(Seeds Of Babylon)

To call her a staple in not only the female division but all of hip hop at this point would be a grave understatement. Her contributions to the culture, her critically acclaimed discography, and her quality have made her a staple in ‘Greatest Of All Time’ conversations, and now she’s back to once again add to her ever-growing lore.

This is the latest collaboration album between Che Noir and producer Superior. This project features 10 tracks with 22 minutes of run time and features the likes of 

-Jynx716

-ICECOLDBISHOP

Starting with the production, this thing feels cinematic in every sense of the word. From that opening majestic intro, this thing feels theatrical, like a movie orchestra converted into audio-only form. 

It’s even hard to describe the specific genres and inspirations for the production because it just sounds too ‘out of this world’ to try describing. It feels like Superior unlocked the secrets of the ancient world and their way of soundscapes and brought them back to the present day to create this ‘messiah’-like atmosphere in the instrumentals, technique, and vibe of the record. I am seriously impressed with how this was handled, and it suits perfectly for someone like Noir to leave her mark on! 

Speaking of the woman of the hour, as per usual, Che has unwavering and genuine integrity and honesty with her verses as she’s always had. She’s always been unafraid to talk about the most controversial, honest, or pressing matters on her mind with no censor, and this record is no different.

She’s using her rare gift as an MC and her amazing lyricism to speak her mind and push even further her own talented and skilled abilities to even greater levels (which I didn’t think was possible), but she found a way.

Also, I loved the interlude that Superior added where the legendary MC/Poet KA had the speech about Hip Hop being an art form and went into great detail comparing the two and sharing his gripes about certain artists and their techniques and styles. It just gave the record an extra level of depth that I didn’t think could happen with the way the production was hitting on, but it’s a track that will stick with you and really make you think!

Overall, another fantastic display by both these artists! Che and Superior. I couldn’t ask for a better duo, and when you add the two dope features, this is as perfect as a project as you can ask for!  

https://open.spotify.com/album/0qlXElEznuupZKty13xSUl?si=HynGIjI4QSaSHtUEsR7tHQ

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(The Ghost Orchid)

I’m calling it right now, this is ‘Album Of The Year’ as things stand. Before going into this project and seeing the names involved, I knew it was going to be good, but I was definitely not expecting this holy shit.

So, this is the latest project by previous collaborators Vega7 The Ronin and Machacha. The last time we heard Vega was on his project with Ferris Blusa ‘Both Hands Wash The Face’ in 2024, and Machacha was last seen on March 14th of this year on the latest Waterr project ‘ALMIGHTY II’.

These two are back with 12 tracks and a variety of features such as: 

-Trepac

-Nikolaj Grandjean 

-DJ Grazzhoppa

-Andrè Desaint 

-Shottie

-Jamil Honesty 

-Paddy Duke

-Book$

Now Machacha has already shown off his mastery with about 4 albums already this year, and with each new project, he’s evolving faster and faster. For this one, unlike his more slowed-down and tranquil type beats on this other Vega project ‘The Lead Lined Wall’, on this one, you can definitely hear a more cinematic and theatrical influence in atmosphere, aura, and vibe.

Whether it be tracks infused with guitar notes like on ‘Hokage Mountain’ or his more raw boom Bap flavoured track ‘Quoth The Raven’ or even the track ‘K.R.E.A.M’ which features these ominous and grim keys played in succession over this skeletal instrumental in the background.

The point is, on this one, Machacha is showcasing once again his incredible diversity and range in producing different sounds and themes to cultivate the best possible soundscape for Vega7 and fellow associates!

Now, onto Vega7. As someone who has listened to his 2024 project and gone through his past discography, I can say with certainty that he chose VIOLENCE on this album, and my god does he go OFF on this project! I have not heard him so vicious, ruthless, and determined on an album before. After listening to his album with Ferris Blusa, I couldn’t think he had another gear to unlock, but believe me, my jaw dropped (and hasn’t come back up) since hearing this album and finding out he does.

Every single track he outdoes himself with his ridiculous flow, genius wordplay, and god-level penmanship that most in this game could only dream of having.

To hear Vega7 on a normal day is crazy enough, but to hear him on a studio warpath is something no one could replicate and should fear anyone in the underground ever making the mistake of overlooking him!

Overall, as much as this phrase is used quite loosely these days, I definitely mean it when I say this blew me away! Everything from the production to the features to the performance by Vega7— it’s all absolutely perfect! 

https://open.spotify.com/album/7pmuOuUlAuG1pJODt1zqRO?si=7hF-4VQASuKSCF_B8v0MsQ

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(ALL LOVE UNTIL IT’S NOT)

If a day comes by where I’m not excited to cover a Circa97 project, then that will be the day I retire as a journalist. But as long as I have my wits with me, let’s talk about the new project!

This is the latest collaboration project by legendary producer Circa97 and dope upcoming underground sensation Jalen Frazier, and together they come with 7 new tracks with 21 minutes of music!

Across this project, the features are only DJ Heavy and Reek Osama, both giants in the rap shit and both bring tons to the aura of the record! Circa on this project brings his trademark ice-cold, raw, and crisp production, featuring gritty tunes and infectious loops. 

At this point in his career, I feel he’s mastered the formula of ‘Underground Raw Boom Bap’ and just keeps evolving with every project he releases. 

I love his use of distorted soul loop samples, the way he slows them down, distorts the voice, and adds them to a skeletal Boom beat, making the track that much more satisfying, and there are quite a few tracks on here that feature that style, and I love it.

Also, I love the fact that Circa made sure that 99% of this album that Jalen worked solo on to prove to the world his abilities as an MC, and once again, that technique paid off perfectly.

Now, speaking of the man of the hour, Jalen Frazier, the man I only discovered as of this album but one I can safely say has impressed me to the point of guaranteeing keeping him on my watch list for future releases regardless of who he works with!

He has a certain aggression to his tone, a sense of danger, lethal wordplay, infectious flow, and precision with his penmanship. 

I feel it was the best move having him not only prove himself solo across the album but on the one track he does have to stand alongside someone, it’s the underground titan himself, ‘Reek Osama,’ definitely a man who will out-rap you into the ground if you’re not prepared to stand your own on the mic, but once again, Jalen surprised me by keeping his own and rapping just as well as Osama and making for a dope duo track!

All in all, Circa97 with another AOTY contender for 2025, and Jalen makes a well-deserved impact in the game!

https://open.spotify.com/album/7kxKc2sb8Ubxv0nxGOT61w?si=RTPFeeKvT3WKo2f8Pyia2Q

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(TO SPITE THE FACE)

What an exciting day, a brand-new SOO DO KOO project! This man is a real threat; he has the capacity to write, perform, and produce all his own music, and I could count on my one hand those that can do the same.

So, this new project is 12 tracks long. Now, right off the bat, from the first song, you can hear his masterful instrumentation and production. I can’t believe he’s only 27. He’s 4 years younger than me, and he’s producing fire like this.

From the previous 2 projects I’ve heard of his, I’ve learnt one thing: he’s a creative genius. Everything he does comes with a level of controlled chaos, originality, and precision. 

Also, regardless of the sound, inspiration, or genre used for the various beats, he has the ability to make everything sound ‘theatrical’ and ‘cinematic,’ which I find absolutely amazing.

Sure, some tracks across albums can come across that way, but to have every track sound that way is unreal; his level of fluency, masterful technique, and attention to detail makes this project just like his other two I heard him produce— a must-listen for all Hip Hop Heads.

Now, onto his rapping. Of course, since he made the beats, he’d create instrumentals he felt most comfortable with, and you can hear it. He’s relaxed, smooth, crisp, and confident with his bars. He has impeccable flow that feels naturally gliding across the production; his wordplay is intelligent and introspective, and his penmanship is severely underrated across the underground landscape.

Sometimes the best presents are the ones you didn’t know you were getting, and this one was a gift and a half! Soo Do Koo shows us once again why he’s not only one of the most underrated artists out but why he’s one that shouldn’t be taken lightly!

Shoutout to Lee Faulkner for the drums on Celebrity death match

https://soodokoo.bandcamp.com/album/to-spite-the-face

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(Red)

Who’s ready for the latest album by ‘Matricide’? I know I am and have been for a while! But it’s finally dropped 7 crushing tracks with over 30 minutes of run time, so let’s talk about it!

So, this is a band I’ve had contact with a while back, and as someone who has been aware of their music for some time, I had an idea of what I might expect going into this, but even so, this thing kicked my ass as I’m sure it will yours because in all elements, whether you’re talking about the 

-Heaviness

-Instrumentation

-Tempo

-Technique 

All of it goes to an 11/10 on this one! From the vicious vocal performances that slide into infectious clean notes from time to time on certain tracks. Or whether you’re talking about the malicious drum patterns and how you can hear each time the drumstick hits the drums as it echoes through your ears and into your soul as you, the listener, try to understand what’s happening!

Or if you’re talking about those guitars! Someone better call Master Splinter because I think we’ve found Shredder! He’s taking form in these boys’ guitars, absolutely wrecking shop combined with the technically and skill of professionals, and you have some of the toughest guitar strings you’ll ever hear all year!

As far as a favourite track goes for me, it would have to be ‘Obey’ due to its cinematic opening chords that bring a level of ‘theatrical’ to the album and more specifically the track, but that soon evolves into this thudding, methodical Metal madness of intricate guitar work and killer drums with, of course, absolutely gruesome vocal work! Of course, the whole album is great, but this is the song that really stood out to me!

Overall, 7 Monster tracks that could rival any Metal release that comes out this year, guaranteed! 

https://open.spotify.com/album/13DmmoQkhw0n3uX5J4YujF?si=A-8njDh1QXKPOXslXsQHmA

(Donation link)

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(On My Block)

Once again, Snotty is back in full force and with his usual partner in crime, GoodPhella, on the beat, and you’ve got a recipe for another banger. Let’s get to it!

This time around, Good comes with a mellow, piano-key-heavy instrumental over some glossy, ambient sounds in the background. This is probably the most skeletal and stripped-back beat I’ve heard from GoodPhella and especially one I’ve heard Snotty rap on! 

On this one, we hear Snotty more calm, composed, and collected than ever. This feels more like an introspective ‘speaking out loud’ moment for him. Compared to normal bars from pen to mic, this feels more like 3 a.m. thoughts come to life in recording. 

His flow is a bit slower than normal, his tone more serious, and his lyricism feels heavier and more reminiscent than usual. I feel like on the upcoming album, this will be the Eminem ‘The Way I Am’ portion of the record. Just bearing his soul and feelings at the current time, and although it isn’t as raw or grimey or as hard-hitting as we’ve seen, he can be, I do like that he feels free to explore more options for himself and try new things in the studio!

So, in conclusion. Definitely a dope track as per usual by this collaboration but more reflective than anything, and who knows, maybe we will hear more of this side from him coming or maybe this was a once-off track, but regardless of the outcome, Snotty remains as one of the strongest lyricists in the game, and GoodPhella, one of the strongest producers out! Together, they can’t miss!

https://youtu.be/IhYVTU2K6i4?si=uHqqk9H6UqESVuA4

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(Dr Eams)

Sometimes, it can get very easy to lose oneself in the tidal wave of Hip Hop. Every artist aiming to make the same sound, the same variation of their favourite artists or what’s trending in society at the time, but it takes a real artist to step outside of the water and make something original, different, and personal. And on that note, allow me to introduce you to Casket D. (Dr Eams)

This is the latest offering from the rapper with 12 tracks and 33 minutes in length. 

This thing is heavy in lyricism. The first words on the first official track are ‘Shit, I just buried my grandmother,’ which, as someone who lost my last one in 2017 and still hasn’t gotten over it, that line got to me.

Across this project, it seems he’s regularly talking to this ‘Dr Eams,’ a psychologist, I’d assume, and Casket talks to himself about his personal feelings and experiences.

Across this project, he definitely bares his soul on the record and leaves nothing to the imagination. Of course, there are moments where we see him talk about his ego and bragging rapper side, but for the majority, we are just hearing a man who’s in pain and suffering. 

His skills as an MC are evident with his flow on point, his penmanship at an author level, and his wordplay shines from track to track.

The production side of things is definitely unique as it provides a slow, eerie, and somber atmosphere to match the equally intense and often tragic verses. If the readers need a quick example to picture what I’m talking about, it’s similar in aesthetic to that Jay-Z song ‘4:44’ off the same album.

With that haunting female vocal loop that’s exactly the same style of production you can expect on this one with its various levels of intimate and crushing sounds that is sure to make you remember about your own personal tragedies as it has for Casket.

Overall, although this can be a tough listen in some areas, the conceptually of it all, the skills on the mic, the production, it all makes for a unique listening experience that I know I’ll be remembering for years to come!

Production by Bailey Daniel! 

https://open.spotify.com/album/3ac5UpXZj6cHc9mcCOZY4F?si=mK2N9fFeRSGRgF7nt8fiTQ

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(Carry Out On Shaw)

The one thing I noticed while listening to this record was how rare it is to get hip hop featuring neo soul/R&B vocals for samples anymore. Back in the day, it was on every artist’s album, but now you barely hear it! But that aside, let’s get into it!

This is the 2024 release by rapper Shaw Calhoune featuring 12 songs with a 29-minute run time.

Now, it’s clear from the beginning track that this album runs like a street thriller movie with cinematic back-and-forth conversations, arguments between characters, even what sounds like a phone call between two people. This album features, in between the songs themselves, a storied narrative that tells a bigger story if you listen closely and provides the listener with a conceptual experience you definitely don’t get these days in the hip-hop scene.

As far as the production goes, you get a mix of various influences such as:

-Soul

-East Coast Hip Hop

– R&B

– Funk, and more. This album feels like one of those stand-out records from the late 90s or 2000s in quality. Honestly, the one album that came to my head was Snoop Dogg’s (R&G) album in how it’s rich in sounds, samples, and atmosphere. 

I love (as stated at the start) many of the sung choruses because they just represent a lost time when that was the norm. Case in point, Snoop Dogg (R&G) with songs like ‘Sign’ or ‘Perfect,’ and now with this one, we get to hear inspiration and reminisce to a time that once was, and I fucking love it. 

Something that also impressed me was the level of depth and detail in the lyricism of Shaw. He rhymes like a man with 30-40 years of experience in the game. His wordplay is precise, his flow is exceptional, and his penmanship is next level. Across each track, you can hear his confidence and passionate energy. He knows he’s the man, and he’s here to let you all know it!

If I had to pick a personal favourite track of mine off this album, it would have to be ‘Hazard To The City’. I love how he utilises that glossy/smooth production, and that chorus towards the end of the song is so heartwarming it’s something you could listen to for hours and never get sick of!

Across this project, he does rhyme alongside names such as:

-DJ Skruff

-JST PRAH

– Pink I

-Barry Marz

-Goldie The Natural

-Ty Law

-Cynical Minded

-Sandy Me’Chelle

And not only does he maintain his own on these tracks but also helps synchronise alongside them and make for compelling feature tracks that don’t take away from the album as a whole but rather elevate it to a new level thanks to them!

Overall, a very well-written, well-produced album with quality features and concepts alike. 

Shoutout to the production credits!

-Chillon Daviz

-Third Eye

-Magnus Andretti

-Brooks Xy

-Ajk

-Ahj Adam’s

-no pulp

-Benji Socrates

https://open.spotify.com/album/2ZOI3kThFRwdNx0LpsW46m?si=c2pDGIJjTV6oJ_5bn128KA

(Donation link)

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(WAGYU BRISKET)

I’ll be honest with you all. I would have loved this album regardless due to the album title. Wagyu brisket sounds absolutely delicious, and so for manipulating my fat ass appetite, this shit I just know is gonna bang! Let’s get to it!

So, this latest Illpo record features the duo of ‘Jermaine Brown X Damon Blanchard,’ who come together alongside producer ‘Kev Kaous.’ Together with 10 dope tracks running 29 minutes.

The production on this project by Kev has this level of serenity meets introspective beats sprinkled with a dash of Art Rap and Lo Fi, and you get this masterfully crafted project.

Each track has its own use of sample and loop track that stands out from the other 9. 

What I love about this album is that it still sounds raw and non-polished to the point of losing all its appeal and characteristics but instead keeps its authentic aura, which comes rough around the edges, and it’s those edges that bring out the most flavour in albums!

My favourite beat on this one has to be ‘Cheers’ due to that intro voice sample which sounds like a ‘Beatles’ a cappella, but I could be wrong. Either way, that’s a fantastic way to start a song! 

The duo of Illpo is well documented at this point. They’ve been doing it for years, and to maintain such a bond and chemistry on an album can’t be easy, and they pull it off perfectly.

They both have exquisite flow, pen work is next level, and their studio cadence has them sound like preachers. When they speak, we all listen, and the level of presence combined with this beautifully crafted production and you get a match made in heaven.

My favourite track from a rapping standpoint has to be ‘Brisket Talk.’ I love their energy on that track paired with those Spanish guitars and thudding base tones, and they both bring that lethal dose of lyricism and penmanship. Plus a very unique chorus! 

Overall, a fantastic trio effort. Not a bad song in sight, and every beat absolutely slapped! Definitely a standout for 2025!

https://open.spotify.com/album/3A9buZriBcsun2GasL6iVm?si=3gGb5_JjTbqlu8Gx-ovP_A

(Donation link)

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(OTHERWISE A BLUR)

It’s always a solid day when I get to listen to and experience a new August Fanon project, and this time around his rapper of choice is Blackchai, a man who I haven’t had the opportunity to try out until now, so why wait? Let’s get into it!

This new collaboration project has 11 new tracks with 32 minutes. The features include: 

-98Spreem

-Noah

-YONNAS

-S!lence

And across this project, even though I don’t think it was possible, we unlocked a NEW production style by August. This time around, he’s accessed a classical 1900’s Beethoven feel to it with these beyond-theatrics cuts like on songs ‘SPARKING! ZERO’ and ‘CHANBARA STYLE’, which features different versions of it, but both feature cinematic, noir-style elements and instrumentations. 

The latter sounds like a 1930’s Spy Thriller soundtrack with its long and mysterious notes played with those low bass notes in the background, and the first example sounds exactly like a score from the early 1900’s cut right from an orchestral performance from our great Father’s Day! 

That’s just two examples of this versatile and powerful production by August, the legend. If those two descriptions don’t entice you to check out this masterpiece, then you ain’t in the right place because trust me, this one has production I can guarantee you haven’t heard anywhere else!

Now, onto the newcomer for me, Blackchai. I wasn’t sure what I was going to expect going into this, but I can honestly say he blew me away! He has one of the strongest lyricisms I’ve seen lately. He reminds me of JID in his fluency, his impressive flow, and wordplay, how on some tracks he can go for two minutes straight and not stop! He’s really an MC to be worried about, and across this album featuring the godly score by Fanon, he’s given the rarest of soundscapes to go off on, and he definitely doesn’t take it for granted.

Take the track ‘WU TANG WOOLA BLUNTS’, which has another orchestral/classical vibe to it, and then across this cinematic scene we have this man Blackchai going non-stop for a straight one minute forty! He’s a beast, and his breath control is second to none!

This could very well be my favourite August collaboration album yet. The production is original and thrilling, the verses are explosive and immaculately done, and together they make a project that will surely stand out in the modern day! 

https://open.spotify.com/album/2s1LZz92XlVEbxGPD2gL8o?si=T5KCoUx7RHaSTmqIGb9Myg

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