Instance - The Superegular (Review)

After an 18 month hiatus it’s fair to say West Yorkshire hiphop artist Instance is back with a boom proving the time taken away from the scene certainly hasn’t been wasted. With the independent release of his second LP ‘The Superegular’ and an impressive debut battle at Don’t Flop it would seem the self assured wordsmith is one underground artist to keep a close eye on. With an impressive roster of collaborations and one of the most distinctive voices in the scene, all eyes are on his latest release.

From the outset, the bass heavy and abstract ‘Haiku’, and the smooth RnB vibes of ‘Swerve That’, are a refreshing break from the predictable sounds and concepts that many hiphop artists seem all so willing to revisit. It’s a project densely packed with descriptive songs like ‘I’m Trouble’ and ‘Ghost’, but also the puzzle like lyrics in ‘Parodox’ and ‘Lucid Dreams’ are reminiscent of old skool hiphop whilst being firmly set in 2011 and beyond. As a complete piece of work The Superegular initially seems to be fragmented, but after a repeat listen it blends together as modern and intelligent.

http://instancevx.bandcamp.com/track/swerve-that-ft-gemma-tilley

The simple vividness of tracks like ‘Favourite Mistake’ and ‘Passenger’ help create a lo-fi and smoky world which instance crafts with deadly effect. However, the album isn’t entirely consistent with ‘Don’t Get it Twisted’ seeming like a bit of an afterthought, and two interludes that unnecessarily break the album into 3 parts. Featured artists on the album are used sparingly including a collaboration with Jack Flash who appears on the upbeat ‘Keys Open Doors’.

http://instancevx.bandcamp.com/track/favourite-mistake-2  

One thing that resonates throughout the album is the dark and sombre emotions that bleed through the songs and give the album a conceptual feel. Instance uses different flows with catchy hooks and the sung choruses on tracks like ‘Passenger’ prove he is an effective song writer as well as lyrically assertive. Production comes from the likes of UK heavyweights Sonar Cousin and Wizard, lesser known producers such as Organised Mess and Makes Van from Russia also make important contributions. The production whilst not completely polished is consistently captivating and interesting.  Intriguing production is perhaps best shown on the beautiful and gloomy ‘Ghost’ which describes a sex and drug fuelled 24hrs with a girl.

http://instancevx.bandcamp.com/track/ghost

Whilst the album has almost no light moments or let up in heavy themes, apart from a comical appearance from Sonnyjim on the title track, listeners should not be put off, as the candour is delivered with taste and a touch of mystery. Within the down tempo feel of the album and bleakness of the subject matter, there is a welcome lack of vulgarity or gangster bravado which so often compensates for lack of creativity.

http://instancevx.bandcamp.com/track/parodox-2

In conclusion, there is a level of maturity in the music and a willingness to experiment outside the box. It is the subtle and suggestive danger within The Superegular and the coolness in which it is delivered which make it so successful and at times sinister. Where lyrical comparisons could be drawn with other artists, instance’s gravelly tone sets him apart in a scene littered with carbon copy MC’s. For an independent release by an unsigned artist, The Superegular is a cold and slickly delivered statement of intent. Even by standards set by commercial releases which often fall short of expectations, it is a unique record which delivers something fresh. It goes up there with ‘Ghostpoet - Peanut Butter Blues and Melancholy Jam’ for one my favourite discoveries of the year.

Download for free: http://instancevx.bandcamp.com/album/the-superegular

Review by Ruby Khan

http://www.mifashionblog.com/

Twitter: @rubyrubykhan

Mr. Witts - The 25th Hour (short review)

Even though it was released at the back end of last year, I've only recently come across this self-produced album from Gloucestershire based artist Mr. Witts. As it is now available as a free download, I would strongly recommend that you give it a try.

Whilst Witts doesn't possess the most charismatic delivery, this is a project which a lot of thought has been put into. This is particularly evident with the production, where no track is a simple loop that runs for the duration. Witts has clearly put in significant effort to try to ensure that each one of the albums 11 tracks received maximum attention. For the most part, he plays it pretty safe lyrically, although the west country accent immediately separates him from the crowd. Discussing the motivation of an underground artist (Love Not The Money), his love-life (Sing For You) and wack MCs (Rock Solid). More original concepts are to be found on The Machine, which details the intrusive nature of technology, and the spaced-out Uni-Verse.

This is far from an album without flaws, (a few of the hooks don't stand up to repeated plays, and the gust appearance of Sketchstar was ill-advised) but this is clearly a labour of love from someone who has a lot of respect for the artform. This fact will be immediately recognisable from the first listen, and clearly Mr Witts is to be applauded for that. Will I still be bumping this album at the end of the year? Probably not, but I would anticipate bigger things to come from Witts and Sleeping Dragon Records, and as this is free, you have no excuse for not checking it out yourself.

6/10

Cyrus Malachi - Ancient Future (Review)

If you've ever heard any project that Cyrus Malachi has been involved in previously, then you already have a pretty good idea of what to expect from Ancient Future. These expectations will be lived up to immediately by the opening track, Dark Skies. Over pounding drums and atmospheric keys, Cyrus and long time collaborator M9 deliver typically gritty bars, kicking the album off in fine style.

However, after this same vibe is persisted with, to diminishing impact over the next couple of tracks, you could be forgiven for thinking that this album was going to add little to what you've already heard from Triple Darkness, Orphans of Cush or even M9. But you'd be wrong. As befitting a debut solo album, Cyrus Malachi uses the opportunity to create some more personal tracks, providing much needed variety in topic and tone. One example of this would be Duality, a love song, whose lyrics might seem corny in other hands. However, with his raspy delivery, and the typically solid production, it works a treat:

"As time passes, we grow closer,

Let's take a ride on life's roller coaster,

And experience it as two halves of one whole,

You're my light, I'm your dark, we share one soul"

Personal experience is also tapped into on Kemetic Love, as he discusses his family and the exceptional Black Maria, an emotive description of his trial and incarceration. The Anatomy produced track is a clear album highlight, with arguably Cyrus' strongest lyrical performance to date:

"Goons getting battered with washsocks filled with batteries,

Blood staines on the pool table - unadulterated savagery,

Her Majesty's rhapsody, brothers getting shanked and left in agony,

Screws call the cleaners, who freeze dry the blood and sweep it up casually,

Fights breaking out sporadically, tension because no one's seen their family"

The emotion poured into this song is evident in the delivery, as he wraps up the track by saying "I'm never going back again". Other notable tracks include Brave New World, which paints a hellish picture of the future, the "Black Girl Lost" style cautionary tale of Black Maria, and Cyrus Malachi's version of the history of Hip-Hop "Animal Circus"

Are there any negatives then? Only that at 20 tracks long, it could maybe be a little more streamlined. In my opinion, the tracks which could have been left out were the US collaborations, although not necessarily because they are weak tracks, far from it in a couple of cases. Strangely, Cyrus Malachi always takes the last verse on these tracks, making him seem like an afterthought on his own album. On top of that, a few of the guest verses, notably Ruste Juxx's attack on "Ugg mug bitches", seem incongruous with the prevailing mood. That said, this album hits far more frequently than it misses, with heartfelt lyrics, and extremely solid, usually piano dominated, production.

8.5/10

Dirty Dike - Constant Dikestar (Review)

This album has quite a lot to live up to. High Focus records were responsible for 2 of the best albums of last year, the most recent of which being the excellent debut set from Dike's partner in rhyme, Jam Baxter. Would this run of form extend to the Cambridge man's second solo LP?

The press release states that Dirty Dike is the nastiest rapper in the world. That's quite a claim, there are quite a few pretty fucked up MCs out there… On occasions, it even seems like proving this statement true is the primary objective. Average Wank Fam is a case in point. The concept behind the lyrics seems to be: think of entirely random, messed up stuff ("shag your rancid Nan with a shandy can"). All a little bit year 7, and not really the recipe for a strong track that you're going to bump on the regular. The chorus of Act Like A Freak is another attempt to make sure that we are all fully aware of his don't give a fuck attitude: "If you have an opinion, I'm glad that you see/Just how deep down I couldn't give a fuck/Cos I'm me", I guess that's just as well, really… The formula works rather better on a track like Hi I'm James, as Dike comes across somewhat more tongue in cheek, and less forced.

There is a well stocked guest list onboard. The ever consistent Skuff shows up on the autobiographical The Agitated:

"When I was born, I never did cry, I think I might have yawned,

Bright eyes, shining wide at all the sights before,

By the time they cut the cord, I was a handful,

And as soon as I could walk I was a vandal.

I hit the ground running, and by the time I was 8 or 9,

I'd spend my playtime stepping through my state of mind.

I was a strange brainy child, but a thoughtless kid,

Me and my mates were naughty shits, and teachers thought us thick.

The first time a mic was held, I was age 12,

I swear to God I raised hell, plus the angels fell.

I slay brain cells with weed, and my teenage life,

Was our curriculum, trying to slay our creative drive.

But I refuse to lose.

Cartoons, ill tunes and garms is all I wanted,

So that's all I did, and still do."

This track also sees one of the best beats on the album, as Mr Constant, who produced the whole thing, meshes some horns with a plodding baseline, to great effect. In fact, the production is very solid throughout, with Constant serving up mid-tempo, sample-based boom bap of good quality. The mixing is also of high quality, as all tracks sound smooth when dropping from the speakers or headphones, sadly not always a given with UK releases. The flute, and bass guitar of Morph Into Any Shape stand out as another highlight musically.

Other guests include a Contact Play reunion on What D'You Expect, where Baxter steals the show, and the immense posse cut, From The Future, that features no less than 8 guest verses. To their credit, the MCs manage to keep the track entertaining despite it being over 7 minutes long… This is part of a strong finish to the album, as the preceding track, the dark Never Seen A Reason is probably Dike's strongest, lyrical performance.

Overall, this album ends up being quite hit and miss. Clearly Dike is a capable rhymer, but would be better off avoiding slipping into self-parody, whilst attempting to prove he is "the world's filthiest rapper". Perhaps that character appeals to some, I don't know... The production stands out as the complete opposite of the vocals, solid throughout, occasionally managing to keep otherwise lackluster tracks interesting.

5/10.

Wizard - That Work (review)

Wizard is probably as prolific as any producer in the country. That Work may be only his second solo album, but that ignores various projects with KidEight & Scizzahz, a large number of instrumental releases and regular production for a whole host of MCs up and down the country. With this release he aims to prove that he is also as versatile as any of the competition.


No MC manages to feature on more than a single track on this album. This is often a drawback for producer albums, as the sheer amount, and variety, of different voices and styles prevent a cohesive theme or sound from emerging. That proves to be the case here as well, particularly as Wizard seems keen to change production style almost as frequently as guest vocalist.


Not that the album is without it's highlights though. Sonnyjim, who hardly ever spits a weak verse, brings his A-game on 99%. Jack Flash shows that even when in cruise control, and working with fairly uninspired subject matter, he is more engaging than most. Both the production on this, and Thabo's ever soulful crooning, would genuinely not feel out of place alongside any chart-destined smooth Hip-Hop/RnB track of recent vintage. The IRS also show up, to round the album off nicely, with Cold City. However, probably the highlight for me is delivered by one of the least heralded guests. The highly underrated Truth brings the album's most insightful lyrical performance on These Times.


The other side of the pond is also well represented here. Wizard provides some crunching electric guitars for Thesaurus Rex to drop punchlines over, on album opener WWF, and Little Brother affiliate Joe Scudda warns people to keep their hands out of his pockets on Playing With Me. However, one of Wizard's biggest miss steps here is the remix to Ill Bill's Remove The Gag. The lightweight drums on this synth-driven track give a rather bland backdrop for probably the 3 highest profile guests on the album (Ill Bill, Wordsworth & Verbal Kent). Another below-par effort is the highly generic R&B stylings of Carlos Montana & Joey G-Zus on Lay You Down.


Overall this album doesn't quite live up to its predecessor, due to a dip in the overall consistency of both the beats, and the guest verses. It is also affected by the curse of producer-led albums, having a "compilation feel", as the variety in guests prevent the project from finding a sound of its own. Whether or not it's actually the case, it makes you feel as the listener that Wizard simply threw 17 of his most recent tracks together, rather than setting out from scratch to come up with a cohesive album. That Work works better as a shop window for Wizard's production, showing that his range has expanded over the last couple of years, and anyone looking for beats can go to him for more than just underground bangers.

6/10.

Mudmowth & Metabeats - Sledgehammer Kisses (Review)

Associated Minds seem to pull out all the stops for Mudmowth releases. His Circus In The Cemetary set from a couple of years ago came out on particularly stylish white vinyl. This joint 'mini-LP' with Metabeats comes in an equally posh embossed digipack. I'm always one of the first to moan when a project that you have to pay for is only released digitally, and I guess this is one way to try and counter that trend. If artists and labels put as much thought into the product as they do the music itself, then they can create something that may persuade people to go for the physical rather than the digital product. Props to AM for leading the way.

But, none of this would matter if the tunes were wack, so how do the 8 tracks onboard here shape up? Mudmowth has clearly come a long way as an MC. I first heard him on Ghost's Seldom Seen Often Heard album, where his featured track was (an admittedly dope) self parody of a Welshman making hip-hop. Whilst this track clearly demonstrated the man's talent, it's almost gimmicky nature didn't necessarily suggest that a great career was in store. These days however, Mudmowth is nothing if not versatile. The lyrical tone shifts dramatically from track to track, through introspective self-criticism to inspirational stories to dark streams of punchlines. The quality of the rhymes holds up throughout, although the cohesiveness of the project does suffer a touch, as you may not always be inclined to play it through from start to finish.

The quality of the production here shouldn't come as a surprise to anyone who heard Metabeats' heavily slept on Metaphysical album from 2008. No beat here misses the mark, whether it's the heavyweight neck-snapper of 'Maaad Tight', the RZA-like wails on 'Sledgehammer' or the horns on the intro. Things are also kept interesting with a smattering of live instrumentation, mainly provided by P.L.O. The guitar on Sing Tears being a particular highlight.

Picking out highlights here is really just down to personal taste, due to the consistent quality. For me, Sing Tears, Concrete Buttercups & Life's Never Enough are all vying to be the best track on here, as these are the ones where the songwriting really stands out. Sing Tears is a particularly personal effort, with Mudmowth breaking down his relationship with his father amongst other subjects. An infectious hook is provided by Richie Hayes, and when all this is coupled with Metabeats' plodding keys, the result is a captivating track. Concrete Buttercups is an excellent way for the project to finish. The laidback, soulful, sax laced production allows Mud to put forward a more optimistic view of the world than is on display elsewhere on the album, verse 3 probably being the best:

"There's too many people in this world who are simply existing,

You need to break out of your bubble and really start living.

Because nowadays the only people smiling are the children,

Because when you hit your teens, all that stress starts building.

The British mindstate: wake early, work late.

Man, we're slaves to the wage until we reach our graves.

I know you've all got to keep a little food on your plate,

But some of you people live to work, and it should be the other way."

So what missteps are there? The use of a tongue-in-cheek autotune chorus on Ghost doesn't really work. Satirically using autotune is starting to become a cliché in itself, and the fact that this track's own hook begins to grate after repeated listening ironically emphasises the point it was trying to make in the first place. Mud also has a tendency to slip the odd unnecessarily crass line in here and there, such as claiming on Maaad Tight that he is "fisting Rihanna with her umbrella". But when you have to pick on individual lines, rather than whole verses or tracks, the artist must be doing something right. In the liner notes, Mudmowth says that "it's gotta be an album next time". Damn right, as there is no doubt that as an Mud has the songwriting ability and versatility to hold down a full length project, and that Metabeats status as one of the most slept on beatsmiths in the country will be in danger if he keeps producing Sledgehammers like this.

8/10.

Maaad Tight feat. Sonnyjim & Skamma (Video):

Rewd Adams - Rewd Awakening (Review)

If I was ever asked by a big label, let's say Def Jam, to name an artist who I thought had a realistic chance of blowing up with the right backing (haha), I might be tempted to suggest the artist formerly known as Skandal. Not because he is a personal favourite, but because he is that relatively rare thing; an MC who makes polished sounding, reasonably accessible music, whilst actually possessing some talent. What I mean by this is that he doesn't make the sort of music that you have to be a hip-hop nerd to appreciate. You're not going to find too many dusty jazz samples here, for example. I also remember him stating in an interview that he studied the art of writing catchy hooks from 50 Cent records. This shows, even stretching to using autotune on 'Go', which may well attract some criticism. However, the bottom line is that guy can spit, and his passionate delivery is demonstrated pretty much throughout Rewd Awakening.

The album kicks off in style. The title track features the same sample as the Jay-Z classic 'Where I'm From', and Adams gets straight into it:

"Sometimes I see angels,

Sometimes I see devils wearing halos,

I see horn-tipped wings and a fake smile.

Trust me, I aint known trust in a while, I put trust in my style.

Not my brothers or my sisters,

The priests or the sisters,

The doctors or the sisters,

Your clocks or your systems.

Because where were you when I was in jail?

Writing letters, and you didn't write back

Little snake, little rat.

This is a letter for all my guardian angels I never had,

In this sin city, I'll probably never have them."

The intensity of this track is not a one-off either. On 'Wish Myself Away' he discusses previous suicidal feelings, and how he's turned his life around. The emotion poured into this track is helped by an appearance from the ever-impressive Graziella, and the piano line, courtesy of Beat Butcha. However, all of these are topped by the extremely raw 'Promise'. Adams really bares his soul on this, as he addresses a friend whose father has died. The self-analysis, and aching delivery are reminiscent of Joe Budden at his most introspective. The beat is also outstanding, as Sivey serves up some haunting keys for Adams to open up over. As that piano line fades out, this would have been the absolutely ideal finish to the album. Sadly the vibe is interrupted by the slightly pointless inclusion the Kill Em With The Flow remix, basically as a bonus track. Whilst obviously this isn't a bad tune, it was everywhere last year, and doesn't seem to be necessary here.

The production line-up is filled with heavyweights, and not just from the UK, as Australia's M-Phazes is also featured. The highly rated producer, who has worked with the likes of Masta Ace, provides an absolute banger with 'This'. Jon Phonics' drums are as crunchy as ever on 'Everyday', and Jetsun's laid-back head-nodder is perfect backdrop for Adams to get philosophical over on Questions. The only real criticism of the production is that in what is clearly a deliberate attempt to have a modern, polished, accessible sound, the synths are perhaps overdone. It works wonderfully well when combined with good samples, such as on the title track, and 'Promise', but can lend the album as slightly samey vibe musically, and leaves some tracks, such as 'Rookie' sounding a little bland. A couple of more soulful, sample-driven beats may have brought out the best in Rewd Adams' engaging delivery.

One lyrical theme that keeps coming up is Adams' attempts to prove himself to/put down any haters or naysayers. On 'Go' and 'I Know' the whole tracks are dedicated to the character assassination of individuals who have pissed him off. Generally though, the lyrical content is fairly well rounded, as many different subjects are touched on, and every track seems to have a specific focus and concept. This is just as well, as his bars are occasionally some way short of razor sharp ("Pass the remote/You're not remotely near me" & "I'm Head & Shoulders above you/My shampoo's on the top shelf"). This potential weakness is never really exposed though, as at only 13 tracks in length, the project is never left to drift, and only 'Rookie' and the 'Kill Em With The Flow' remix feel anything like filler. This is a release that should appeal to any fan of British rap music, regardless of which little niche area they prefer.

Best news of all for any hard up punters is that this album is available for free. It will be available to download from Rew Adams' bandcamp page (www.rewdadams.com) on the 5th of February, which is this Saturday. Don't be thinking that this is yet another throwaway release as so many free downloads are, this is a proper album, you just don't have to pay for it. Although, I guess this means that it probably won't be getting a physical release, which is a bit of a shame.

7.5/10

If you haven't checked them out, here are videos for a couple of the tracks on the album. Firstly the Jetsun produced Questions:

And also the Jon Phonics produced, Black The Ripper featuring Everyday:

Kulez Reviews - Fight For The Mic + Memories by Tom Clements

In 2008, with the UK hip hop scene burgeoning, Kulez was riding the same train from Norwich to London along with fellow rap hopefuls Arkaic and Eurgh, climaxing in his minor underground hit, “Welcome To Africa”.  This Zimbabwean-born MC was making his name heard around the battle scene, competing overseas in Scribble Jam as well as supporting major artists such as R.A. The Ruggedman, Jehst, and even dubstep pioneer Rusko.  However, in 2009, he seemed to fall off the face of the map, not releasing much more than a few myspace freestyles and losing a major-profile battle against American artist Madness by a large margin.  However, now it is 2011, and he is back with two new tracks, Fight For The Mic and Memories.

Kulez – Fight For The Mic

This begins with Kulez reminding the producer to have “no intro”, over a brooding guitar loop.  Then, the drum kicks in and Kulez begins hungrily, with complex syllable structures that sound like he has had some time to think about life, and now he is back to tell everyone else about it.  The beat is refreshingly simple (if slightly underdeveloped), with just guitar, drums, and a smatter of keyboards in between, focusing the attention on the rapper himself.  His message is delivered early and repeatedly, spitting at the start of the song: “As I stroll, what fate shows me/ To try and reach where the sky meets/ The high peaks/ And you need to inhale slowly”. Kulez really delivers his message with aplomb and his metaphors are well developed as is his story in which he creates images of himself pondering but inevitably coming to the conclusion that he and his crew are the best at rap. One area where Kulez really excels is syllable placement, seemingly putting emphasis every time the important chords roll around, or even in between them, which gives a bit of an offsetting effect.  There are a lot of good things coming from this track, however, it’s seeming lack of completion in terms of production lets its overall impact dissipate somewhat. Still, this is one of the best songs I've heard from Kulez in a while and it's a real sign of promise from the young emcee.
Score: 8/10

Kulez – Memories

Although, Fight For The Mic was not perfect, it showed genuine promise and as the next track, Memories, came on, I eagerly readied myself for what Kulez would do.  Again, it's a decent start with a stirring, if a little repetitive DJ Premier-sounding piano loop providing a solid backbone to his vocal work. Vocally, Kulez completely changes his style both in terms of flow and content; he speaks about growing up in the slums, grinding inner-city poverty and also proves himself as an able storyteller whilst a brutally honest narrative to impart to his listeners. Kulez begins this track talking about an Andy and a Chiniqua and how she has 6 babies now, and you just wish that the Kulez from the last track would tell himself to stop with the silly intro bars. Still, the lyricism that follows makes up for this and I particularly liked Kulez's laid back, off-kilter style which is genuinely unique and unlike anything I've heard from a UK emcee. It may seem as though Kulez has a sugar deficiency problem, because he sounds a little sleepy here but this is definitely deliberate and it works surprisingly well as a means of unabashed storytelling. However, the chorus is as half-hearted as you can get, with him just repeating (a common theme, isn’t it) “Bring back/ Bring back the memories”. Sadly, there are also certain production flaws such as the ridiculous cartoon sound ad lib effects throughout his verses that don’t fit the rest of the production and detract from the overall message of the song, acting as the quasi-punchlines that aren’t there and don't need to be such is the nature of the song. One of the main redeeming features of this song's production however, is the nice electric guitar that accentuates his bars from time to time, even if it does sound suspiciously like something I recently heard it on Kanye West’s album.  All in all, this is a good effort marred by unnescessarily sloppy blemishes in its production.
Score: 6/10

Kulez’s Myspace

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Spee 69 - T.W.O.K. (Mixtape) (Review)

I reviewed this a while ago for another blog i do.

SHAMELESS PLUG

This is still on the go and if i do say so myself it is a great mixtape. Below is my thoughts on a few tracks and an over all summary of the mixtape as a whole.

Now im not going to go into all the tracks as it would take ages because i like to delve deep into the track and put alot of analysis on them so ima pick out 5 standout tracks which appealed to me the most.

Track 3 - How Can The Best Thing

An old skool west coast vibe specifically stolen from Ice Cube, and some battle based bars for you to sink your teeth into great track

Track 10 - In My Arms She Fell

I Loved this track and i will go as far as saying this is my favourite track, this track focuses on how he met his girlfriend and totally encapsulates the feeling and exact moods he was going through at the time, and then hits you with this "and by the way shes's got a massive rack" and continues on haha excellent. After all the feeling put into this track i listened to the nicely put together hook then waited for the next verse, it didn't appear but yet i didn't care because the beat was so good, i think the reason the verse wasn't there was to showcase the beat as its a banger.

that's why this is my favourite track from the whole mixtape

Track 18 - Something Different

havent heard spee doing this sort of thing before but he sticks to the beat like glue and it sounds good, adds his own flavour to it which i appreciate fully.

Ekoic jumps on the second part of this and i think suits the beat more, but overall a good track if maybe for a breather and different style.

Track 5 - I Make Moves

What can i say about this track, produced by Krate Krusaders one of my favourite beatmakers in the U.K at the moment mixed with spee lyrics that i enjoy greatly, he evens flips a little bitta spanish up in there too (if i knew what he said i would tell you).

overall the beat is banging and im sure a its a track that everyone can enjoy

Track 9 - A Little Bit Of Soul

Production by DJ Format one of Spee's close friends with a little introduction to the track this is a banger people and fuck it heres the video decide for yourself.


The Mixtape as a whole is a momentous effort by Spee and should be congratulated with at least a fiver (In my opinion and you have that option), luckily the cd is on sale for £3 (brilliant how things work out eh)

get it here.

Ramson Badbonez - Give Badbonez A Break (review)

Ramson Badbonez absolutely loves a mixtape. On top of this release, there are 2 volumes of 'The Official', Tales From The Staircase, Bone Marrow and Dilla and BIG tribute tapes in the last couple of years. At least. There could easily be a couple more that I've overlooked. Yet, no album, although The Official Vol. 2 was basically an album in all but name, containing entirely original production. Currently scheduled for a release sometime next year, here's hoping the debut LP will be worth the wait.

This level of output is both a good and a bad thing. Clearly, you can't knock the former Taskforce protégé's work rate, especially when you take his large number of guest slots into account. However, I can't escape the feeling that once you've heard one Badbonez mixtape, you've heard them all. The material is largely Badbonez attacking whatever beats are put in front of him with a rapid-fire burst of punchlines and battle rhymes. Enough to convince you of his talent, no doubt, but not the sort of high quality album he has been threatening to produce for the last half decade.

At least this tape has brought a fresh concept. As the title suggests, a bunch of well known breaks have been looped up by DJ IQ, ready for Badbonez to do his thing. You're bound to recognise some, if not all the loops. There is also a heavyweight line-up of guests, all of whom are given the first verse on the tracks they feature on. These guest verses vary in quality from some of the best in the country like Jehst, Kyza and Verb T, whose bars live up to expectations, down to Big Deal whose pedestrian flow makes 'What Is This?' a skippable track ("I want a space ship/fully equiped with space shit/red lazers my favorite'). The clear standout guest verse is that provided by Kashmere. The Iguana Man brings his usual energy to another show stealing appearance on 'Another Day Is Dawning':

In the flesh I manifest, raw lyrics to your chest/
So when you hear the god coming, genuflect like bless/
My mind is in the heavens, though my body is a weapon/
Genetic specimin, let's begin, here's the medicin/
The shape-shifter, baked for days, haze-twister/
Just chilling, on the d-low, just building/
Invisible to the naked, his bloodline is scared, a Neo of The Matrix/
The anomaly, possibly they spotted me/
Must have been the locks, or the chaos chain, logically/
Or ill sound coming through the speaker/
The loop is so ill, his head spun into a seisure/
Got him in a higher state of mind, he was bugging/
No thought, no discussion, just the force of percussion/
Light-speed times a million, immortal, his soul now resides in oblivion/

Badbonez probably sticks to the title a little more, taking us through a typical day, including an unlikely spot of early-morning inner-city fox hunting… With one of the funkier loops on display, this track is a clear high point. Another highlight is one of the few Badbonez solo tracks, 'Black Smog', which closes out the tape. The break, memorably used by Havoc on The Infamous is blessed with another dark portrayal of the capital city. Half the fun of this tape is trying to work out exactly where you've heard all the loops before, and it's refreshing to hear them in an unadulterated form. It's probably a good thing that the music keeps things interesting, because it disguises a few generic verses, that although they're not weak, Badbonez probably rustled them up in 3 minutes flat.

DJ IQ's efforts, along with the long and varied guest list elevates this above the usual mediocre mixtape fare. Give Badbonez A Break is an entertaining outing that will keep fans ticking over, presumably until the next mixtape in a couple months… But the question remians, where is your album?

6.5/10

Give Badbonez A Break is available now, on download from King Kong Holding Company's bandcamp page:
http://kingkongholdingco.bandcamp.com/album/give-badbonez-a-break

Or… there is CD version (apparently limited to 150 copies) available from Suspect Packages:
http://www.suspect-packages.com/artists/r-t/RAMSON_BADBONEZ.php?aid=13583#13583

If you missed it when it dropped a couple of weeks ago, here's a sort-of-video for the Jehst featuring Back Wit Da Heat:

Spida Lee - Original Soundtrack (Review)

This is a quick review of Spida Lee's E.P. By the name of Original Soundtrack, First off theres a kind of intro track thats only on for a short time but gives you a quick sample of what to expect from Spida's rhymestyle, delivery and beat choice. Excellent Boom bap style beat and some nice lines which really gets you all set up for the next track.

Back in the game gives you an insight into what he's been doing and that he's well "Back in the game" im really lovin these beats. The beat is dead in your face and a real deep gritty feel to it, which only compliments the track as a whole.

Street life then lowers the tone beat wise into a slower tempo and more laid back than the previous grittyness of Back In The Game. He talks about a subject that i have heard time and time again and im sorry to say that i expect most people have heard alot. There is on the second verse though a bit of a story about his mate which i would have loved to hear him go on with in a bit more depth, butt enjoyed it all the same, i always like to hear a bit of storytelling in a track otherwise covered in the usual council estate of mind esque Lyrics.

Take over kicks back intO the up-tempo vibes, some clever wordplay and was loving his flair here, kicks in dope, it's "exceedingly good like Mr Kipling" (Direct quote) and nothing can be further from the truth here, passing back and forward betwwen different rhymestyles shows his abilities, this is my favorite track of the E.P.

Damn Tell Em This breaks straight into a double time scheme, and is really impressive, yet another show of abilities.

A quick summary, this E.P. May not be a conceptual story or anything but has succeeded in showacasing his abilities of different rhyme schemes and i really enjoyed the beat choices, Brutal Artistry is the producer of the E.P. so props to him. Overall it's a great Introductory E.P. Well worth the purchase folks. You will be available to get this on 20th December 2010 on CD format and on Digital Download 24th December 2010. Here

Peace

Verb T - Serious Games (Album Review)

Consistent is probably the best word to describe Verb T. In a recording career now nearly 10 years old, he has certainly dropped new releases more consistently than your average UK artist. Whilst Serious Games is only his second truly solo, full length album, and first on the ever-impressive YNR records, there have been collaborative LPs with producers Juice, Harry Love and The Last Skeptik, and the 'double-EP' with Kashmere on Low Life that really launched his career. When you add to that the Invisible Inc project, the somewhat throwaway Spaar Zoot mixtape, a string of guest verses and a few (rather unsuccessful) Don't Flop battles, you get the picture that Verbs is one of the hardest working MCs in the country.

It's fair to say that the music has been of a consistent standard as well. With an instantly recognisable flow, albeit occasionally slightly monotone, you know you are rarely going to get a weak verse from Verbs. Production has never been an issue either. The beat on his first single, Showbitchness, was from Harry Love, and those on the first EP, Backhand Slap Talk, were handled by Braintax, and since then he has worked with virtully everyone who is anyone in terms of UK beatsmiths. As you would expect from an established artist, the production credits and guest list on 'Serious Games' is a similarly heavyweight lineup of the usual YNR suspects. On the beats, there is Chemo and Jon Phonics, whilst on the rhymes you have Kashmere, Jehst, Kyza and Fliptrix amongst others.

Lyrically, and musically, Verbs provides a healthy mix of styles throughout. On the beats, there is a greater use of synths than you might expect judging from the production that has featured on previous Verb T albums, however, in this case it is no bad thing. In fact, one of the albums highlights is the smoothed out back-to-back of Bounce With Me and Closer, where the beats seem the perfect backdrop for Verb's typically laidback delivery. That's not to say that he can't keep up over more energetic production though. In fact, the electronic snap of Life Is… provides the canvas for what is possibly Verb's best verse of the album:

"Some want the easy life, wanna cruise by,

Other want to take, take, take and abuse lives,

With hidden agendas, we gotta find them out,

And life is? Life is as deep as the mind allows"

This Kyza and Dubbledge featuring joint follows on from the equally energetic, Chemo produced Sound The Alarm, with Kashmere guesting this time. So whilst his strength may lie in drifting over smooth, chilled-out instrumentals, this vibe doesn't dominate, and it is a stronger, more-rounded album as a result. Other tracks that stand out from the others are the slightly 'emo' love song, Let Me Stay, that is becoming something of a trademark for Verb T (See Just Let Me, or Frozen In Time off Ghost's Freedom Of Thought Album) and Tearing The Sky Down, a trip into sci-fi. The latter inevitably features another guest verse from Kashmere, who in the liner notes is described as "The Best Rapper In The World".

Overall though, I feel that Verb T has really found his own style on this album, perhaps predictably considering that most of his previous LPs have been collaborative efforts. As fitting a solo project, the beats have been chosen to fit with Verbs' flow, and the result is an album that is entirely Verb T's. The one theme that is continued from his previous work is the consistency. Very few weak beats or rhymes to be found here, (although I wouldn't have bothered with yet another Dick Trusay skit) and another solid release to add to his ever growing catalogue.

8/10 (Score is not meant to be definitive, just for interest/fun/discussion. I reserve the right the change my mind whenever I want to, as the number I've just come up with was probably affected by my mood on the day, the weather, how Reading did at the weekend, etc, etc. You get the point...)

The album was released a couple of weeks ago, and is available on CD and download at most, if not all, of the usual spots.

'You Need This Music' - Nottz (review)

Before I start, I'll just say that I like this album. I really like this album.

It's obvious that Nottz and Black Milk are mates (BM features on the LP on 'Blast That'), and with Black Milk's recent album employing heavy live drums, kicking of 'You Need This Music' with a track featuring Travis Barker makes so much sense. The aforementioned 'Blast That' will make your head nod more than 99% of the Hip Hop out there this year. The heavily distorted electric guitar sounds absolutely at home too on this beat.

'Shine So Brite' seems to be a tribute to Dilla and it's this track that first really proves that Nottz is an engaging and entertaining rapper. I guess it's this track that some would also cite as proof that Nottz is like Kanye. Nottz is like Kanye, to a certain extent. He can produce, really well, and he can rap - better than Kanye could ever dream of rapping, yet he still has that mass appeal.

I love 'I Do It For Yawl' (the beat reminds me of 'Amores Como El Nuestro', but I guess it's some other sample) and Little Brother and Kardinal Offishall revive Eminem's concept of rapping letters from fans - thumbs up. 'A Dream Come True' is just a joy to listen to as Nottz creates a story featuring all your favourite dead black musicians over a laid-back and lazily happy beat. 'I Still Love You' featuring Mayor Hawthorn is the perfect Hip Hop love song.

Asher Roth comes really correct on 'Dontcha Wanna Be (My Neighbor)' (video is here), as does Colin Munroe on the chorus. This a really quirky track, with definite radio play-ability. There are other tracks featuring Snoop Dogg and Royce Da 5'9 and Joell Ortiz before the album closes with the soothing Bilal featuring track 'Right Here' on which Nottz re-asserts his lyricism as he prays out loud over his own heavenly production.

'You Need This Music' is out right now and can be found at itunes, amongst other places.

'Mood Swings' - Stig Of The Dump (review)

I really don't remember Stig Of The Dump being this offensive before. For most of you, that sentence will tell you everything you need to know - you'll either want to hear this, or you won't. Now, I've met the guy, had good conversation with him, and think he's a nice guy but his new music is different - it's aggressive and coarse. Yes, he's a great MC, he's witty and certainly has a way with words. Again, some of you right now will be salivating and rushing out to buy a copy of 'Mood Swings'.

The album is a weighty thing, with exceedingly heavy production from the likes of Beat Butcha, Jehst and Pete Cannon to match Stig's non-stop flow and the inclusion of Stig's track with R.A. The Rugged Man, 'Braindead'.

'What's Up' is more introspective and pushes the message that the masses need to hear: fame and money isn't everything, in fact, it's nothing. 'Planet Hollywood' pushes home the message later on in the album as Stig and Enlish role play a rich people with everything in ridiculous amounts. 'Big City Blues' is a perceptive take on life in the metropolis and the Pete Cannon beat is nothing short of excellent. 'I Know What You're Thinking' is a pretty funny slamming of pop culture which features Dr. Syntax.

'Mood Swings' was released on 11th October on Lewis Recordings and can be gotten from usual good places, including Bandcamp for your digital download.

'Force Of Habit' - Prose (album review)

You may have seen me waxing lyrical (in 140 characters, on Twitter) about this album. My position has not changed. This review could be one the easiest I've had to write because I could just insert a few positive words and then tell you to buy it. But that's not what you've come to expect from you and I wouldn't want to let you down now, would I?

Essentially, Prose (that's producer Steady and MC Efeks) do Hip Hop in just the way I want to hear it. The beats are banging yet melodic, traditional yet never samey, the rhyming is clear, concise and listener friendly, the subject matter is varied and there are cuts (courtesy of DJ Matman).

Single 'Life Times' comes early on in the playlist and it still sounds great. Previously heard (as a free download) 'Run For The Hills' featuring Ed Strong and King Kaiow of The IRS still sounds fresh and heavy too. 'Broke' featuring Reef The Lost Cauze is the better of the two transatlantic hookups on the album, the other being 'More Than Before' featuring Side Effect and Killer Rellik;a track that just doesn't wash with me. To be honest the album doesn't need these artists - Efeks is better.

'My Baby' featuring Belle is a definite stand out to me, maybe because I can relate to the topic being a new father myself, maybe just because Efeks pours out his heart emotively yet without sounding soppy. It's hard to pick out any other tracks because this release is so fluid as an album - it's not a thing you'll pick and choose tracks from, it's something you'll listen to the whole of, and you'll enjoy all 76 minutes of it. In some ways it's hard to put a finger on why this LP is so good, but I think I said it back in my second paragraph; they just do Hip Hop perfectly.

'Force Of Habit' is out on the Boombap Professionals label on 22nd November 2010.

'Treading Water' - Stylah (album review)

After hearing 'Please Listen' back in April 2009, featuring Stylah on my 'On The Radar' series and posting his music on the site many times, I would say that I was looking forward to Stylah's album dropping.

I have to say now that I do feel a bit disappointed. It's not that Stylah lacks ability as an MC, or that the beats are weak - even a cursory flick through the album would affirm that Stylah can rhyme and pick decent beats. It's just that listening through the album, I can't help feeling that an artist with such skill could have injected a little more creativity and created something memorable. The LP does stand up to many UK releases, and is better than many others, it's simply that to make a mark there needs to be more originality in the approach.

Good points are the inclusion of 'Please Listen', the awesome double-timing from the pair Stylah and Smiler on 'Killa', the menacing beat and flows on 'Treading Water' (reminds me of D12) and the socially aware, challenging commentary on tracks such as 'What's Your Poison?'.

Many would construe this review to be negative, but I assure you it isn't. Maybe it's just that I listen to so much UK Hip Hop and am looking for something too perfect or different. I know that there will be plenty of you out there who just want some good, solid Hip Hop and 'Treading Water' is just that. Try it for yourself.

'Treading Water' is out on 22nd November on LDN Global Records.

'Harry EP' ft. Skrein & Verb T - Medison (review)

Skrein might just be one of this country's best on-track story tellers. Producer Medison has cooked up a haunting and live sounding background for Skrein to tell his macabre tale over on 'Harry'. The plucked guitar and the real drums combine perfectly with the ghostly female vocal making Medison a producer I'll be looking out for in the future.

Remixes come courtesy of Bare Noize (with some filthy, filthy, frenzied dubstep), Plan B (an acoustic version) and Ruckspin (Drum n Bass).

Also included in the 'Harry EP' is 'The Thrill Is Gone' with also features Skrein alongside Verb T. This time, stories about two young men are interwoven over another eerie harp-laden beat.

This is a great little package featuring a heap of talent over the 5 tracks. The 'Harry EP' is available now from Dented Records.

'The 140 Show' - Franko Fraize (review)

Franko Fraize is an MC I've been supporting for a couple of years now. I featured him on the 'On The Radar' series and have seen him go from strength to strength.

His latest release is the free download 'The 140 Show'. Franko has never hidden his love for both Hip Hop and Grime and this release sees him perform both styles admirably. Mosttracks are a fusion of both styles whilst many tracks stray into Dubstep territory, with a general slant towards electronica. All tracks are produced by long-time collaborator DJ I.C.

Tracks like 'Locking It Down' display pure skill from all involved, as well as a potential for mass appeal (without any watering down as is usual). 'Grinding Forever' has a West Coast feel to it, without sounding anything like something, say Dr. Dre, would produce. 'Spar With The Master' is the perfect combination of MC and Dubstep, the sword sound effects sound awesome too!

'The 140 Show' is available for free now at Bandcamp.

'Terrorist City: Beta Version' - Kal Sereousz (review)

Sounding like a veteran Kal Sereousz bursts onto the underground scene with much confidence. 'Terrorist City: Beta Version' has been in my inbox and on my ipod for a while now but it seems like it's just surfacing now.

With his swagger, street commentary, forceful delivery and penchant for militarily heavy beats (courtesy of Chemo, Jon Phonics, Kelakovski and others) fans of the likes of Klashnekoff won't be disappointed by this new artist. If my recommendation isn't enough then maybe the fact that Mystro and Ramson Badbonez both feature on the same track on this album will. 'Tired' sees each MC do their thing with Kal bridging the gap between the styles of Mys and Ramson.

If you want to get hold of a copy Suspect Packages are stocking it on CD and Datpiff are offering it as a free download (not sure if this is official or not so I'll let you search for the link!).

'Postcards From The Edge' - Ghost (review)

Although abstract, the title couldn't be more apt. You might imagine the edge in question to belong to Hip Hop, probably at its border with the leftfield. Ghost sends home a taste of what it sounds like in that far off and foreign place.

The title track, which is free believe it or not, really sums up the project and is definitely for those small hours when relaxation is the order of the day. Immerse yourself in Ghost's sounds and sink deep into the comfort of the producer's proficiencies.

But don't get too comfortable! Kashmere and Jehst lend the vocals from 'No More' for a heavily Dubstep influenced remix - whoof! 'Neon City' provides the stepping stone between the two previously mentioned psyches with its ethereal synths marrying perfectly to the lolloping bass and drums. Certainly something worth writing home about.

The rest of the album falls between the two bookends set out at the beginning with Aeries providing more rap on 'Time Will Tell' and 'Way With Words' and tracks like 'Hearts and Minds' bringing that real wonk to proceedings.

'Postcards from the Edge' can be bought in various ways from Bandcamp right now.