(Art Of War)

You know, I still remember back when I did my first quarter ‘Serpent Tongue Award Ceremony’ back before I decided to make it a monthly event due to the traffic I was getting.

In that first quarter, a comment that stuck with me was this man’s as he said something along the lines of ‘Damn, I’m going to have to do a lot more to make it to the second quarter.’ I remember reading that and thinking and hoping that he does meet that goal head-on and I can safely say (as it’s nearing close to what would be the second quarter) he has upped his game further and further! Couldn’t be more proud of his progression and so here we go!

This is the latest album by MC Artwork Kennedy. This man in 2025 alone has dropped some of the most interesting and original records such as:

-Need Money For Porsche 

-Auto Trigger

-Best Case Scenario 

And now he’s back yet again with this one which features production from the man himself! 

And features from the likes of: 

-Tha God Fahim

-Maze Overlay

-Jacob Matthew

-FlyG

-Villa Velli

-Jimmibones4president 

And across this 11-track, 34-minute project we get to hear yet another side of this man we haven’t seen yet. I’d call this album Artwork’s (Sho Gun) Era. 

What I mean by that is that he’s focused all his production efforts on creating a novelty, noble, grand and beautifully antiquated characterisation of elements such as: 

-Pride

-Discipline

-Training

-Work Ethic 

-The Sonic Art Of War and by using various samples and snippets of these lessons being taught or displayed to the audience it really captures that (Sho Gun) old-time Japan era of time where the instrumentation was equal parts divine and sturdy. Both gracious and feared, dominant and wise. 

Everyone’s seen a black-and-white Samurai movie where it’s shown the wise elder sitting beside a bamboo fountain that provides the endless stream of water and ambiance while talking to the young (eventual main character) pupil.

This is the vibe this album gives off, but in hip hop fusion. Of course, throughout the album, there are elements of rap and actual beats and instrumentals, but I found myself taken aback by the atmosphere created on this record that, in my passing memories after the album was finished, I would find myself reminiscing on the ambience over the hip hop side.

Take that how you will, but this is probably Artwork’s most introspective album to date from the production standpoint alone!

As elegant and beautiful as the production genuinely is, Artwork has defined to go all out on not only his own verses but with the association of names I truly believe suit him perfectly. Whether that be long-time friend and collaborator legendary Maze Overlay. 

Or if we are talking about the notorious Tha God Fahim. Or my most exciting feature to find in the ever-so-paced and consistent Here$ Johnny!  A pairing I knew would be fire the moment I saw the names on the song. Regardless, each track brings with it its own personality, drive, character, and flavour.

What’s also important for me on this album is the fact that there are five out of the eleven tracks that don’t feature anyone else! Which is proof that Artwork does value his own skills as an MC and the strength he can build and create on his own! Such an important quality I feel too many are throwing out the window or letting get blunt and replacing with overloads of features.

Of course, as a listener, features can be extremely exciting. Just as I was when reading the names on this list. But it’s done tastefully and with room for Artwork to breathe and improve ON HIS OWN, and the hard truth is, if you can’t or don’t believe you can hold an EP or album down with mostly your own efforts, then you’re just wasting the space of someone who can.

All in all, this could be his best album yet. From the cinematic production to the fantastic lyricism and handful of features, this thing is one you can’t be missing out on!

https://open.spotify.com/album/5ILZ1OvRsGRzDmQHB2MuNU?si=c6U_nNHGQYWdX3yD7j7JfA

(Dick Fosbury)

Man, I gotta be honest, this single got me HYPE! Very few times do I play a track for the first time and fall in love with it, but this is definitely one of those rare times, so let’s fucking talk about it!

This is the latest single by MC Noah-O and Producer ohbliv, and this is 2 minutes and 20 seconds of some of the toughest, infectious songs I’ve heard all year!

Starting off with that masterpiece of a beat! What makes it so special is that it’s so simple and skeletal yet so immersive and captivating in its simplicity!

What you have here is an instrumental with a heavy bass line and pattern of 1,2/1,2,3 drum beat with a splash at the end. I know that doesn’t sound like much on paper, but trust me, the way it hypnotises the listener and puts them in a trance-like state is unbelievable!

The best comparison I can think of is the WestSide Gunn track ‘Sensational Sherri,’ how it consists of heavy thuds and methodically placed piano keys and drums. This beat is in the same lane; they use the ‘less is more’ practice, and it comes off absolutely phenomenally! 

Nothing worse than listening to a song with a thousand different instruments and sounds in it, where it all sounds mashed up and disappointingly messy. Thankfully, ohbliv knows better and gives the fans and the culture a fantastic instrumental that will be stuck in people’s heads for time to come!

Now, onto Noah-O, the one who puts the O in ‘Orbital’ because that’s exactly where that track is going thanks to his dominance on the mic!

What sets him apart from the rest is his enthusiastic performance, his lethal and sharpened lyricism, and his smooth flow! I wouldn’t be surprised if he was rapping this alongside a dictionary or thesaurus in his hand with the amount of vocabulary flexing he’s doing on the beat!

While the production might be skeletal, his wordplay definitely isn’t! He doesn’t even take time to breathe, just bar after bar after fucking bar, and he doesn’t stop till the end!

I love the swagger he brings to the track as well, the way he manipulates the beat and makes sure every single letter is landing exactly where it’s supposed to! He’s got that natural rhythm combined with that rough and rugged tone and studio cadence that makes his verses land that extra bit harder!

I absolutely love this combination! It’s sharp, memorable, and infectious! This could definitely be listed as a single of the year! 

https://open.spotify.com/album/1FXX1AwrpAZsICmTBp5z17?si=9Z6wctvPStSGVJcwS25LGg

(Horrithmetik)

It’s barely been a week since his last EP and he’s already back! With such a positive reaction to this latest one, I was sure this one wouldn’t disappoint either, and it turns out I was right! Let’s talk about it!

So this is the latest collaboration project between Hank Dope and Outti. Outti was on the last one in a few tracks, but now he’s on the whole album! And together they drop five tracks and a brief ten-minute length, but believe you me, don’t judge the length with these guys because what they do in ten is more than most do in a full length!

So, let’s talk about the production. Similar to the previous project, this one is raw, muddy, and gritty. If I had to point out one major difference, it would be that this project feels a lot more grounded and ruthless than the other. 

Deity Dope had a lot more orchestral, beautiful, and theatrical cuts of instrumentation and sounds, while on this one, they’ve replaced those elements with the most skeletal and relentless beats, mixes, and production that you can ask for. This sounds like real and in-your-face boom Bap swamp music that’s only for the criminals and overlords!

You can hear it in the deep bass, in those chilling string progressions, and those simplistic yet absolutely sharp and deadly rhythms and soundscapes that you can tell his one was made for no other reason than to tune in, bump your head and neck, and leave. There’s no nonsense to be found with this record. It’s ten minutes of the purest form of aggression you’ll likely hear all year, and just when you thought Hank couldn’t evolve further in the mud, he shows up clayface in this bitch and leaves a trail of bodies in his way!

As far as the MC work goes. You should know by now that Hank and Outti don’t miss. They share one mind and have perfect, fluent synchronicity when it comes to the bars and lyricism! They are partnered in crime, their mics are the weapons, and they’re here to rob the underground blind! 

They both bring equal levels of intensity, overlord aura and vibe, as well as sharp pen game that can feel like the street dictionary is being thrown at the beat with how many puns, wordplay and delivery are across this project. They don’t waste a single second or breathe, making sure each part of the beat is covered with their above-average skills that put everyone on notice!

Once again, they hit this one out of the park! Short, direct and absolutely monstrous! Make sure you check and support this shit right here!

https://open.spotify.com/album/1DmdL2LCaAgUYTocD17KqY?si=Wcbr_t8QSgmG-JbjyVaHgQ

(BALASHI)

Man, I will forever be grateful to discover all the new artists that I am. Today is one of those days, and I get the opportunity to discover two! So let’s get to it!

This is the latest collaboration project between MC/Producer Ice Fang and fellow MC Pinto. Together, they dropped five new tracks with thirteen minutes of content.

Now, right off the bat, if we are talking about production, this thing generates a fun, experimental wave that most albums (full-length or otherwise) haven’t locked in on in quite some time. There was a line in the second track that I feel summed up the aura of this album quite perfectly: ‘Man, these raps need less anger and more virtue.’

That right there says it all. Even with the production, instead of trying to sound ‘Street’ or ‘Gangsta’ or ‘Gritty/Grimy,’ these two have set it upon themselves to create a piece of art that’s unique, original, and just outright fun and memorable. 

There’s a lot of experimentation I hear on this record. Going back to that second track with that electronic-inspired beat with the multiple copy and pasting of the voice snippets to sound like techno glitches across this traditional hip-hop beat pattern made for one of my favourite beats of the year.

Or you can even look at the track ‘To Die,’ which features that hypnotic piano keys looping in the background with that subtle drum sound going off just out of the foreground that’s topped up with that oddly pitched vocal snippet that repeats over and over. 

See, this is the kind of creative sonic adventure most artists are too bland or too scared to take. These boys are running so far away from the box that it’s not even visible anymore! They are trying techniques and plays that set them apart from the rest of the game!

Honestly, the only album I could think of to try and compare this to would be the collaboration album between Danny Brown and JPEGMAFIA, ‘SCARING THE HOES’. How, in the same breath, they focused on creativity and creating their own lane, then following the others, so because of that, I give them all the respect in the world! 

Now. Onto the MC work itself. As I mentioned above, these two men are rappers, and they have crafted some of the best chemistry I’ve heard this year! 

You can tell there’s organic and natural synchronicity among these two. They are both on the same wavelength, both have incredible energy, passion, and enthusiasm for the bars they are spitting, and both utilise the English language so well with how intricate they are with their pen game, lyricism, and wordplay!

There’s never a moment on this album where either of them feels awkward or lost on a track, a moment of overshadowing or hesitation by either man involved. Just pure, unadulterated alliance between the two to put out the best and most lethal bars/verses that they can, and I fucking love that!

Nothing worse than listening to a duo who don’t have the same aura or vibe. The strength of a collaboration can and does make or break a record. That’s why it’s so important for rappers or producers, whoever you are, to choose someone who you can actually link with mind, body, and soul. In this scenario, this is a showcase of that mentality gone 100% correct!

Overall. A fucking incredible collaboration! The production is refreshing and memorable, and the lyricism is thought-provoking, raw, and well executed! Can’t wait to see what they do next! 

https://open.spotify.com/album/00dEF4mNwtKunzWGeYjDPr?si=jiWErzrxRc-H_hEM4jhbsQ

(She Called Me Scum)

Well, I had no idea what to expect from this track, but it definitely wasn’t this. This is an artist I first discovered yesterday, as he produced a track for FAWKEM, and now he’s showcasing his own stuff, and so let’s talk about it!

This is the brand-new single by rapper, producer .Tetsuo, and on the track, it’s 3 minutes and 41 seconds, and believe it or not, it actually samples a fucking Christmas song. 

I didn’t even think this could be possible until today, but for real, this whole song (beat and all) is just a classical piece that sounds like a 1980s Christmas song with those luscious, dreamy horns and beautiful keys and all, but played on loop with the male vocal snippet on loop. There’s no actual hip-hop element to the instrumental; it’s literally just a sample on loop, which is fucking impressive.

This is some West Side Gunn-level engineering. But ironically, the one song this reminds me of is the Kanye and Kid Cudi track ‘4th Dimension,’ how that track begins with that old-school tune but then evolves into that experimental rap beat.

The difference there is that it actually does evolve into a hip-hop beat. This one just remains a loop, kind of like WSG’s song ‘RIP Bergdorf,’ how it’s nothing but a sample loop.

Regardless of that incredibly unique production, we have the man himself who raps his ass off over this beat. He has a very fast and chaotic style to his verses. It kind of reminds me of an early Tyler, the Creator in its messy yet unpredictable way of rapping (imagine Bastard/Goblin Era Tyler but sped up). 

There’s no pause in his rhythm or wordplay across this song. It’s all just fast-paced, fluent, and lethal pen game.

I will say I wish there was some sort of structure between the words. Instead of being one big, long verse, I feel this cut up into one or two verses and slowed down so that the audience can hear his lyrics more clearly. Plus, I feel it would benefit that gorgeous production more to have a more methodical pacing. But that’s just me; maybe my brain is just too slow to catch the words, but besides that fact, it’s a dope track regardless!

Yeah, in conclusion. Although I would have preferred a bit more ‘slower’ rendering of the vocal performances, the actual rapping was dope and so was the production, so that shouldn’t detour anyone from checking this one out! 

(FAWKEM SIDE A)

After reviewing a couple of singles by this man, you can bet your ass I was beyond excited to finally review a full project by him. Considering he’s one of the most unique and original MC’s I’ve discovered lately and how hard his singles went, I just knew a record by him would go hard! So let’s talk about it!

So, this is the debut album by MC FAWKEM. Including six tracks and one feature with ‘JACK2UN’, and let me say this right off the bat, I fucking loved this album.

Immediately as the album started, I fell in love with that production, and the further the album went, the more my feelings grew stronger! The soundscape and beautiful atmosphere of this record are almost too much to describe. We are talking elements of: 

-Jazz

-Ambient 

-Soul

-Classical

-Swing

These kinds of sounds I was not expecting when I first played the record. Considering I’ve heard him on some of the most emotionally driven and infectious trap beats I’ve ever heard, I was assuming his debut would follow the same energy, but instead, he’s embracing the opposite. These instrumentals are soft, delicate, intricate, gorgeous, and satisfying to the highest degree.

Each song has its own methodically placed, surreal, breathtaking production that features elegant strings, grand keys, and angelic melodies that just put your mind, heart, and soul at ease as your ears are focused on nothing else but the beauty that is the sounds of this album. The only

album that really comes to mind ‘Production-wise’ is Knxwledge X Anderson Paak ‘NxWorries’, although not sexual in lyricism, but the same style of awe-inspiring instrumentation with that larger-than-life feel to it!

I can honestly say, although only six tracks, what he does with these handful of songs is more than 90% of what the game can do with a big-budget 20-track project. Because it feels organic and naturally produced. It feels down-to-earth and authentic in representation, and that’s why this album hits the way it does!

Another main factor of why the album goes hard is because of FAWKEM himself. A man who always seems to surprise me and surpass any expectations I thought I had for him. The way he lays down bars is unlike anyone I’ve heard in a while.

As I stated in previous reviews, he has the ability to change his form at will. Whether that be by hype and energetic or thoughtful and introspective or smooth and collected! He changes his position depending on the track at hand, and that level of performance is something I can guarantee you isn’t normal!

Across this album, he features unbelievable pen game, smooth flow, and intelligent lyricism. There are parts where he talks his game up, and others where he brings up personal moments in his life, such as ‘going hair for a cheeseburger, then half it to eat.’ He has his feet in all possible lanes of lyricism, that again impresses me more than anyone can know!

A lot of people attempt to naturally switch lanes but fail miserably. But that’s never a problem for FAWKEM. Whether he wants to talk street or introspective or personal or talk social commentary, he can do all and do them well! The feature on this album is also fire! He brings a solid chemistry to the album and stands out enough to be memorable!

Overall, as I would have expected. This project was SOLID. Immaculate production and even more so MC work. I highly recommend everyone listen to this work of art! 

https://soundcloud.com/htownwvmo/sets/fawkem-the-album?ref=clipboard&p=i&c=0&si=F8F540E149694BB38B7F572D212B8FD5&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

(URBAN MINDSTATE)

After I reviewed his last single, I can honestly say this man rose straight to the top of the list of artists on my radar! He’s easily one of the most passionate and energetic rappers I’ve heard in the past few years, and this latest single proves that even further! Let’s talk about it!

So, this is the latest single by MC FAWKEM, and this time around, he’s determined to shake the whole world up with this banger! I’ve listened to this track five times in a row already, and I’m going to listen 100 times more because this thing goes HARD!

Let’s talk about the production first. This feels like an explosive combination of gritty, hardcore, OG trap, Southern 2000s Hip Hop! From that heavy bass to those melodic vocal harmonies to those 808 kicks going off!! The combination of these three elements reminds me of Lil Jon and the Eastside Boyz and early Gucci Mane!

It’s raw, ruthless, groovy, infectious, and hard-hitting all in one! I haven’t heard an instrumental as tough as this in a minute! This brings back memories of my teen years when I first discovered this genre in its purest form, and it stacks up just as well as those artists back then!

Now onto the man of the hour. FAWKEM, as he’s notorious for, goes HARD. I love how he can fluctuate between sounding smooth and collected to hyped up and energetic! That back and forth complements this beat, and not only that, something I’ve noticed that he does, which very few artists pull off, is his ‘freelance’ form of rapping.

Pretty much, it sounds more like he’s just thinking out loud and speaking his mind in the booth rather than spitting written-down bars because of how organic, natural, and fluent the flow feels! He doesn’t have a pattern to when or where he drops bars and manipulates the beat to fit him best with his lyricism and pen game, and that’s what makes him unique!

Overall, I’d rank this two minutes and thirty-seven seconds of some of the hardest, most memorable Hip Hop I’ve heard in quite some time! FAWKEM has that unique ability to leave an impression on everyone he’s on the mic with, and I can’t wait to see what more he has in store!

https://soundcloud.com/htownwvmo/urban-mindstate?ref=clipboard&p=i&c=0&si=7E86C1820E144E57B0A16C5646182885&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

LET HIM LIVE (RODNEY HINTON)

You know, whenever extraordinary situations occur in our society, whether that be for the worst or for the better, it’s common for musicians to use their medium to express their emotions and opinions on the matter, and on this occasion, we have a rap song dedicated to the man in question on the title. Let’s talk about it!

So, this latest track by FAWKEM, produced by .Tetsuo, and together they drop what could easily be the most powerful and strongest social statement of the year. 

Starting with that beat, it has what I would consider a somber, heavy-hearted-toned instrumental featuring subtle keys, an emotionally driving female vocal performance on loop that I would compare to the song ‘4:44’ by Jay-Z in the way it makes your soul cry when you hear it. In the same respect, I feel they were going for the same effect, and it’s definitely an intense experience.

Also, that ambient hip-hop beat to be used as the base of this track makes it even more substantial on the listening. 

Also, the way the track starts is also intimate. With the spoken word account of what happened and their thoughts and opinions on the situation. This obviously sets up the mood and the mindset for the track and specifically the lyrics to come.

This is where FAWKEM comes into play. To say he’s speaking passionately on this issue would be a huge understatement. Across this 2-minute track, he’s expressing his bare emotions, rage, honest thoughts, and all. 

This feels less like a written verse and more just anger built up and taken out in the studio over this beat.

He’s extremely expressive, to the point. Brutally truthful about his feelings towards the police and the case itself. Now, from someone who has only seen about this case from the outside in as an Australian, I completely understand the outrage and dangerous morale of the community, as I also believe this situation was a terrible misuse of justice. So, when I hear this man speak his mind on the case and the events in their entirety, it’s easily one of the most driven and truly outspoken tracks of the year!

This is definitely a humbling listen. This track ain’t concerned about radio plays or playing at the clubs or anything like that. This song is about making a statement and letting the world know that what took place was, in fact, beyond wrong, and FAWKEM, along with millions of others around the world, are letting their voices be heard! 

This is a track you cannot afford to ignore! 

https://soundcloud.com/htownwvmo/let-him-live-rodney-hinton?ref=clipboard&p=i&c=0&si=C5293FA5E5674812BFC60E609FA3EF7D&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

(Everything And Nothing)

Now, this album is my kind of speed! Although this is the first time I’ve discovered this man, he fills all the requirements in my personal preference for a solid, fresh, and engaging 43 minutes of content! So let’s get into it!

This is the latest album by MC Huey Briss, and along with ROHO on the production, we have 14 of some of the dopest tracks I’ve heard all year. Also, what I feel makes this album sound different from the rest I’ve previewed is that it’s maintained the lyricism and deep, meaningful verses while also showcasing production and instrumentation that represents the mainstream with its big, bold, and powerful sounds and million-dollar mixing sounds as profound and professional as I’ve heard all year!

When I went through my first run through of this album, the production reminded me of some solid early 2000s West Coast purity. Quality you’d hear from Dr. Dre or even DJ Quik, DJ Battlecat, in the way the instrumentation is crisp, grand, theatrical, and beautiful all in one. 

You can hear the orchestral-level emphasis on the power of the instruments, how they ripple, amplify, and transform throughout the listener’s body and soul with execution so organic and well delivered that it literally has the presence of an elite atmosphere you normally only get with the legends of the game. Absolutely incredible!

As far as the MC work goes, it’s somehow just as incredible as the production! We are talking some of the most heartfelt, smooth, and fluent bars you’ll hear all year. We are talking Common ‘Be’ level smooth.

The way this man spins a narrative or tells a story, his in-depth details, and precise lyricism and rhythm is truly something special to witness. He has a special sense of ‘authenticity’ about him that I don’t feel with most rappers I hear. Along with that, he also showcases aspects of humility, self-confidence, incredible passion, and enthusiasm combined with lethal pen game and strong cadence to match.

When listening to his verses, I couldn’t help but be taken back by his all-round skill and finesse when delivering his bars. Sure, he had his moments of braggadocio, as all MC’s do in the game one time or another, but for the most part, he felt like a humble student, soaking in the game, showing off his experience within it, and being the best MC that can be for himself and for those incredibly made beats!

I’d definitely recommend this album to everyone! Mainstream or otherwise. This is one killer record that will be on my repeat for a while! 

https://open.spotify.com/album/7KuW3MbVl2KGEmT9xVZAyr?si=WmpuW6XESOOCItyvCrFP3w

(The Price Of A Sample: 8)

Talk about a long-lasting series! To have eight editions is a credit in and of itself! And I’d have to guess the longevity is due to the two powerhouse producers bringing this to life! Let’s talk about it!

So, this is the latest beat tape by producers Jazzy Lion Man & Skip The Kid. Both I discovered through different aspects of the culture, but both equally talented in their own right, so when they come together for this 11-track 20-minute phenomenon, you know it’s going to be dope!

Now I can tell right off the bat just how surreal, ambitious, and lucid this album is. Even though it’s a beat tape, they’ve used their own masterful production techniques to make sure every single instrumental is compelling, gratifying, out of this world, and atmospheric at the very least! 

This is the kind of album you can listen to while getting high with good headphones on and just let the world go by while your mind is treated to a sonic experience that would make you mimic lucid dreaming and then some!

Every instrument feels cinematic, theatrical, larger than life, and fascinating in its execution. I love the grand horns, the harmonic keys, and beautifully orchestrated jazz elements! 

In fact, one of my favourite moments of the album is track ‘10 Mil in Coke,’ where we hear this detailed news report about a cocaine drug bust worth 10 million, and then it suddenly breaks into this high-paced jazz instrumentation! At first, that made me laugh at the sudden switch-up, but then the more I re-listened to it, the more it grew on me! Especially since towards the end, we hear Eazy-E talk, which is always a pleasure!

Speaking of, I love the track right after that one, ‘Eazy Jazzy E.’ I love its fluent and drone-like loop with those occasional beeping high-pitched notes to break up the repetition. Very skeletal yet super dope!

Although there’s no rapping to be found and may not be as aggressive as, say, Jazzy Fatu or any tracks featuring Here$ Johnny. This beat tape is definitely original, creative, and worth a listen for its tranquil and beautiful moments! 

https://open.spotify.com/album/4kSol8eEz5uAuuYfxAqCgk?si=VRPj8AoJSgyOYNC3hCJdhQ