Cappo & Styly Cee - The Fallout (review)

"Hip-Hop is over here, catch a glimpse"

After waiting years for a follow up to Spaz The World, Cappo has waited only a year after the release of Genghis to drop The Fallout, this time bringing Styly Cee along for the ride. If you have heard either Genghis, or this pair's H-Bomb EP, you will know what to expect here. No guests, and absolutely no compromise. Cappo assaulting the boom-bap with rapid-fire, almost stream of consciousness lyricism, in that unmistakable Nottingham accent. It's also worth noting that this is the 50th release for veteran label, Son Records. In the UK scene, this is significant longevity.

Possessing so strong a formula proves to be both a gift and curse on The Fallout. When everything gells together though, the results can't be argued with. This is definitively the case on opening track Throwdown, where Styly's hectic drum patterns provide the perfect backdrop for Cappo to lay down what the press release describes as "weapons grade" lyricism. In fact, the drums are something of a feature of this LP, with both Styly and his father popping up to provide live drums on a couple of the tracks, keeping the energy levels high in the process.

It is therefore very noticeable when the standard of production dips, as it does on 'Yo Ass', where the very sparse drums seem to attempt to recapture a mid-80s sound. This track isn't helped by a rather irritating scratched chorus either. When this is immediately followed by another disappointing effort in 'Regenerate', which features a beat already heard on Genghis, the drawback of Capps and Styly's formula becomes apparent. When not firing on all cylinders, the combination of minimalist beats and the lack of variety in Capp's delivery and cadence can come up with tracks that are somewhat bland musically. Especially when you take into consideration the fact that the subject matter rarely deviates from coming up with (admittedly usually fairly creative) ways of describing how far ahead of the comp you are.

It doesn't take the LP much time to get back on track though. The previously mentioned live drums raise the temperature on 'Music Makers Revenge' and 'Market Square' (titled in homage to the centrepoint of Nottingham's city centre), and Styly successfully brings a more electronic sound than might have been expected from him on 'Crunch Time' and 'Thought Apache'. I would also recommend that you search the bandcamp page for the free 4 Minute Warning EP, that dropped as a warm up for this LP. The 2 tracks featured would have been very welcome inclusions here, particularly the soulful vocal sample of The Drifter, which would have provided a welcome change of pace somewhere in the middle of this album, and it's a shame that it didn't make the cut.

Overall, The Fallout delivers what is expected of it. Some gimmick-free music to snap your neck to, from a veteran 1 MC/1 producer team. I would only temper that by saying that Genghis covered very similar ground, and in my opinion is the stronger album of the two.

7.5/10

Divine Rights - The Blue Tape (Review + Free Download) by Tom Clements

Divine Rights are an enthusiastic, fresh-faced hip-hop crew out of South East London. Formed in early 2010, they have asserted that their collective aim as a group is to produce a sound that is firmly rooted in mid-90′s Golden-Era (and typically sample-heavy) hip-hop production techniques, whilst lacing their beats with heavy, expressive lyrics that are culturally and linguistically specific to London. The three man crew will probably be unfamiliar to many of you, including those who affiliate with even the most esoteric of UK underground hip-hop circles; however, the group have been working tirelessly over the past year (and especially the last few months) to get their name out there and established. Most recently, they performed their debut show at the popular Brixton venue Jamm, where they shared the bill with UK hip-hop heavyweight Kyza, and also proved they were more than able to please a crowd with their own unique brand of hip-hop. The Blue Tape is the crew’s first CD release, and is available now for free download at Bandcamp


Upon listening, you’ll find that the CD’s tracks themselves are (quite predictably) a bit of a grab bag, and this is by no means a cohesive, front-to-back effort; it is however, a showcasing of some fabulous new emceeing and beatmaking talent spanning the UK, right the way across mainland Europe. The CD’s certain retromodern charm is reinforced musically by its fine balance of complex, synth-driven beats as well as simpler instrumental loops, which make this a pretty credible and weighty affair as opposed to a shaky and uncertain debut. In terms of production, the songs are characterized by repeated and heavy snare hits, as well as edgy and crescendoing instrumental and vocal samples; indeed, the beatmaking does — at least for the most part — hit the spot, and is sure to please those who like their hip-hop raw and uncompromising. One of the CD’s highlights is a track entitled ‘Fish Hop’ produced by Dirty Stanz and guest-featuring DJ Mileage of We Are Dubists. The track is fused with his characteristically energetic DJing style and is overall, the CD’s most musically cohesive joint, in addition to being an exciting compendium of London’s myriad urban styles. Another dope stand-out is  ‘Show Up’ featuring Iron Dread, which exudes blissed-out, nonchalant vibes combined with a beautiful, woozily sung chorus which effectively help mellow the heavy boom-baps and claps on tracks like the seriously skuzzy, sitar-spun ‘Bodybag’ (released as a free single a few months prior to The Blue Tape).



Indeed, the CD is unique among other UK hip-hop releases in that it prominently features some of Europe’s upcoming underground beatsmith talent including Rico Beat out of Italy, Manu Beats from Spain and internationally-esteemed German beatmaker crew, The Cratez from Germany. All in all, the beats are a tad hit-and-miss and often lack the required drive and energy, settling for an occasionally lacklustre sound. But despite the imperfections and production flaws, the crew’s three members Bamalam, Cystic and Dirty Stanz (all London born-and-bred and all proud hip-hop enthusiasts) have evidently hit upon a compelling and potent formula, and are henceforth, carving out a real niche for themselves. Just like the production, the three MC’s have opted for an old-school bombastic approach when crafting their lyrics, which contain an artful blending of hard (but realistic) bragadocious street poetics as well as dreamy drug-induced introspection (with references aplenty to marijuana). Indeed, as a crew they clearly have their knuckle deep on the pulse of hip-hop fans who want something gritty and hardcore, but still inventive.


What the mixtape lacks in gravitas and overall finesse, it more than makes up for with its enthusiasm and promise. Also, you’re not just getting great music from The Blue Tape, but also an authentic voice of hip-hop youth in the UK streets, and not your vacuous grime caricatures  which have been a scourge to London’s image over the last decade or so. Overall, a solid effort from the young South Londoners.

7.5/10


Divine Rights Website

REVIEW BY TOM CLEMENTS

Sons Phonetic - Twelve Labours (Review)

Sons Phonetic formerly known as Correkt Minds of Waterford in Ireland recently dropped 12 Labours.
The first thing that hits when you listen is the production handled throughout by the one and only Mook and its a treat to hear such a cohesive project,every beat is quality and joined up by his  M.C. partners Sammy Dozens, Tommy Tyler , Mouse Hughes and Kav they prove theyre no crew to be taken lightly.
After the intro things kick off with Isolation featuring irish hiphop legend RiRa, they drop bars about "flatscreen televisions in the ice cream van in front  my weed sellin business".
Another highlight is "Renaissance" where Tommy Tyler and Mook trade bars proving Mook is a beast on the mic to.
Once you hear the ominous bassline of "Domino Effect" you'll be hooked and will agree with the sentiment "Fuck the mainstream,we dwell where these estuaries run" cos this is grimey hiphop at its best,SP arent looking to crossover just to put out hiphop the way it should be and as they state on "Danger Danger" this sums up their mindstate perfectly "Danger,danger the kids with the bars are back, Dusty loops,scuffed kicks and baggy parker jacks".
My personal favourite was "Hands of Time" over a crazy piano loop and a sweeping string sample the quotables keep coming "i keep my friends close, my enemies closer,so if you think you know me well then our friendship is over".
RiRa makes another appearance on "Rhyme Style Stencil" but hes the only guest on the album apart from some cuts by Jimmy Penguin proving you dont need big name features to make a sick album.
At 12 (Labours) songs long its just perfect as every song is top quality with the mix of deep beats and high level lyricism and was also mastered by the UK's Chemo.
SP are no joke.
For bookings contact sonsphonetic@gmail.com
Buy the album here on itunes or CD
Become a fan here and contact them for collabs or whatever.
Subscribe to the Youtube channel here

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:

Baron Samedi – Wanderland (Eleven Eleven Records) - Review

Due for release on Jan 24^th this new album from London producer/rapper Baron Samedi is something that I am sure is going to get the UK Hip-Hop community talking. You may know the name as this is indeed the man who produced Grit Grammar’s last album. The title track ‘Wanderland’ I knew I was in for a treat! The album continues to impress with loads of quality future thinking production with a selection of good bars and top notch production. Grit Grammar features on ‘Child At Heart’ which has a real 70’s funk feel to it. This is a well rounded album that is full of great tracks making this a must for any real UK Rap fan.

Baron Samedi's website

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The Bastard Sunz - Le Discotheque Martyrdom (review)

The debut album from Bristol representatives B-Tol, Milestone, Rola & DJ Rogue, aka The Bastard Sunz, dropped late last year, but due to January (understandably) being such a quiet month for releases, marks the first review of 2011. The press release describes it as being "dark and sureal", and album's title and artwork certainly try to live up to this claim. Does the music? And if so, does it achieve this whilst maintaining the quality and avoiding the trap of becoming over the top, pretentious or self-indulgent, like the output of many artists who look to go down the 'horrorcore' route?...

The short answer is, for the most part, yes. Whilst this album is far from perfect, there is enough potential shown here that this shouldn't be written off, whether or not you think that the mood and subject matter will be to your taste. The thing that this album does suffer from is inconsistency. It's high points can rank up with some of the better artists in this country, but the standard is not maintained throughout. The first 4 tracks exemplify this perfectly. The moody piano-loop driven beats of 'Liver and Onions' and the Eva Lazarus featuring 'Lament', set up tracks that seem to capture exactly the mood that was intended for this project. Namely, a kind of dank, claustrophobic vibe in which the MCs seem entirely at home. However, these tracks are followed by 'Top Rank' and 'Murder Factory' respectively, which fail to maintain the momentum. 'Top Rank' especially, as it has a hook that really starts to grate once you've listened through the album a few times.

The album's two highlights are the ones that lyrically stand out above the pack. At track number 5, the storytelling effort 'The Shades' comes as a welcome switch up conceptually. B-Tol's tales are layed over what is probably the most interesting track of the album musically, as an electric guitar riff prevents this 5 minute track from dragging. Crescendo is the one really personal effort here, although Milestone's description of paranoia and mental health problems is comfortably in keeping with the overall feel of the project. Once again, the music complements the lyrics, with a passionate chorus from Eva Lazarus matching the intense strings and keys of Flipz's excellent production. It's a shame that there aren't a couple more concept driven tracks onboard, as the album suffers when the lyrics aren't as focussed. A case in point is 'Scabcore Generals', when an otherwise decent track is dragged down by some sloppy lyrics from guest Turroe, whose verse is unfortunately up first. ("I'm a rap addict/And you're crap at it/You're a crack addict/With a smack habit/Ha. I laugh at it")

Both MCs, B-Tol in particular, have a confident, fairly polished delivery. This is demonstrated throughout the album, but particularly when they try their hand a double-time 'Bastard Spillz'. Sadly this is one occasion where the production standards really slip, as they are given a beat that sounds like it sampled a Game-Boy, circa 1993. Another potentially good track spoiled is the closer, the South West-North East collabo with Chattabox, 'White Spots'. As was the case with 'Top Rank', the chorus becomes pretty iritating, and doesn't stand up to repeated listening.

So, whilst this is a rather patchy effort, the good outweighs the bad, which is always a promising sign for a debut release. If some of the moments where there is a dip in quality (be it production, hook or lyrics) can be ironed out, then there could be some excellent work in the future from The Bastard Sunz, as B-Tol and Milestone show themselves to be two entertaining MCs, with confident delivery, who seem comfortable over a range of different beats. For me, this debut effort wouldhave to be placed in a pile marked 'promising, but not quite there'…

6/10.

2010 UK Albums Of The Year

Seeing as it is that time of year, I guess I should drop some kind of 2010 retrospective. Having only been editor here for the less than a month, I’ll just stick to a straightforward list of my top 20 albums of the year, and leave it at that.

Don’t get hung-up on the exact spot that any particular album occupies, because if you were to ask me for this list again, in a month’s time, I’m sure the order would have changed. Also, I blatantly haven’t listened to everything that dropped this year, so if something is missing, it could be that I haven’t heard it… Or, alternatively, I might have thought it was shit…

So, without further ado, Certified Banger's Top 20 Albums of 2010:

20. Invisible Inc - The Exit Strategy

The long awaited collaboration album from Verb T, Kashmere & Ghost ended up being a little underwhelming. A digital only release for 3 of the country’s more established talents didn’t really seem to do the project justice. The impression that this was a bit of an unfocussed effort persists, with even the artwork looking a little bit rushed. A few of Ghost’s more soulful productions from the Seldom Seen, Often Heard era wouldn’t have hurt either… That said, an album of rhymes from Verbs and/or Kashmere will always be worth listening to, it’s just not the classic it could have been.




19. Stig Of The Dump – Mood Swings

Another much delayed album that didn’t quite meet expectations. Stig’s skills were never in doubt to anyone after years on the battle circuit, and a couple of EOW titles, but could he transfer that into a great album? Not quite this time, but the potential remains, as the high points on this album are excellent. What holds it back is mainly inconsistent production, and occasionally slipping into self-parody. When sounding fully focused, very few in the country can stand next to Stig.

18. Kashmere – Galaktus; Power Cosmic

Hardcore, comic books vibes over typically crunching production from Jazz T & Zygote made Kashmere’s latest effort as entertaining as ever. Could it have been improved? The concept seemed to slightly limit Kash’s wild imagination if anything, and the Boot production, whilst as rock solid as ever became a little samey over the course of the LP. These are minor points though, the album bangs.

17. Grit Grammar – Life Music

A promising debut, Life Music featured high quality production from Baron Samedi throughout, a high caliber guest list and a host who was eager to impress. Although the subject matter occasionally slipped into cliché, this release mark Grit out as one to watch for the future.

16. J-Simple – Late Night Theatre

A heavily slept on release from the Huddersfield MC, out of the Groundwurq crew. Sadly a digital only release, this album showed that Jack Flash is far from the only talent coming out of the Hudd. I really enjoyed this album, as Simple brought an accomplished flow, engaging, varied subject matter and excellent production to the table. If you never checked this out, do yourself a favour, it deserves a wider audience.

15. Life – Life Beyond Rap

You should know what to expect by now from Life & DJ Nappa, hard beats, and rapid fire, righteous rhymes, and Life Beyond Rap does not disappoint. Although this re-treads most of the ground covered by his previous 3 albums, the standard hasn’t slipped.

14. Dr. Syntax - Benny Huge

Is there a more quotable MC in the country than Synners? Not for my money. Hardly bringing a weak bar, let alone verse, Mr Huge is in top form throughout his second solo LP. It only reaches 14 due to a pretty erratic choice of beats, and a bit of overkill in detailing his drunken antics in the first few tracks.

13. Jon Phonics - Half Past Calm 2

One of the country’s most accomplished producers second album brought a mix of styles, a huge guest list, and some screen printing. There aren’t many out there who can master both dusty boom bap, and 21st century synths, but Phonics is that man. Most of the MCs he has given beats to over the last couple of years return the favour, and the result sounds very cohesive for a producer led project.



12. Rhyme Asylum - Solitary Confinement

The punchline experts build on their previous effort, with this solid 2nd album. Although they’ve always specialised in a dark, wordy, almost horror-core style, it is actually their departures from this that are particularly impressive. The more focussed, concept-driven tracks, such as Life Support, This Is Where and Broken Window suggest that if they keep improving, there could be even better albums to come from this trio.

11. Cappo - Genghis

No guests or outside production to be found, Nottingham’s Cappo continued to bring a style that could never be confused for anyone else, his esoteric lyrics and cinematic beats in a league of their own. Whilst I dare anyone to say they understand exactly what he’s on about with every lyric, that’s half the fun. This is to played at LOUD, whilst snapping your neck…

10. Diversion Tactics - Careful On The Way Up

Uncompromising, true school hip-hop from the Guildford crew, just as expected. Few MCs have as much personality on a track as The Chubby Alcoholic, and Jazz T & Zygote’s production is probably superior here than on the Galaktus album. See Back To School for proof that no one brings unpretentious bangers like DT.

9. Delusionists - Prolusion Plus

Although this was in part a retread of a project from last year, I’m including it here as I wasn’t aware of these guys until this dropped earlier this year. Bringing grounded, smart, everyman rhymes, and excellent production, this crew announced themselves as a name to watch out for in a major way. The assured flow and witty lyrics of Ben Black, both here and in guest slots on Mr Loop’s release, mark him out as one of the best up-and-coming MCs in the UK.

8. Jack Flash - The Sound Of Colours

Once again, not really sure if this should be considered an album. The first nine tracks are available as a free EP, and I'm pretty sure that the artist himself hasn't referred to this an album proper. Whether or not the music is good enough isn't up for debate though. As a former EOW champ, it's clear that Flash has serious skills, but as his underrated LP The Union Jack Album showed, he's also a good songwriter. This project continues in exactly the same veign, although perhaps contains a little more filler.

7. Mr. Loop – Music From The Tanhauser Gate

The only entirely free release on this list, but don’t let that trick you into thinking this is worth ignoring. At 10 tracks long, including an intro, it might also be a bit short to really be considered an album, but it’s my list, and I like the tunes, so bollocks to it… The featured MCs are mainly also from the massively slept on Sweatbox Sounds stable, bringing down to earth ‘Grown Man Music’, although The Delusionist’s Ben Black brings some comedy to the standout Suburban Hustler. Really though, it is the soulful beats that steal the show, just like on last year’s equally underappreciated The Bury All. Every MC in the country should be looking to this man for a beat or 2…

6. Verb T – Serious Games

Excellent YNR debut, from an MC who is approaching veteran status. Verbs sounds more at home than he’s ever done, and brings a quality list of producers and guests along for the ride. You know that anything on YNR is going to bring high production values, and this is no different. A couple of the smoothest bass-lines of the year can be found on here.

5. Ty – Special Kind Of Fool

Former Big Dada rhymer Ty returned in 2010 with his 4th album. The amount of effort that went into the music on this is immediately evident, I don’t think I’ve heard an album with such good outros to each song. Although he might not have the most technically accomplished writtens out there, that has never held Ty back before, and doesn’t here either. For an album to stick on, and kick back to, 2010 didn’t provide a better candidate than this.

4. Fliptrix – Theory Of Rhyme

A massive step up in class for Fliptrix from a distinctly average debut, Theory Of Rhyme was probably the surprise package of 2010 for me. Covering a wide range of topics, without the project losing its cohesiveness is always a challenge, but one that Fliptrix easily overcame here. The guest list is kept slim, and strong, so despite the high profile co-signs, it is clear who is at the helm. Perhaps lacking in standout tracks compared to some of the others on this list, the fact that you probably wouldn’t skip 1 of the album’s 16 tracks more than makes up for that.

3. Prose – Force Of Habit

This album was a real throwback, both in terms of style and quality. Sample heavy beats, many of which feature loops you will recognise from elsewhere, form the backdrop on which the previously underrated Efeks does his thing. Not the most skilled MC, he clearly rhymes from the heart, and the passion for the music oozes from almost every track on this album.

2. Skitz – Sticksman

A decade on from his previous album, Skitz eventually returned in 2010. Perhaps his biggest achievement is bringing a fired-up Rodney P with him, as I don’t think I’ve ever heard the UK vet in the sound as focussed as he does during his 3 appearances on Sticksman. UK artists often seem to recruit the odd American guest for their projects just for the sake of having some sort of US co-sign. Skitz brought through an absolute legend in Masta Ace, who couldn’t have sounded more at home. Skitz has always been about a funky bass-line, and you won’t find a better album to bump in the car from 2010. To try and balance out all this praise, Music Is My Life featuring Darrison is rubbish…

1. Jam Baxter - Rinse Out Friday/Spack Out Monday

Excellent guest spots on the Fliptrix and Jon Phonics albums paved the way for this double album. Baxter avoids the usual bloated, filler-filled double album by completely attacking every single track. I’m not sure anyone in the country could stand toe to toe with him on this form, as he has a complex flow, venomous delivery and a pretty unique turn of phrase. Rinse/Spack is a real statement of intent, on which Baxter jumps on every track sounding like he has a point to prove.

Not too sure about the cover though. A bit reminiscent of 90s No Limit/Cash Money, rarely a good thing...

So there you have it, the top 20 of 2010. If you think I’ve got it spot on, or that this list means I must be certifiable fuckwit, then drop a comment. This sort of thing is all about opinion anyway…

Adlib - Brass Knuckle Hustle (Review)

I recently got the oppurtunity to hear Adlib's street cd Brass Knuckle Hustle which is currently only available from the man himself at live shows but should be on all digital outlets soon.
Adlib signed to Danny Diablos Ill Roc label recently and you can tell listening to this street cd that Adlib is as much a hiphop head as a hardcore punk fan as every track bangs hard.
One of my favourites had to be Hate My Guts featuring Slaine,Reef and DJ Kwestion,where everyone kills it even by their high standards. Also The League featuring Steele,UG(Cella Dwellas),Godilla and Ali Armz is one of the highlights,from the opening bars this is like one of those stadium rock anthems without the bad haircuts and its guaranteed to make you want to punch somebody.
Featuring Godilla on 4 songs I'd also recommend checking out his album Jaguar Paw.With appearances from Slaine,Reef,Ali Armz,Steele,UG,Aeyone,Danny Diablo and more this is one for the hardcore heads.

'Oddio' - Stanley Odd (review)

One of my favourite albums at the moment? Easy. Stanley Odd's 'Oddio'.

Now, as you may have noticed, Scottish Hip Hop usually doesn't sit too well with me - mainly because it's all fairly angry and aggressive which is not the sort of thing I listen to for pleasure even if I can appreciate the craftsmanship. Stanley Odd are a band made up of members of different nationalities but the MC who fronts the band is definitely a Scotsman.

Solareye is the man in question and his outlook on life is as cynical as the next Scottish person's but his wry twist and LOL-inducing lyrics are something else. I could finish off this review just by quoting some of his lines ("The next generation are counting on us/So let the pregnant women sit down on the bus", "I've not been in a good mood lately/Cos cats lack passion like the makings of a test tube baby", "She said 'Who in their right mind takes a horse tranquilizer?'/I wasn't in my right mind so I couldn't advise her"... I could go on but I won't).

Solareye is backed up by the lucious vocals of Veronika Electronika who provides both sung choruses and half-rapped, half-sung verses as well as just general beautiful noises (check 'Sun Dance' to really get what I mean).

The whole album gots that funk that only a live band could produce and tracks like 'Your Move' will more than certainly bring an insane grin to your face as you tune into the solidity of the musicianship of Rune Dawg, T Lo, AdMac and B Dot.

'Oddio' is out now on Circular Records and you must, must buy it. It's available on itunes now.

'Careful On The Way Up' - Diversion Tactics (album review)

Authentic Hip Hop from the UK – don’t believe that? OK – Percee P and Tim Dog, two pioneering Bronx rappers, feature on this LP. Believe me now? Thought so. Need proof from the UK? UK legend Blade endorses this by lending an out-of-retirement verse – dopeness and total awesomeness in my books.

‘No Collaborations’ features no collaborations – with lyrics like “if you think this is about you, then this is about you” Chubby holds his own over the banging beat shaming you for ever needing big names to recommend ‘Careful On The Way Up’ to you. As well as Blade ‘Three Card Blag’ features back-on-the-rise D.Gritty – top tune.

When top quality producers Jazz T and Zygote aren’t doing their dusty thing, Tommy Koi is flipping some 80s-sounding cheese on ‘Return of the Ladies Man’ and The Last Skeptik is doing the honours on the neck snapping ‘Where I’m From?’ (on which Chubby discusses the roots of Hip Hop).

Previously heard tracks ‘Can’t Swim’ and ‘Back To School’ (produced by J-Zone) still sound aces as part of this small (35 minutes – just how I like it) but perfectly formed LP with won’t be released until January 11th 2010 on the Boot label.

'The Kinesis Thesis' - K.I.N.E.T.I.C. (album review)

Solid, real Hip Hop is on the menu with K.I.N.E.T.I.C.'s sophomore LP release. With always-reliable production from Jon Phonics plus more dope beats from ones to watch JJ Malone and Vintage (who enlists Chemo's co-production help on 'Leave It All Behind' this album will keep you involved for its 47 minutes.

With lyrical performances as powerful as 'Love Has Never Lived Here' (an honest look behind the doors of K.I.N.E.T.I.C.'s childhood home), it's obvious his Energy Man suffix doesn't just adhere to the kind of hyped up Hip Hop displayed on opener 'Let's Go' - electricty runs through whatever topic is tackled.

Overall the album documents the elements that contribute to the MCs place in life - the city ('In The City'), soul destroying 9 to 5s '(Leave It All Behind'), upbringing and Hip Hop itself ('Memory Lane'). The bluesy 'Don't Be Silly' tells a tale of changing attitudes to love as a result of heartbreak - an attitude sadly adopted by many, resulting in an endless cycle of messy relationships.

'The Kinesis Thesis' is released digitally on Monday November 16th.

‘Food 4 Da Brain Second Serving’ - VA (album & DVD review)

If the aim of ‘Food 4 Da Brain Second Serving’ wasn’t to serve up a platter of perfectly complementing flavours then I’ll eat my hat. If that is what they set out to do then they’ve royally achieved it. The menu offers up tracks from the finest chefs on either side of the UK Hip Hop/Grime divide; in fact it tastily demonstrates the breaking down of the boundary.

With artists like Ghetto and Virus Syndicate represent Grime, rappers and producers such as Kashmere, Verb T, M9 and Jon Phonics provide the Hip Hop and MCs like Skinnyman, Klashnekoff, Mr Ti2bs and Shameless defy pigeon holing altogether.

MCD sets things off with a self-produced, firmly on the grime side, dubplate proving he has progressed and embraced newer, but rooted in older, music styles. Beat Butcha follows up with his remix of Terra Firma’s ‘Git Down’ and it’s just what you’d expect from that collaboration. Chemo then pops up as producer of Manage’s thriller ‘No One Needs To Know’ featuring LeEo. Mr Ti2bs, Virus Syndicate and Ghetto continue to provide quality platters of goodness, all challenging the listener to label it as either Grime or Hip Hop.

Skinnyman and Deadly Hunta serve one of the albums most delicious tracks – ‘Ballistic Affair’ which also comes in the form of a cool animated video on the accompanying DVD. Invisible Inc then provides a rest between courses with their ‘Invisible’ (or is it ‘Invisible Inc Theme’? It’s the same track that’s on 'Rapsploitation Sessions').

Supar Novar and Big Ben heat things up again and Jon Phonics follows with a remix of M9’s ‘Strange Fruit’ (possibly better than the album version?). Deadly Hunta brings a few more raga vibes on ‘Valley of Death’ and Foreign Beggars come with some electro-funk and Pharrell-esque vocals. Shameless, Bruza and Ghetto finish the sitting with some hard-as-nails riddims.

I can see what the guys behind this have done: they’re on a mission, a mission to blur the boundaries, to lure Hip Hop heads over to the Grime side and vice-versa. This is all about the music, and despite my review, it’s not about genre. This is, actually, what Hip Hop was – the combination of other music forms, a new way of expression that utilises the sounds around it. So whatever you’re preference, buy this and think about the message it not so subtly puts across, ask yourself: ‘Am I open minded?’ Let’s hope so.

'Scene Stealers' - Skreintax (album review)

Skreintax may not have been the most obvious collaboration. Dr Syntax and Skrein each have quite a unique take on Hip Hop but in no way is ‘Scene Stealers’ a mash-up of the two. Synners and Skrizzle have cooperated to create a joint stage for their skills.

Dr. Syntax and Skrein retain their identifiable timbres; you know when one MC stops and the other start – more than can be said for some collaborative efforts. The other MC’s complement this; Stig of the Dump, Farma G, Verb T, Sir Smurf Lil’ and Dubbledge all show up to rap. ‘Mine for the Taking’ showcases yet another Farma G style – that man is really experimenting right now. ‘Express Train’ and ‘T.E.T.M.D’ (The Evil That Men Do) both feature Stig, who seems to have all but lost the Geordie twang but still raps ferociously.

Lyrically there are many messages to be had here. On an overall positive vibe, words of advice and encouragement flow thoughtfully, especially on tracks like ‘Mothers’ and ‘Reach’. Other tracks follow concepts; ‘Express Train’ discusses getting away for a day, ‘Back Down’, a night on the pull with disappointing consequences. ‘Venus’ examines a woman who, despite her name, revolves around material things. Other tracks, like ‘6 Bitters’ (Sick Spitters….get it?), are all about the ill lyrics. As usual Dr. Syntax shines as he displays his awesome propensity to write amazing rhymes.

The production is perfect, not a bad beat in sight. Boom bap, a splash of jazz, a hint of reggae, all stirred in the sunshine is the order of the day here. The beats are courtesy of Nutty P, Kelakovski, Chemo, DJ Snips, Dag Nabbit and Tom Caruana among others. Graziella also provides her golden tones on some deliciously sung hooks.

If you’re already a fan of Dr. Syntax or Skrein then I can guarantee you will want this LP in your collection. It’s out on Dented Records on December 1st; one for your stocking then.

'The Stuff' - Illustrate (album review)

Having already reviewed Illustrate’s ‘Work’ EP means I’ve already assessed 4 out of 14 tracks on ‘The Stuff’, make sure you check out my review of that as well as reading this. Right, on with the review then.

The more amusing than most intro kicks things off and consists of a jaunty self produced beat and a load of samples referring to ‘The Stuff’. ‘My Hat’ comes next and ‘Sick of It’ follows. ‘Sick of It’ is a Just Jack-ish (but with proper rapping) guitar led tune that’s just a little melancholic –after all it’s about all the stuff Illustrate’s sick off. Thankfully ‘Do What You Like’ rushes in, scoops up the mood and throws it sky high thanks to the light hearted subject matter and Sloth’s airy jazz.

And the album continues this way. Illustrate seems to have sequenced the album to constantly change the way you feel and as I’ve said before, his music and writing is emotive and that’s a powerful skill to possess. Lead track ‘The Stuff’ perfectly demonstrates the slightly eccentric place where Ollie Bates finds his ideas when he refers to Braintax liking his album then drops a sample of the Low Life head honcho – ‘A big sound system playing the stuff’.

The only real dud moment is ‘Killing Celebrities’ where Illustrate does his angry white violent-but-only-joking rapper impression by listing celebrities and how he’d kill them. Rather uninspiring.

‘The Stuff’ has high entertainment value and despite the variety of emotions portrayed, has a very happy-go-lucky vibe to it- which is a nice balance for an album to have. It’s a good album to debut with and is a highlight in this year’s more subterranean rap releases. It’s out on November 17th on Headcount Records and will be available for sure from Suspect Packages.

'I Came To Represent' - Geejay (album review)

Hip Hop’s Sunderland spokesperson Geejay steps up and informs us ‘I Came To Represent’. He’s a young hope but his debut album boasts collaborations with Raekwon and Canibus. Past the Skrilla artwork and the big name guests what’s the CD actually like?

Actually, and maybe unsurprisingly it’s not that good. The synthy production aspires to bark with the big dogs yet yaps weakly in comparison to similar attempts on the scene right now. Some tracks display potential but don't achieve their aims.

The lyrics are basic; Geejay employs rhyme schemes circa 1980 (which were fine back then, but things have moved on), relies too heavily on drawing out words to fulfil his syllables per line quota and leaves sentences hanging at the end of each line for rhymes sake (‘Plaguing me much//More than I thought it…). The crude and immature concepts exhibit a lack of life experience and teen years spent idolising US rappers. ‘Heart Attacks’ attempts to readdress the balance but comes across a little too clichéd.

‘I Came To Represent’ is Geejay’s version of every formulaic rap LP ever made and unfortunately, it falls short even of the middle mark. Some strict self editing and serious writing graft might see him return stronger but for now it’s pretty feeble. Let's hope that Sony development deal does just that.

'The Signature LP' - Sway (album review)

‘The Signature LP’ – the UK’s biggest rap release this year. Sway – the UK’s brightest hope for world wide success. It’s that simple. You’re probably part of the hype surrounding this – I know I am - and you know how much anticipation comes with the release of this album. The news of Sway’s signing to Akon’s Kon Live magnifies the excitement surrounding this as new markets are reached. The multiple release date push-backs point to the necessity for this album to drop at precisely the right time. The two lead tracks ‘F UR X’ and ‘Saturday Night Hustle’ have already caused mass commotion being featured in the film ‘Adulthood’ and on the Jools Holland show respectively. All signs of the big things sure to come.

Self produced ‘Fit 4 A King’ opens the album on a continuation of this theme; the stadium-sized production is a confident forecast of the success of this LP. Where first impressions do count Sway hasn’t put a foot wrong with the orchestra, chants, choirs, lead guitar, Queen-esque drums and the curiously Brit-Pop sounding sung vocals. Then there are the lyrics; Sway still has the tongue twisting, phrase bending abilities that he burst onto the scene with on his ‘This Is My Promo’ mixtapes.

Sway mixes wit, skill and a thorough understanding of self-marketing over the remaining 15 tracks. He also introduces us to his more contemplative side, addressing issues he’s previously left untouched, particularly death (‘Pray 4 Kaya’ and ‘Letters to Heaven’). The whole album seems incredibly premeditated when considered as a part of his entire career. Everything new on here wouldn’t have worked in his earlier, more underground days but now is the absolute perfect time to reveal Sway’s spectrum of ability.

The attempt at capturing a wider audience does mean that most people will find that a couple of tracks don’t appeal to them. As quite a staunch Hip Hop fan, tracks like the already huge ‘F UR EX’ and the soon to be absolutely-flippin’-massive ‘Silver & Gold’ featuring Akon (the last-minute inclusion of this making for the final release date change) don’t quite hit. Having said this, I’m not stupid and I know the more poppy tracks on here are sure to garner massive radio play, probably in the UK and the US. And to be honest I’d rather hear Sway on the radio than any of the other ‘Urban’ acts that get spins at the moment.

‘Walk Away’ sees Sway accept the responsibility of stardom – addressing street violence and preaching a positive message to the thousands of attentive ears sure to be listening to this. ‘Say it Twice’, ‘Jason Waste’ (Sway’s pretty hilarious new character), ‘Upload’, bonus track ‘Taxi’ and ‘Stereo’ (Produced by Chops) are all pretty much classic Sway. If you’re open minded you’ll find tracks like ‘Saturday Night Hustle’ (highlight: Sway rapping his vital statistics), ‘End of the Road’ (featuring Sting’s daughter Coco, who has an intriguing voice) and ‘Look After My Girl’ to be excellent extensions of Sway’s impressive lyricism.

‘Special Place’ has to be the worst track – I can’t see anyone being into it really, it’s quite annoying but this is the only duff moment on the entire album, every other song is awesome in its own way. In my opinion this makes ‘The Signature LP’ an awesome album and one that should be on every British music fan’s CD shelf. It hasn’t disappointed even though I thought I would prefer something similar to his previous album, mixtapes and guest verses. Sway has proved that he knows best and as long as he keeps doing his thing, the plan that he has should work out just lovely.

‘The Signature LP’ is out on Monday on Dcypha Productions and will be available everywhere – probably even down at Tesco’s.