(JAZZYNOMICS)

It was only last week I covered the latest album featuring this man, and yet he returns as consistent as ever. Whether it be from near-perfect wrestling-themed albums like ‘Jazzy Fatu’ or interesting and unique beat tape series such as ‘The Price Of A Sample 8’, not even including the other fucking 27 albums he’s dropped this year alone! He’s easily one of the most consistent and frequent artists right now, and to no one’s surprise, he’s back! So let’s talk about it.

This is the latest collaboration project between producer JazzyLionMan and MC Gustavo Louis, and together they dropped another 6-track, 15-minute project for the addicted fanbase to soak right up and inject into their veins!

Let me start by saying that I love that intro. I know it’s from the movie ‘Sisters’, where John Cena plays a drug dealer with every substance known to man. I love it because he’s a heel now, so it definitely fits! But besides that, this project definitely gives off a strong skeletal, dark ambient, and noise-inspired album that utilises the gritty, raw, bare-boned instrumentation to create a vibe that’s like a sonic abyss forever trapped in the darkness and the mystic of nothingness.

There are no real theatrical influences or samples, no larger-than-life production or execution on this one. What I’m feeling most is that bare minimum, minimalistic approach to the beats. Using the iconic ‘Less is more’ technique, we have Jazzy emphasise on crushing/hypnotic loops with methodically paced piano keys and the occasional plucked strings with the most primal of hip-hop beat patterns to tie it all together. 

I suppose with this madman’s frequency of release, you’re bound to get releases of this nature, and I mean, why not utilise it! At his rate of dropping, he can’t be expected to drop a ‘Jazzy Fatu’ equivalent so quickly, so why not give the fans a nice teaser snack until the release of a more substantial main course? That’s the way I see it, and I’m sure his core audience will eat this up regardless. 

To his frequent collaborator, Gustavo. He runs through Jazzy’s production better than anyone. Whether it’s primitive and minimal or cinematic and luscious, this man knows exactly how and when to drop the best bars possible for the occasion.

You can tell the level of expert chemistry they share with one another from producer to artist; they feed off each other’s talents and skills in order to deliver the most successful ‘beat to verse’ execution you can expect!

Fluent flows, sharp wordplay, and delivery. Expert lyricism and short, bursting, flavoured verses across the 1-2 minute tracks provided. Perfect for today’s climate of attention spans and short enough to capture the audience at peak focus without it ever feeling like they are overstaying their welcome on the tracks.

He’s passionate, confident, enthusiastic, and in-depth with his bars and knows how to navigate the beats to find the perfect place and timing for each word. This isn’t his first song and dance with Jazzy, and his experience shows. He ain’t here as a shook amateur but as a veteran showcasing his abilities and antics to the world!

For such a small project, this thing has many layers and details that will keep any die-hard or new fan entertained! Not a bad song to be found. Don’t forget to check the latest instalment by the duo! 

Shoutout to ANGELO JENSEN for his contributions on the record as well!

https://open.spotify.com/album/0PviUome7N8fhtgw8DFNGx?si=v1OLoVtES0qf68yD4wYBJw

(Butterbean Blowz)

I know I must say this before every release, but I guess I’m the opposite of Flavor Flav’s ‘BELIEVE THE HYPE’ because somehow, in one way or another, every new Penlordz release is better than their last, and this time is no exception! Let’s talk about it!

So, this is the latest full-length album by Arsinel that is produced by Da Grand Hova and includes eight fresh new tracks and features the usual suspects of Fam Ross and Audio Messiah! (Where there’s one, there’s all) and together they unite for a project that I feel showcases their more grittier and muddy side of their soundscape than in a lot of their previous work!

I can tell from experience that a lot of their albums this year have been delicate, harmonious, smooth, and polished in their structure. This level of ‘divine’ instrumentation has set them apart from the rest, but on this occasion, I feel them returning to the ‘Slaughter Tape’ vibes, and the real ones know what that means! When they get on that vibe, everyone watch the fuck out.

We are talking heavy, skeletal drum patterns, eerie synth strings, and chord progressions. These types of beats are rough and rugged, unapologetic, and ruthless in execution. Droning, noise-inspired instrumentals whose purpose is to stir up the pot and leave the audience on their feet while giving the most unholy platform for the three MC legends to pop off on!

As you probably guessed from the album title and album cover, this album is based off the boxer ‘ButterBean’, and in that respect, the large, powerful, and intimidating beat choices are the perfect representation of the man himself and his terrifying power. Also made evident by the consistent usage of samples and snippets of his introduction and his records throughout the years, which I absolutely love and pays homage to the legend!

Although this album is only 18 minutes in length, the way it’s executed, the techniques, the raw and bare blueprint for the record with nothing but those skeletal elements and devastating atmosphere is a sound that is very too and far between when talking about Penlordz, but when they are on this wave, it’s strong enough to knock everyone off their feet! Absolutely unreal!

It’s not just the instrumentation that evolved across this one, so did the MC work by Arsinel and all three men involved. They are geniuses at adapting to their respective sounds and styles! If the soundscape is smooth, so are they! If the music is angelic and introspective, expect a more witty and complex narrative from the boys.

But if the production is downright in your face and ruthless? Then expect one of the most grimy, relentless, and savage displays of lyricism and wordplay that you’ve ever seen in your life! It’s like the age of the question ‘what would happen if Superman turned evil?’ Well, this is the underground equivalent. If the Penlordz switched up and became focused on killing the industry, how would it fare? Well, apparently not well because I can’t imagine how anyone is supposed to defend against this level of vocabulary assault by this remarkable trio, but I fucking love hearing it nonetheless!

Overall, this could very well be my favourite Penlordz release so far! (Which is saying a lot) These guys are on an unprecedented role that I can’t imagine ending anytime soon! Check this album the fuck out! 

https://open.spotify.com/album/29n3JS2uLjpwqVn7JQlzDI?si=9EKAlU66QcOhdG-dk7xDHQ

(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