Review: Prolific Philly rap eccentric Lynx 196.9 teams up for a first-time collaboration with the un-knock-downable legend Kool Keith for an incendiary new mini-album, 'Bandoleros', a concept piece intended as a modern spaghetti Western soundtrack. The rat-helmeted wordsmith and the surrealist vigilante prove an unsurprisingly wicked combo, as both emcees glide suavely over boom-bap centrepieces sampled from various spaghetti film sources, while detailing the blueprints of their various forthcoming jailbreaks.
Review: Primetime smooth soul on the long-awaited 7" release of the fourth collaborative work between Lagheads and HIMI, 'Dance'. With impeccable production scooping out a thick copse of luscious basses, watery chorused electrics and glittering twinkles, the track is difficult to compare to any other; HIMI's vocals are fay as they are nimble, sounding sultrily pucklike over the sheer sonic city-soul fabric that is the instrumental piece. The B-side hears a remix by Hikaru Arata of WONK!A fame and fleshes out the latent weight of the track for a jazzier hip-hop version.
Review: Kero Uno has been kicking for almost two decades, credited with reviving jazz sensibilities in hip-hop almost three decades since it, unfortunately, fell out of fashion around the turn of the century. K1 introduces city-pop and jazz-hop to two of Kdots biggest tracks, 'Bitch Don't Kill My Vibe' and 'Love', the former of which was put on SoundCloud almost a decade ago now and created nothing but buzz. K1 skyrocketed to fame, having his album crowdfunded by excited fans and catching the attention of Kendrick's own mix engineer Derek Ali. The 'Don't Kill My Vibes' mix flips the 2012 hit into a vibraphone-led synthy jazz slice of heaven, while the 'Love' flip, 'Vinyl Love', is a chill, wavey city-pop banger, with subtle brass and airtight percussion coming together in perfect matrimony.
Review: Lawson Jr'Music is based in Montreal in Canada and is a drummer, singer and music composer who has played all over the world since a young age. He brings a distinctive Afro vibe to his take on hip hop as demonstrated by this masterful new cut on BSide/Lawson Entertainment. 'Let It Go' is defined by its screwy bass down low and the echoing hits up top. Aside from that I'd an empty but atmospheric cut with yearning vocals and melancholic chords. The flispide instrumental allows the slick production to shine.
Review: This six-track EP, crated between the late 'Cloud rap' icon and producer Nedarb Nagrom, is a miraculous refind and repress. The EP originally dropped in 2016 during the early wave of Peep's rise to the broth cream of the etherground emo rap and SoundCloud scene. Peep was still in the thick of lo-fi, punk and emo experimentations, and fellow traveller Nedarb had already been a frequent collaborator. The Katy Perry song referenced in the title is a red herring, as these tracks are original internet artefacts through and through, bearing none of the same pop sensibilities; they're loose and aerated, packing slipshod 808s and drawly hooks from the pink-haired icon.
Review: Lil Yachty and James Blake's Bad Cameo showcases their fearless creativity, blending Yachty's dynamic vocals with Blake's signature production. Tracks like 'Missing Man' and 'Transport Me' shine with captivating depth, while 'Red Carpet' offers a soulful, gospel-infused highlight. The album's experimental nature, especially on tracks like 'Save the Savior' and 'Midnight', reflects the duo's bold approach, pushing boundaries with each song. Even in its unexpected turns, Bad Cameo remains an exciting exploration of sound. Available on limited magenta vinyl, this release is a fresh, innovative take from two artists unafraid to try something new.
Review: Polish producer Latarnik and American vocalist Anthony Mills collide on this new album for Polish label Astigmatic to explore lo-fi hip-hop, soul, dub and experimental electronics. Mills's falsetto vocal brings great Neo-soul warmth to Crack Rock with emotionally charged tones soaring over the production which ranges from sugary and 80s-tinged disco and boogie on 'Crack' to deep, seductive and gooey on 'Passive Lover' which is a more romantic sound. Latarnik's work is often minimal yet immersive which creates space for Mills' voice to shine and is delivered in equal parts spoken word, chant and soulful croon. The hypnotic, slow-burning soundscapes that result are both intimate and confrontational, ready to make you dance but also often just to feel. Unapologetically raw and deeply human, this one lingers long after the final track ends.
Review: Hardcore Philly rappers Da Buze Bruvaz, aka Him-LO and Clever One, have been coming up strong on their Grilchy Party label in the past couple of years. A lot of their work has been with Lord Beatjitzu, who once again mans the buttons on this vinyl pressing of the CDr release, complete with kung-fu movie iconography emblazoned on the cover and some hard as nails beats to back up the drunken, lyrical devastation from the duo on the mic. This record serves as a companion piece to the Bruce Li album the three-strong team have got coming in tandem with this joint, so cop both and get yourself up on the real deal coming straight out of Philly.
On Point (feat Predominance & cuts By Phoeniks) (2:50)
Keep It Jazzy (feat vsteeze) (3:46)
Wonderful Thing (feat Tab One) (3:21)
Young Dreamers (interlude) (2:59)
Sempre Sonhando (feat Kamau) (2:39)
Flowers (feat Awon) (3:13)
Beautiful Day (4:17)
Chill & Relax (feat Rain Bisou) (3:25)
Humanity (2:56)
Believe (feat Hvmble) (3:20)
Review: Kid Abstrakt represents the timely and true 90s jazz-rap sound in the present day, consciously carrying on the legacy of the likes of A Tribe Called Quest, De La Soul and The Pharcyde. Still Dreaming is his latest album in collaboration with beatmaker Leo Low Pass: it's a 12-piece, feature-packed gem full of warm lo-fi-isms and reminiscences. To further help introduce you to Abstrakt's world, memory and nostalgia is central to the project; the highlight 'Young Dreamers' opens with hm revisiting the same playground in which he used to play as a child, now treating it as a fitting backdrop over which he can rap. Ultimately, jazz, lo-fi and boom-bap all collide on this album for a heavy dose of ear-injectable post-90s nostalgia.
Ignore The Man To Your Right (feat Homeboy Sandman) (2:54)
Taken By The Night (3:19)
The Damning (part 3) (1:58)
The Lineup (2:07)
Kicking Glass (2:01)
Kind Of Like Life (2:33)
Revenge & Escape (part 4) (1:29)
I Was Invisible Nothing (3:01)
Death Valley (2:26)
Starry Eyed Balcony Walkers (3:44)
Macabre (part 5) (1:36)
Review: The Night Took Us In Like Family is the first collaborative album from American producer L'Orange and cultured rapper Jeremiah Jae. The Mellow Music label originally released it back in 2015 and it performed well with some fine guest appearances from Gift of Gab and Homebody Sandman. The album is rife with beautiful storytelling from Jae who delivers his ideas in a gangsta rap style but the first-rate beats are more soulful, giving rise to a style the pair called 'noir hop'. They are louche, lo-fi and drawn from the golden era of boom-bap with plenty of smart samples.
The Eyes Of Santa Muerte (feat Sick Jacken) (4:30)
Murder World (2:48)
Coka Kings (feat Vinnie Paz) (3:51)
Track 12 (feat Big Left) (3:58)
Malverde Market (3:10)
Masters Of The Dark Arts (2:34)
Review: Ill Bill, Danny Boy, Slaine, DJ Lethal, and DJ Eclipse return with their second full-length for Fat Beats Records, plotting hardcore hip-hop plans before a raw, no-frills execution. Ill Bill, formerly of Non Phixion, brings his signature dark lyricism; Danny Boy made his name with House of Pain; Slaine cut his teeth in La Coka Nostra and Boston's unctuous underground; DJ Lethal's production chops span from Cypress Hilly boom-bap to Limp Bizkit era chaos; and DJ Eclipse, a key figure in NYC's pirate radio scene, downs anchor on the crew's sound. Production comes from DJ Premier, Statik Selektah and DJ Lethal himself, ensuring a retentive grittiness, while guest spots from Vinnie Paz and the late Sean Price help the crew hammer hone a collective lyrical point.
Element Of Surprise (feat U-God & Masta Killa) (3:08)
Az The World Turnz (feat Raekwon) (3:24)
Wu-blood Kin (feat Ghostface Killah & 12 O'clock) (3:07)
I Want It All (4:16)
Review: To mark the quarter-century anniversary of the release of La the Darkman's classic Heist of the Century album Coalmine Music have assembled this special 25th Anniversary Edition across two slabs of wax. The Brooklyn native has never officially repressed this one since first releasing it but it is one of the Wu-Tang Clan affiliate's finest hours. It has the same dark soul sound you would expect of anyone who has had anything to do with that collective along with some gritty production, killer boom-bap rhythms and heavyweight rap features like Raekwon, Ghostface Killah, Havoc and Masta Killah.
Review: Steve Lacy is an LA-based songwriter best known as guitarist for The Internet as well as producing for Kendrick Lamar amongst others. After releasing his debut solo album Apollo XXI in 2019, he returns with a sophomore effort which expands on his broad-reaching vision of psychedelic soul. Like a modern day Shuggie Otis he knows how to bridge the gap between disparate musical camps, displaying a powerful pop instinct while keeping things kinked and quirky throughout. Lead single 'Bad Habit' is a sweet, sentimental anthem that should appeal to all and sundry, and it's a perfect gateway into an album brimming with future classics.
Institutionalized (feat Anna Wise, Bilal & Snoop Dogg) (4:31)
These Walls (feat Anna Wise, Bilal & Thundercat) (5:02)
U (4:26)
Alright (3:34)
For Sale? (interlude) (4:25)
Momma (4:48)
Hood Politics (4:06)
How Much A Dollar Cost (feat James Fauntleroy & Ronald Isley) (5:01)
Complexion (A Zulu Love) (feat Rapsody) (4:00)
The Blacker The Berry (5:49)
You Ain't Gotta Lie (Momma Said) (3:45)
I (6:01)
Mortal Man (12:01)
Review: Kendrick Lamar aka. K Dot is hip-hop's all-time crown-bearer for the 2010s. Last time we checked, the same was true for the 2020s too. Bridging both decades came To Pimp A Butterfly, which saw mammoth success upon its 2015 release. Though perhaps prematurely slapped with the "classic" label all too soon (and though this wasn't wrong), one good index of an all-time great album is the prevalence of affectionate initialisms among diehard fans: in no time at all, it became known as "TPAB". The Compton rapper had had a firm social conscience ever since the release of Section 80 and Good Kid, Mad City, and TPAB would continue to restitute the many racial and consumeristic ills of American society; unforgettably, a White House mutiny is depicted on the original front cover. Songs like 'I', 'Sing For Me, I'm Dying Of Thirst', 'King Kunta' and 'Institutionalized' revolutionised rap through every motif from G-funk bounce to freeform jazz. Now, after a recent Super Bowl Halftime Show backed by vexingly ironic American flags and pyrotechnics, we hear a newly emerged butterfly: Kendrick's meliorative flows and butterfly-effect cogitations resound with the utmost clarity on this grey UMR edition.
Review: Perhaps the most striking moment on Kendrick Lamar's GNX comes early, with 'Squabble Up.' Opening on a sparse beat laced with an almost claustrophobic bassline, the track bursts into intricate lyricism, with Lamar delivering rapid-fire verses that bristle with urgency. It's an audacious statement that sets the tone for the album: introspection wrapped in cinematic production. Then there's 'Heart Pt. 6,' a deeply layered piece where ghostly synths and rolling drums frame Lamar's contemplations on legacy, loss, and identity. The interplay of Lamar's voice, alternately tender and defiant, with the productionicourtesy of Sounwave and Kamasi Washingtoniis nothing short of riveting. GNX doesn't provide easy answers; instead, it invites you to sit with its questions, its moments of chaos and its flashes of hard-won clarity.
Review: It is hard to believe this classic album from Kendrick Lamar is already a decade old. He has gone on to reach even higher heights since this one despite what an accomplishment it was. It marked his major label debut back in 2012 and was a deeply personal reflection by Compton, CA-born rapper about, well, life, has grown to command a much wider gravitas today than it did upon its first release. Back then, it had enough pop appeal to hype up the mass of its listeners, while also intelligently working enough ironic political commentary about the nature of American hood experience into the lyrics, to have the effect of wisely 'nudging' the average popular international music consumer to wake up and listen up. This is an album about deep and open psychic wounds gashed across the social fabric of the USA, told through the isolated perspective of just one kid.
Institutionalized (feat Anna Wise, Bilal & Snoop Dogg) (4:31)
These Walls (feat Anna Wise, Bilal & Thundercat) (5:02)
U (4:26)
Alright (3:34)
For Sale? (interlude) (4:25)
Momma (4:48)
Hood Politics (4:06)
How Much A Dollar Cost (feat James Fauntleroy & Ronald Isley) (5:01)
Complexion (A Zulu Love) (feat Rapsody) (4:00)
The Blacker The Berry (5:49)
You Ain't Gotta Lie (Momma Said) (3:45)
I (6:01)
Mortal Man (12:01)
Review: Celebrating the tentth anniversary of a release that redefined the possibilities of hip-hop both as music and message, UMR share a brand new edition of Kendrick Lamar's To Pimp A Butterfly. Though a tanked camo butterfly now takes centre stage on the front cover, the tracklist remains unchanged; an unusual move for anniversary editions indeed, though perhaps the observation should be made that the sheer stylistic variety Kendrick offered us back in 2015 should keep us grateful well into the 21st Century. Besides, who'd want to tamper with the tracklist of a 10/10 record? They sure know how to keep the purists happy. From the explosive urgency of 'The Blacker the Berry' to the introspective poetry of 'u' and the cultural rallying cry of 'Alright', Lamar's vision remains as urgent and layered as ever.
Review: There is so much killer hip-hop out there right now it is a real delight. It is fair to say that much of it is of an old school bent - boom bap drums and silky soul flurries, but that doesn't make it any less essential. Coming back for a third album here is legendary beat maker and MC Large Pro aka The Large Professor. His highly anticipated long player is rich in signature sounds that can be sung to, danced to or skated to. All 10 cuts are gold standard bangers and take in highlights such as the young energy of 'Let It Fly' to the more sleazy ghetto sounds of 'Rooftop Love.'
Review: The Alchemist and Larry June say they 'followed what felt natural' when writing this one and the results are organic and absorbing. This is the CD version of the pair's new album which finds them combine forces for this smoother than silk outing on Empire that brings the best out of both. The Alchemist is a veteran producer who has worked with a who's who of hip-hop over the years, and June is a Bay Area rapper with a real touch of class to his work. He can rap about anything from gourmet food to art, teaching people how to hustle, or whatever else.
Review: Noa Lauryn is a soulful r&b artist known for her honest lyrics and feel-good energy. She crafts neo-soul influenced by Jazmine Sullivan, Anderson .Paak and Mahalia and blends acoustic and electronic sounds backed by her jazz and hip-hop-rooted band, The Incredibles. Coin Collection is a wonderful window into her sound that will appeal to fans of the likes of Fatima and D'Angelo. It has lush drums and whimsical chords with romantic melodies and super smooth, emotive vocals from Lauryn. Some cuts ride raw like 'Bubble' while 'Head On (feat Josimar Gomes)' are deep, empowering grooves.
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