(Heatw@ve)

Holy shit, there is so much to unpack here. It’s been so long since I last reviewed anything by this man, but this time around he’s back with a vocabulary vengeance and brought with him one of the most well-respected producers in the underground today! So let’s talk about it!

This is the latest single by MC FlyG, and for this single, he’s brought with him SPCL_CHRCTRS, who is a frequent collaborator at this point, and they prove once again why they are the underground’s dynamic duo! 

I normally start with the production talk, but I have no choice but to talk about the lyricism. There are so many puns, play-on-words, and lines that I literally had to replay, pause, and start the track over and over (and over) to attempt to capture everything! I honestly feel this song was made specifically for me as a challenge to catch it all!

So, THE VERY FIRST SENTENCE we get, ‘It’s getting hot here, Harlem Heat,’ a reference to the WCW tag team featuring Booker T and his brother Stevie Ray.

From there, the lines just keep dropping. Such as: 

‘Apparently, they thought we were one trick ponies /I promise you, Jabroni, we will never hit rock bottom.’

That, by the way, is the very next sentence of the song! That’s already two fire bars in one go! (If this bar has to be explained to you, just go Google the rock.)

As the song continues, so does his incredible performance on the mic! ‘Hand me my bape, sweatshirt, Earl,’ or his lines ‘let me think about the circumstances, I coulda been this handsome without the proper penmanship/but now I got that chip on my shoulder.’

‘I know these bars are a lot to carry, Mariah,’ like, do you see what’s happening in this song? I’ve skipped a lot of other lines and just highlighted the best ones (in my opinion), but there is still so much volume across this 3 minutes and 46 seconds track!

Even the line ‘ I guess what’s meant to be is meant to be/Bad things come in threes/very suspicious/Stevie Wonder.’ 

On this song, FlyG is putting his reputation as a lyricist on the line and showcasing to everyone in the game why he shouldn’t be slept on! Making me even more excited for his upcoming EP/album drop!

Now, finally onto the beat! What we have here with SPCL is the use of a classical vocal choir harmony loop that’s played on repeat across this beat.

Alongside that, we have these luscious bass strings that ever so subtly pluck in the background, giving off that ambient-style ambiance to the track!

We also have these light yet crisp piano keys that can be heard ever so gently brushing through the track, with its jazz-like elements and helping to give this track a hint of ‘groove’ to an otherwise methodical and surreal rhythm of instrumentation and sounds!

All in all, FlyG has never sounded better, and his partner in crime has delivered once again on the killer production to help him sound like a million dollars! Don’t sleep on this track!

https://open.spotify.com/track/6yHTmKLrIUR4y6gZJJDuB5?si=EoB5LvY-T-KdgWiraacJ8w

(Church House)

Question. How many of your producers can say they were in ‘The Source’ Magazine? Well, this guy was! Both artist and beat maker from Saginaw Mi and both came together on this project to unleash their audio secrets and enlighten the culture and the audience alike! Let’s get into it!

What we have here is the latest album by MC Veteran Ray P, collaborating with notorious producer Prophecy, and together they dropped nine tracks and thirty-two minutes of hip-hop bliss!

Starting with the production aspect of the album, I can completely understand now why this man was in ‘The Source’ as ‘The Unsigned Hype’ because this man has that ‘it’ factor that separates the average from the phenomenal! Right from the very first track, you can hear the deep levels of mastery, atmosphere, and cinematic brilliance that these instrumentals hold!

Whether you’re talking about those chipmunk-inspired classical vocal harmonies, the simplistic yet hypnotic drum patterns, and those bass strings that just thud their way into your heart and soul as the listener. Everything I just described was included in the first track, and it only grows more theatrical, technical, and graceful as time passes!

If I had to sum up the album’s essence, I would say it’s a throwback to the golden 90s and early 2000s. The era that delivered us precise and consistent hip-hop beats with soulful and delicate melodies that not only had a hard-hitting presentation but instrumentals so fresh and memorable that they’d stay in the hearts and minds of the listeners decades after its release!

Honestly. This album more than any reminds me of ‘Common: Be’ in its absolutely gorgeous form of production, those sweetly laced vocal harmonies, the loud and clear instrumentation, and the introspective vibes the music itself gives off. 

I honestly feel that this thirty-two-minute project will not only satisfy the hip-hop audience of today’s era but also be remembered for eras to come!

Now onto Ray P. The man who has the mission of utilising this fantastic production and making it his own (which he does with flying colours).

He’s the kind of MC that you can understand just by listening to one song of him, how he is as a person, personality, and character within his performances.

For me, right off the gate with his introduction to us on ‘Come As You Are’, I could hear his self-confidence, his inquisitive mind, and his unwavering enthusiasm for this rap game. 

You can tell by his tone, his methodical pacing! How he’s not rushing to get out his words, instead taking his time to deliver the perfect speech patterns, the most effective use of his wordplay, vocabulary, and lyricism. He’s a real ‘Philmore Greene’ type of MC. 

Someone who comes across as genuine, down to earth, original, and most of all authentic. For whatever reason (whether it’s just me) or not, I can always provide myself with analysis on an artist based on how their music goes. The way they talk, the way they present themselves, and the puns, the vocabulary, and cadence they show on the tracks.

It’s with this insight (natural or otherwise) for me that I could gather how real he really is. How much love and respect he has for the culture and his homage paid to the former era of hip hop. With every song on this album, it felt like a sonic letter being written to his childhood idols in the rap game, and this record is his grand, larger-than-life way of saying ‘thank you, for everything’.

Could I be reading too much into this? Perhaps. But with the aesthetic of the production, the choice of producer, and the way he utilises his flow and rapping style, I truly believe this album, on top of being one of the best albums of the year, is also an audio statement of respect, love, and appreciation for the atmosphere that made him.

You truly can’t go wrong with this album; it’s near perfect. For 32 minutes, it will be the best you’ll hear all year, guaranteed!

https://open.spotify.com/album/0Tc5HdRZ6gyekbq0ZmoMxw?si=sCYxcDgqTqyZPTlXawzNxA

(Maison De Funk Presents: Lifestyles Vol 1)

Man, what a revelation this is. Ever since I started doing this website, I’ve been seeing the ‘Maison De Funk’ label everywhere I went. Whether that be reactions on my post or artists themselves representing it. 

Little did I know that this was a label consisting of some of the most elite and dope producers I’ve ever heard! Not only that, but I found out that out of my over 400+ reviews, one-third or more are Maison-represented! That is so fucking dope to discover, and this new compilation project showcases exactly the reason why the world is buzzing over them, and if you’ve been living under a rock and don’t know, why you should care!

So, this brand-new compilation volume by the label consists of 16 tracks with the likes of 

-Agallah

-Wavy Da Ghawd

-Work Scorsese

-WorldwideCulture 

-Blaq Medici

-Da Grand Hova

And these six producers work with literally everyone important you can think of in the underground. Once you see the tracklist and MC names, you’ll understand what I mean; it’s all the powerhouses of the underground from Penlordz to the Umbrella Collective to Reek Osama, and that’s just a drop in the bucket of the names on here! It’s a spectacle to behold, to say the least.

Across this project that runs just under 50 minutes, you have so many different influences, styles, and abilities by all the producers involved. What Maison has over everyone else is the ‘diversity’; they are the literal definition of ‘one size fits all’ because it doesn’t matter what type of MC you are, what sound you prefer, or rock with; there will be a producer here who can not only meet your needs but has the mastery of technique to adapt and create whatever your heart could dream of.

This volume features songs such as ‘SLOTH’ by Kamron Bahani and SNOTTY, which features such crisp, melodic, and angelic properties to it with those wavy guitar strings and those orchestral piano keys and beautifully composed female vocal arrangements on loop! 

Then you have tracks like ‘The Weather Channel’ featuring Fam Ross and DJ Mello Rasheed, which has a more introspective and acoustic atmosphere attached to it, with those raw vocal snippets and those high-pitched notes playing repetitively as the beat, giving the floor to Fam to absolutely go off on!

But then you have tracks like ‘Dirty Work’ featuring Benny Watts and Pro Dillinger, who absolutely transform the album into their trademark gritty, grimy, and muddy boom Bap adventures, where danger and violence are on every corner, and they are the ones who run the street! 

That instrumental with those eerie piano keys and that skeletal hip-hop pattern makes for the most bare-bone, ‘fuck your feelings’ type of beat you could ask for!

Even the track ‘Spilled Milk’ by Reek Osama, Work Scorsese, and ETO further pushes the point further into that lethal territory with not only the deadly duo of overlords Reek and ETO but the grim mastery provided by Work and how he was able to make that beat consist of those distorted jazz instrumentation with that no-nonsense boom Bap juggernaut beat!

 Each man on this label is a master in their own right. It doesn’t matter to them the theme or narrative of the album they decide to work with because they know they are more than capable of dropping bangers that the culture will be bopping forever to come!

To say these guys are taking over the game is an extreme understatement. This project reveals that quite clearly. They are involved in every aspect of the industry; no matter which corner of it you visit, you’ll find a representative. 

They are here to maintain and preserve the reputation and quality of the underground, and they are doing that one project at a time! 

https://open.spotify.com/playlist/1D6IGFgHVV2DzbLMxHusF3?si=s4vCKhz6QVKYnardTmZojw&pi=8gCGzMOwRQa7Q

(King’s Casino)

This is my first official ‘Dirt House’ records artist review which is pretty exciting. All the hype and attention they are generating across the socials it made me realise it’s something I wanted to be involved with and so here we are! Let’s talk about it!

So, this is the debut full length LP by MC jjackpot AKA Remy Labeau and 

 produced by Manostijeras and together they dropped 7 tracks featuring 

-Rah Scrilla

-Benny Watts

Now right off from the opening track I could tell that this one was special. Within these 7 tracks you can hear how grand and powerful each instrumental was and how crisp, clear cut and smooth the production was. Each track features a beautiful mixture of elegant keys and sharp notes with heavy bass and artistically pleasing strings that all just come together to create a surreal listening experience that elevates the common ‘boom Bap’ album into a sonic work of art.

While listening to this I was just glued into the cinematic score that was this album. The tracks flow so seamlessly and somehow made even more so with the addition of those mini interludes woven inside of the tracks themselves sampling gambling and cartoon tracks which add an extra layer of flavour and creative spark to the record that just makes it more fun to listen to! Honestly I was blown away.

Now onto jjackpot the man with the golden voice. What I appreciate most from this man is that he took that thriving instrumentation and production and made it his own. Contrast to the ‘lively’ nature of the record we have his methodically paced, borderline monotone and lethal sharp verses slice through the beats and leave their marks on the tracks.

He’s utilising the art of ‘patience’ in this album and any artist who doesn’t rush and actually takes their time to let out their bars and verses properly always has a place in my heart as a journalist because that means they actually care about the music itself!

He has that strong willed nature and enthusiasm when rapping on these tracks, his lyricism is elite and his flow is water fluent, always smooth and on point. 

He has the kind of energy and cadence that when he walks into the room people take notice and when he talks the room listens. That’s the vibe I’m getting off this man when I hear him spit!

Of course towards the end of the record we hear him with his two features tearing up the tracks in a way only they can! Fantastic chemistry and overall energetic performance by all involved to help bring the LP to that strong, closing finale!

A fantastic album from front to back and definitely the perfect introduction to Dirt House!

https://open.spotify.com/album/2oT3APSq5K3JuMQMnRoC7f?si=mVptKW9STmiWJOLhqO-7Mg

(OVERDRIVE)

What a fucking appropriate single name. With the producer on deck and the powerhouse names featuring on it, this track could easily be the single of the year! Let’s get into it! 

So, we have notorious beatmaker DJ BLKUOS who absolutely shook the game up a few weeks ago with his incredible record ‘No Rest For The Wicked’, and now he’s back to this time to take over the single department with this almost 5-minute magnum opus that showcases four of the most supreme lyricists we have in the game right now! That being: 

-SOUTHSIDE ICE 

-MILO MAESTRO

-JP CARUZZO 

-CONWAY THE MACHINE

If you don’t recognise those names, then the game doesn’t recognise you as a fan for real because on any given list, these four could be considered among the top tier of rappers we have, and to have them on the same song is absolutely incredible and is guaranteed to be a banger!

Let’s talk about the production. Once again, DJ BLKUOS brings his flair for the cinematic into this track. This song is lined with choir-style female vocal harmonies that angelically loop over the song continuously, providing a powerful and ominous feel.

Combined with that, we have this old-school, mid-2000s East Coast feel track with that heavy bass and drum pattern that just makes you wanna go off! This is the kind of beat that’s perfect for cypher, freestyle, massive collaboration tracks, and the fact he uses this style makes me respect him even more! 

On top of ALL THAT. He decided to add this real groovy and smooth chorus featuring this luscious singing subtlety by none other than DJ BLKUOS himself alongside the MC Milo singing in a duet style. It’s rather fitting for the track at hand and gives the song that small ‘breather’ period between verses! Very smart!

Now, onto the four pillars. The ones that have been putting in work for years building, constructing, and maintaining the game in ways very few others have. Of course, you’d have to be under a rock not to know of Conway, Griselda, and their astounding rise to the top of the industry underground and mainstream! But what makes him so special is that regardless of his level of fame and success, he always keeps his bars consistent, grimy, and cutthroat! This is no exception here! He ended the record with a fucking bang!

As for the other three, they bring equal levels of intensity, raw energy, and muddy atmosphere that complements well with this aura-filled instrumental! I loved the amount of chemistry and synchronicity each man has with each other. This is the level of depth and brotherhood I love to see in the underground that we just never see in the mainstream!

I love when we see so many legendary and talented artists come together under one cause, one banner, and one song and just showcase the very best the scene has to offer in its best qualities! 

This is definitely a song you can’t afford to miss. It’s got the star power, it’s got the immaculate production that would be fit for a king! Let’s all come together and support the undisputed talent of the underground!

https://open.spotify.com/track/50wazfgCxvIX91Zgmo7akO?si=bWWr5jwATE6mXViWD-S3VQ

(Free The World EP)

The deeper I get into this review game, the more I come to realise that it’s often the up-and-coming cats who showcase the biggest heart, and that is exactly what’s happened here! Let’s talk about it!

This is the latest EP by MC ‘Isa lbn Wali’, consisting of five tracks and the following producers: 

-Ruen 

-DJ Pain

-Jon Brown

-YNI

With the feature verse by Billy James. 

So I listened to this project about ten times over because, writing this, I gotta say the production aspect surprised me every time! Starting the project with a beautiful jazz rendition that tells the audience the direction and adventure the record is going to take! 

From there, the rest of the EP does follow an equally melodic, soothing, and sensual ride with more emphasis on the delicate rhythms and production that helps push the narratives of his in-depth lyricism to come!

Although short, you can hear how grand and beautiful the instrumentation is. The notes are powerful, the strings and chords are full of life, sharp, and structured in such a way where you can hear and feel every single individual sound with each song, which I love and proves incredible technique and mastery!

The atmosphere of this record is somber at times and raw overall. There’s a certain level of ‘acoustic’ qualities to this EP, which is telling of the organic and natural overall feel of the project itself. There’s no bullshit over-polished or over-produced synthetic or stock beats, just pure, delicate, and beautiful aesthetic.

Now onto the MC work. Although I’ve never discovered this man before, after hearing this EP, he definitely left an impression on me. To complement these amazing instrumentals, he provides his own layers of introspective and in-depth analysis bars that help you feel like you understand the intentions and mind and the kind of guy that he is!

He’s the type of MC that takes his time; he’s equally methodical in pace and surreal in his execution of his lyricism, tone, and wordplay!

You can hear in his studio cadence and in his aura that he’s a considerate and respectful guy who gives the listeners bars and verses that are designed to be played back and, in order to get the full experience or depth of the puns or one-liners being delivered!

Overall. For such a short under 15-minute project, this thing has so much variety, substance, and emotion that most full-lengths won’t have! Definitely a record that can’t be missed! 

https://open.spotify.com/album/1ZsCgVpwY9lXxAXlRfXjp8?si=J-t9-S2BRU-ETxRH8U2zHA

(ZING-DAYA)

It’s pretty common for me once I become addicted to a certain artist to dive through their discography and see what they were hitting on prior to the most recent and after such a run of ‘LORD OF THE ZINGZ’ and ‘Infinite Wave’, you know I had to go back to find others and that’s when I discovered this gem! Let’s talk about it!

So, this is the 2024 release by FEED THE FAMILY MC Borirock. This album was produced by WHOA1.0 and features seven tracks, a 14-minute run time, and no features!

Right off the fucking bat, as we discuss production, that opening song ‘Freaky Frog’ has just climbed to the top five favourite Borirock tracks of all time. That combination of funky, groovy, and angelic instrumental over Bori’s chaotic energy is absolutely classic. It’s like two sound vibrations that shouldn’t work together but somehow do! Fucking fantastic intro.

From there, the album transitions into his trademark lane of eccentric, grimy, and muddy boom Bap with the usual suspects of grand chords and harmonic strings with those classic piano keys mixed in with that raw and rugged aesthetic.

I think what makes this album so great is that each song is so short that each track feels like an adrenaline shot of music. It’s addictive and stays just long enough for you to stay locked in and invested in the power of the instrumentation and production. 

This style of album is actually perfect for the MC approach of a charismatic powerhouse like Bori, which means within the 14 minutes, there’s never a dull second to be found! 

As far as Bori goes, he sounds as wild, energetic, and charismatic as he’s ever sounded before. He’s come loaded with his trademark adlibs that are loud and brash, which adds that extra dose of hype to the songs! His self-confidence is always at peak high across his albums; you’ll never find him lacking in that area! He’s the fucking man! He knows it and his mission to make sure the rest of the world knows that too!

His unprecedented and unpredictable flow patterns are legendary; his words could land anywhere and everywhere on the song with no reason more than ‘because he wants to’. His notorious high-pitched voice goes berserk over the instrumentals, and whether the song is one minute or ten, he never lets up until the track is done! He has an endless aura, or some might say ‘aninfinite wave’.

He’s without a doubt ‘The Lord Of The Zingz’. Whether he’s ducking ‘Wavy Bullets’ or running out of a ‘HOUSE FIRE’ started by a ‘ZINGCLOPS’, he’ll tell you himself ‘IT AIN’T ABOUT ME’ or about ‘ZING-DAYA’, packed with his ‘BOGEYS & OAKLEYS’ and his ‘ FISHSCALE’. He’s all about the ‘SOCIAL ECONOMICS’, and his words are nothing but ‘HOOT GOSPEL’. 

https://open.spotify.com/album/104ZzTXendadRSoe2XH5ay?si=gg6KQ9ZwTJioTrU_NDgBHg

(WHATSHISFACE)

There’s no reason to lie about it. I’ve never been the biggest fan of Australian rap that sounds like Australian rap. Most Aussie Hip Hop I’ve covered still has that preferred American style accent, which is what I prefer, and I’ve even had promising prospects back when I first started doing reviews almost ten years ago ask me to edit and delete the phrase that I don’t normally listen to Aussie rap, and I didn’t, and that prospect was deleted with it! 

But I reveal all of that above to say this. Although it may not be my cup of tea, this one is definitely different! So let’s talk about it!

This is the return of the MC Flu! The man who has been behind your favourite rappers’ favourite production for the past few years now! Until the release of this project, I didn’t even know he was a rapper before production! Nonetheless, this is his grand return to the mic! This time, the production is DELICASTEEZ, and together they dropped ten tracks with the likes of 

-Phil Gektor 

-Maundz 

-Raven

-Crave One

-Traz

-Mog.Y

-Lobe

Now, I’m not going to pretend I understand the real history of Aussie rap or what the ‘original’ sound of the area’s Hip Hop is meant to sound like, but in my experience with the very selective names I fucked with in my youth days, such as 

-DCORP

-Kerser

-360 (Some)

I’ve always felt a strong ‘West Coast G-Funk’ influence among these beats, and for the most part, this is how I feel on this one as well! I can hear those booming synth chords, those Lucius strings, and infectious drum patterns! Of course, there are some exceptions to this rule, such as tracks like ‘SONNY’S RAGE’ and ‘TRAVIS’, which sound eerily similar to each other with those haunting strings and muddy atmosphere. 

But for the rest, you can hear those groovy instrumentation elements so frequent with the ‘West Side’, and I fuck with it heavy! I will say though that in every case, whether we are talking albums or cyphers from the past or this album right here, what Aussie producers tend to do is sprinkle in some necessary ‘grit’ and ‘grime’ to these otherwise polished and refined beats to give them that extra-needed edge!

Because although it may not be my favourite sound, I can’t deny that Aussie rap production (similarly to the OG version of UK Drill) always has a level of toughness, raw and rugged detail about it! It’s never a fully ‘clean’ so to speak instrumentals, but instead, the emphasis always remains on the ruthless and borderline aggressive nature of the sounds themselves, even if they do incorporate a commonly ‘dance and party’ atmosphere genre into their mixes.

 Now, on the main course himself. In Melbourne terms. If the rest of the competition is Dandenong McDonald’s, then Flu is fucking Schnitz! You can tell doing only production for so long has left a toll on his craving for the rapping because the sheer volume of puns, double entendres, phrases, one-liners, and just pure vocabulary overload is absolutely ridiculous on this record! He’s had these ideas and lyrics saved over years, and he’s unleashed every single word all over this album, and it’s truly a sight to see and hear!

As the man stated himself. This is the type of album you’d need more than a few listens to attempt to understand and gather everything he’s said and all the clever concepts and phrases he’s used. There’s just that much included!

Of course, he’s not alone on this record; with his group of boys, they charge in headfirst to create the perfect underground Aussie rap atmosphere that reminds me of the mid to late 2000s of Aussie rap or early 2010s! This is the shit that will stomp you out and leave you a bloody mess if you ain’t ready for it! This roster doesn’t fuck around, and under this hardcore production, they literally can’t do wrong!

For such an anticipated return to the MC role, Flu KILLED IT! This album was beyond worth the wait, and with his features and phenomenal production by DELICASTEEZ, this one is for the record books!

https://fludust.bandcamp.com/album/whatshisface

(The Black Book)

It’s always an honour to be able to cover a project between these two! This marks my third time, I believe, reviewing something between them, and with every new drop, it just further proves how strong their bond is! Let’s talk about it!

This is the latest collaboration project between MC Ant Kelly and Producer DJ Krooked. Together, they release 20 tracks with 49 minutes of content, which, if I’m not mistaken, is the longest album I’ve covered yet! Featuring the likes of: 

-FACES

-PapDirty

-DB

-ODDITY ODYSSEY 

-SZO

-RIVERSIDE JYNN

And I’ll start with this. Although I can’t say I was worried, it seems with the longer and more substantial length comes more grand sonic ambitions by DJ Krooked. I know in the past when you have a limited time frame, the best way to execute memorable performances is to make it sound as ‘extreme’ or as ‘experimental’ as you can for a quick and long-lasting adrenaline shot that the audience will carry with them for a while!

But, with just under 50 minutes, you can feel Krooked working with such elements as ‘Methodical Pacing’ and incorporating patience into his arsenal, and this colour works so well on him! 

I love how much emphasis he’s putting on the instruments themselves. You can feel the grand horns, those crispy drum patterns, the luxurious yet subtle keys, and plucked strings. This feels like a mini orchestral performance taking place live in the studio. The music itself sounds so organic, fresh, and alive. There’s a certain quality and texture that ‘mastery audio technique’ gives off, and I feel it in spades across this one!

Every single note just sounds refreshing and gorgeous. Not to downplay DJ Krooked’s other projects because I do honestly feel he killed it there as well, but I feel this is a whole new territory as far as atmosphere, pacing, and timing are concerned, and this just proves that when given amble time, he has the ability to create one of the most beautiful-sounding albums you’ve heard all year, no contest.

Now onto Ant. I have to say this is a new territory for him as well. I don’t want to say ‘turn over a new leaf’ but this performance stands out due to its less aggressive nature! Normally Ant provides some of the most chilling and intense bully rap bars you’ve ever heard!

But on this album he actually sounds relaxed, introspective, thought-provoking and a man who’s more focused on sharpening his skills as an MC and delivering the dopest bars possible!

Across this album he sounds clearer than he ever has. It turns out he doesn’t need to rely on aggression to land memorable and excellent pen game which is incredible to hear! His flow is fluent, his vocabulary is actually quite incredible on this one! 

Usually I’m used to him just spitting heavy abusive, bully, insult bars like a ‘NEMS’ type. But turns out when he sheds that side of him for a bit he’s quite the intricate wordsmith underneath! Who would have thought!

I also LOVE the energy provided and the synchronicity with the other features across this album. It’s like they are all close friends outside of the studio and coming together with bonding energy and atmosphere that just sounds like they are having fun, spitting verses back and forth just enjoying each other’s company! It was natural, exciting and high in spirit! 

Look, this is hands down my favourite album by these two so far. The production evolved to a brand new atmosphere and the MC work took a new direction that turned a lethal MC into an even more deadly threat! This is definitely a record you can’t afford to miss! 

https://open.spotify.com/album/7C0UOOxWazUTajIKL55qu9?si=jOKf9KzFScKIRfoIKqk7Rg

(Jayne Wayne: The Juggernaut)

Talk about an artist that never disappoints! Someone I’d dare say is rather underrated in the industry despite having a close-to-flawless discography up until this point! A woman who has cemented her name in the history of rap and with this new album continues to build her legacy! Let’s talk about it!

So, this is the latest full-length album by notorious MC Nejma Nefertiti! It’s fully produced by JunkiesAtl and features the likes of 

-Napoleon Da Legend

-PiFF Penny 

-Aïda 

-Gcasino 

And Cuts by Daz Jones!

So, as the album is described, it’s about a radical supervillain who stands against the oppressive systems. So already that premise is dope and should draw most people in on idea alone! You don’t get many full-fledged concept albums these days, so the mere idea of one sends me into an excitement, and let me tell you, this thing does not disappoint! 

Starting with the production, this thing is as flawless as you can expect a record to be. What I love about it is how there’s no ‘agenda’ to the sounds. Too many albums these days have to identify as ‘the most grimy’ or ‘the most experimental’ or ‘extreme spectrum art hop’ or ‘brutal muddy boom bop’ and all have a place in the industry, sure, but this production reminds me of the late 80s and the 1990s. 

Back when you just had phenomenal-sounding albums with beautiful and masterfully crafted ‘music’ that you could vibe to. No label needed or certain leaning to any genre, just pure, dope hip-hop instrumentals, and that’s the vibe I’m getting off this one! 

From the infectious cuts to the well-executed beat patterns to the grand strings and groovy drum notes and organic keys and chords. This thing is just a pure delight to the ears and mind of all hip-hop fans. Although lyrically it has a clear conceptual narrative and agenda, the production itself feels like paying homage to the classic era of natural, memorable, and thought-out tracks with meaningful use of instrumentation and layout, not just a two-minute song to satisfy the audience types of this new generation. 

This is the kind of ‘music’ you’ll be hearing when you’re shopping. You’ll be tapping the beat of track two on your tables while you’re waiting. Humming the instrumental while in line waiting to purchase items, this takes you back to that time of the culture, and it makes me happy.

Of course, the main star or should I say main attraction of this album would be the ‘super villain narrative,’ seeing just how well she morphs into her character and how convincing her role is, and sorry she’s planned for the fans. I’ll tell you now it’s pretty fucking impressive.

The thing is, she’s already arguing one of the top lyricists in the world today. She did an album called ‘Animal Barz’ where each song had to be about a different animal, and the bars had to follow suit! Believe me, that shit ain’t easy. So when she actually commits herself to her own movie role where she’s the writer and performer? Of course, it would be dope!

When performing over these dope beats, you can hear her cocky, prideful, and arrogant attitude and tone. What’s ironic is she’s a villain fighting against all the horrible things in society! Sort of like Ra’s Al Ghul. Committing herself to a higher purpose with conviction to do the extreme if necessary for the world. 

Her ‘Anti-Hero’ against the establishment bars is full of passion and determination. You can hear her lethal words cutting deep into the issues and corruption of the modern world, and her spirit engorged by vengeance shines brighter with every track followed.

So, what happens when you combine God Tier MC with Supervillain? You get JAYNE WAYNE! 

https://open.spotify.com/album/019omnLSOTWL4ALRlwRVbr?si=sl1AEPfnQiSZRJ5vRZoajA