters grime battle with ‘WWIII’


Wiley’s brother Cadell was called out by Stormzy in the ‘Disappointed’ diss track and now he’s responded.

After Wiley vs Stormzy fever has taken over the country, Wiley’s younger brother Cadell has now stepped up and dropped a diss track of his own aimed at Big Mike.


Stomzy and Cadell have history, with Cadell having released a number of diss tracks aimed at Stormzy back in 2015/16 and Stormzy’s ‘Shut Up’ was reportedly about Cadell.

In ‘World War 3’, Cadell references both Stormzy’s mum and his ex-girlfriend Maya Jama, as his brother has done in his ‘Eediyat Skegman’ diss tracks.

Cadell labels Stormzy the “King of the industry plants” and suggests that the incident at Wiley’s show where Stormzy claims he stepped to Cadell in front of his dad isn’t true.


For those unfamiliar with grime, it might seem strange for its leading lights to spend the festive season slewing each other.
Cynical types might attribute this latest ‘beef’ to impending album releases – both Dot and Wiley have albums out at the beginning of this year; Stormzy’s latest dropped in December (though he arguably doesn’t need the extra marketing support) – but clashing has always been a critical part of the genre. And without it, the form would falter for lack of competition.
Clashing’s position as a central cornerstone of the scene is reflected in both the genre’s colourful history and its distinctive sonic character. Birthed on the streets of London, antecedent forms such as hardcore, jungle and UK garage offered grime a solid grounding in rave culture and its socioeconomic network of pirate radio, record shops and raves. Clashing’s role, however, runs far deeper and is more readily located in long-standing influence from Jamaican dancehall culture and US hip-hop.

Battle rapping is also a core component of hip-hop, and was famously narrativised in the 2002 film 8 Mile. This foundations of this tradition were laid in the ‘dozens’, an African American homosocial game of name-calling and proverbial exchange.
For grime MC Trim – who has clashed with plenty of his contemporaries in the past, including Wiley – lyrical mastery is built through the combative medium of battling. “I felt like I needed to have that part if I wanted to be whole. If I didn’t train in battling then I would never improve,” he explained to me last year. “All the best rappers battle. Busta Rhymes, Eminem, the list goes on.”

For many, the epicentre of grime clash culture is Jammer’s parents’ basement in Leytonstone. Affectionately known as ‘The Dungeon’, the underground cavern hosted the inaugural Lord of the Mics in 2004, where Wiley went toe-to-toe with Nasty Crew’s Kano.

Post by: Sammi Swinton



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