(Rise, Floody. Kill And Eat)

First of all, what a dope album title and artwork! Secondly, how many verses does this man have up his sleeve? It seems every other day I’m getting a notification of a new Bandcamp release! How can anyone hope to keep up with a man like that? Regardless, this new one features a producer I fuck with HEAVY, so with that in mind, I knew I had to cover it. Let’s go!

This is the brand-new album by MC NOWAAH THE FLOOD & Producer SOUL LA FLARE, and together they drop a solid eight tracks that I guarantee you will blow all exceptions out of the water! 

Firstly, let’s talk about the MC work. The immediate thing that came to my attention was his sporadic and chaotic performances across these beats. I feel that perhaps the inclusion of SOUL LA has inspired him to be more freelance and unpredictable on his verses! I don’t remember him sounding this aggressive in the past, and I can’t lie, I love the colour on him!

He sounds sharper, more precise, and dominant. It’s like these instrumentals bring out the monster inside of him, and paired with the overwhelming beats, you’ve got a recipe for greatness. He showcases in spades an in-your-face delivery, a more vivid and razor-edge punch with his wordplay.

His pen game is brutal as he’s describing the horrific things he’ll do to you or others in extreme detail. 

I love his vicious flow this time around, the intensity of it all, the rugged and powerful nature of it as well as its cold-blooded nature. He’s always been an incredible MC, but to hear him in this light is crazy to me, a side I hope we can hear more of!

Speaking of hearing more of. Ever since I discovered him, SOUL has become one of my favourite producers. Whether he’s making records with Divino or Jackpot Records or just rocking with his own instrumental shit, he’s ALWAYS KILLING IT, and this time is no exception! Across these eight tracks, he breathes his own brand of atmospheric music that is the definition of a ‘fever dream’.

With tracks like -SACRED HUNGER, which features those distorted pairs of chord progression and piano keys! That also features the occasional random sound/adlib and subtle jazz horn throughout the whole track that adds an extra layer of tension to the song!

This is one of the more minimal cuts, but the way it fuses with NOWAAH’s vocals is priceless! 

Or the track -BLOOD ON THE ALTAR, which is actually an instrumental track to open the record off. It’s pure soul in hip-hop form! You’ve got

those luscious chord progression, mixed in with those subtle drum beats as well as that overall distorted vibe that SOUL is so good at utilising within his music.

There’s also a small tinge of vocal snippet that’s ever so slight across that instrumental that gives it that little bit extra sonic texture!

Hell, even the song -AND NOT GO ASTRAY (STRAIGHT PATH), which has one of the more obvious gritty boom-bap paths than the rest, less soulful and more gritty & muddy. You’ve got those high synth-style keys, violin strings, heavy bass, and thudding drums! 

This one is absolutely vicious in every way possible! Although only a few layers, each part hits like a Baki kick to the face! Absolutely unreal! 

Whenever you get SOUL LA FLARE on the score, you’re destined for greatness. He’s helped push the culture more than most, and combined with one of the most prolific MC’s in the game right now In NOWAAH, you’ve got an undeniable album that brings out the best in both of them! Make sure you click the link below, support, and pump this new record! 

https://soullaflare.bandcamp.com/album/rise-floody-kill-and-eat

(Flyin High)

I’m always keen to discover new artists; the endless talent in the culture is amazing to see, and today we get to add a few more! With a brand-new album by this man on the way, I’m excited to see what exactly he brings to the table, so let’s find out together!

This is the brand-new single by MC & Producer Unagi with cuts by DJ Toro Bravo, and across this 4 minutes and 55 seconds, we get one of the most smooth and soulful hip-hop adaptations I’ve heard all year!

Starting with the instrumental, the first thing I’m hit with is that beautifully executed vocal harmony that has a classical element in the woman’s tone!

Accompanying this, there’s this groovy chord progression, a type of plucked string in the background that appears and re appeared every few seconds! There’s also some infectious rock and roll-style drums that provide a type of skeleton to the whole track!

I also love the idea of utilising the cuts and scratches towards the end of the song! Not many songs do that (it’s normally added throughout)

But in this case, it gives almost a cornetto feel (meaning no boring bites; he makes sure from the start with that angelic vocals, to the middle with his exceptional verses and chorus, to the end with the cuts that there’s never an underwhelming sonic bite for the audience), and I gotta say that’s pretty smart!

As for the MC side of things, this just brought joy to me, man; I can’t lie. It’s so rare these days to hear a MC who sounds reverent and joyful on the track.

We are so hardwired to expect ‘gangster bars’ or ‘drug talks’ or ‘violence’, and I’m no hypocrite; I fuck with those types of artists and albums too! BUT it does make it that much more refreshing when an artist like Sabio Dub or Tetri$ or in this case Unagi steps onto a groovy beat and kills it! He doesn’t take any chances to slow down or breathe; he’s just full speed again and sounds glorious doing so!

From the way he raps on his honest, introspective style with such a smooth flow, entertaining lyricism, a chill personality, and performance that feels family-friendly. The kind of rapper you could show your family and everyone (no matter the age) would rock to!

I love his calm precision as well as his nonchalant tone across this track! He has some witty one-liners combined with a hypnotic delivery that I could honestly listen to for hours! He’s just so humble in his expressions!

I ask that everyone check this guy! He brings that late 80’s/early 90’s style of delivery that I fell in love with immediately. Combine that with his production and the cuts, and this thing becomes unmatched! Listen below! 

https://open.spotify.com/album/2Y6aWeSYtMJyPByIj9IJp6?si=3xqHGvaFSwCGKDyBojxnvg

(All Doggs go to heaven)

Holy shit, to say I’m surprised is an understatement! I’m familiar with both men on this project. Both men have made incredible contributions to the culture, but this new tape? It defies all odds and gives us the definition of ‘Vibe’. We gotta get into this one!

This is the latest album by the combined efforts of MC AU & Producer Sketch Turner! This one has the contributions of

-DevHaynes

-G From Every Other Weekend

-King Androit

-King Oseaun

And man, the minute this album started, I got goosebumps with how hype the music is! This one starts off with what sounds like a Disney cartoon snippet about how ‘all dogs go to heaven’, but as soon as that ends, we go into this absolutely ridiculous electronic-inspired beat that sounds straight out of a dancehall! I was blown  away when I heard this!

I’m telling you, it’s that straight Daft Punk type shit. I find myself keeping replaying this one song due to its high-energy nature! Still can’t get over it!

Even the song that comes right after has that polar opposite sound but equally powerful! With those mesmerising jazz horns combined with those drum patterns and light key progressions, man, this is some supreme Miles Davis type shit. I fell in love instantly! 

In fact, this whole album has a list of endless bangers in the production department! You’ve got the track right after that that has those thick bass strings combined with those skeletal drum beats and gorgeous piano keys!

I also forget from album to album just how masterful Sketch can be with such a smaller amount of layers to utilise! Across this 22-minute record, he takes the minimum and maximises it to the utmost extent! Creating beautifully crafted and atmospheric tunes that are bound to make the hair on your arms stand up! It’s striking to say the least!

As far as AU goes, it’s been no secret to those who have been following me that he’s been one of my favourite rappers in the underground period. From first discovering him in 2025 to now, he’s constantly blown me away, and it seems he’s taking it even further on this one with his picks of out-there instrumentation and his style of rapping. He’s not wasting a single of the 22 minutes!

First thing I have to commend him for on this one is the fact that he let so many of these tracks ‘breathe’. 

Something a lot of fans don’t notice or seem to understand the importance of. Like, for example, that dance track from the opener, that was completely instrumental! He had the sense to let it speak for itself and just vibe.

Along with other interludes across this album, he does this a few more times, and it just proves his maturity as an MC and that he understands the importance of the subtle elements of a record as a whole! And I absolutely love it.

Secondly, I swear he sounds more fluent than he ever has been!I hear him rapping his ass off across these tracks! As usual, not letting barriers like genres or different production choices get in the way! He’s always been able to rap on anything, and this further proves this!

From his trademark fluent bars, to his high energy and charisma, sharp wit, and clever lyricism, he’s once again pushing the bar for not only his own abilities but the culture as a whole!

The features on this album, of course, mesh well with him as they are frequently by his side and make for the best company for AU!

So, make sure you don’t sleep on this YouTube exclusive tape! It’s creative, high energy, and a lot of fun! Go check it out below! 

https://youtu.be/usDHRMMdvJE?si=zgVYSxK_KEFTQJpT

(Breakfast at Christie’s)

When an album right off the bat hits you with a sense of conceptuality attached to it, then automatically consider me locked in. It’s rare to non-existent to see someone trying a concept and it coming off half-assed. So I was pleased to see that this man (who is accompanied by a Grammy-award-winning producer) has come together to create one of the most interesting records of 2025! So let’s talk about it!

This album is a collaboration between MC Breeze Mantana & Producer Chase N. Cashe! Across this 31 minutes of content and 14 tracks, we have the likes of 

-GEE$

-Todd Zack Jr

-Will Hill

-Money Makin Nique’

And once again, I have the experience of not knowing anyone else on this project! The further I dive into the game, the more names I discover, and right off the bat, this album starts off with a fun, relaxing intro track that involves jazz background music and what appears to be a business guest discussion over breakfast! 

As the album kicks off, we get into the production that feels a lot more ‘mainstream’ and ‘grand’ than I was expecting it to be!

After hearing that this producer made music for Drake, I shouldn’t be surprised, but to hear just how lively and engaging this music became on this album, it was hella infectious! 

 So many stand-out tracks across this album; for example, the first one -All Fair’s this one has that sweet spot combination of those sharp chord progressions, a high-pitch synth string that doesn’t break throughout the whole song! Some occasional bass strings, a minimal drum pattern that all comes together to create this high-profile & theatrical body of work that acts as the best way to start the album off!

There’s the track -Le Meurice which has a more soulful vibe to it with the addition of that raw vocal loop that repeats every 3 seconds, a repeated guitar string sample, more methodically paced drums, and some subtle bass that can be heard if you really pay attention to what’s going on in the background! 

Only a few layers of instrumentation across this track, but he’s able to make it hit all the same! A beautifully executed instrumental!

We have the track – Whatever You Want, which takes this to an almost classical route with those elegant keys that are long and plucked in this orchestral-like fashion that I really enjoyed! This song has the most pronounced drum beats I heard on the album as it’s more in the forefront! There’s also what sounds like some violin strings scattered throughout this song! A very old-school vibe to it that was infectious as hell!

When we speak on the MC himself, Breeze, I’d be lying if I said he wasn’t one of the smoothest I’ve heard in a minute! The way he handled himself across the production from his performances, his fluency, his crisp lyricism, the way he executed his bars, verses, and one-liners is absolutely incredible.

It ain’t just that he’s a dope lyricist; it’s the way he carries himself across the beat, the way he bends his words to the instrumentals, twists and turns them into verbal gymnastics! It’s so slick and infectious to listen to!

He kind of reminds me of a mix between prime-era Wiz Khalifa, Montana of 300, and a dash of Lupe Fiasco. The pure charisma and vibe of Wiz, the profound energy and pen game of Montana, and the complexity and depth of Lupe! If you were to combine all those qualities into one, you’d get Breeze! He really is the best of so many different worlds! 

You can always hear the difference when someone is rocking a beat in a certain more organic way than most! We all hear it: the overused, choppy, and lacklustre flow and delivery that every second person is using these days that just sounds generic as well and boring. 

BUT

In the case of Breeze, he’s resetting the bar and stage for how you’re meant to sound, how authentic and refreshing an MC can come across when putting enough passion and heart into their performances! Especially when you’re paired with a variety of features that help heighten the overall experience and quality of the album, as these ones did!

So all in all, a fantastic showing by Breeze (as expected): his performances were stellar, the production was impressive, and the features solid as well! If you haven’t peeped it yet, make sure you do below! 

https://open.spotify.com/album/3ZNJo9NMi8zzd0Rlotc47v?si=0LpC521BSkGB6_DVZqIQzA

(Flygod Is An Awesome God)

In celebration of Westside Gunn’s ‘FLYGOD’ album turning 10 today, I wanted to dedicate this review to an album that changed my life and perspective on hip hop forever. A man who resurrected the love of the genre to me, and for that, I’ll be eternally grateful. So let’s get into it! 

This is the July 2019 album by rapper, wrestling promoter, Griselda member WestSide Gunn with production from: 

-Daringer

-The Alchemist

-Motif Alumini 

-JR Swiftz

-Denny LaFlare

-Madlib

-SadhuGold

-Al Divino

-Evidence

-DJ Muggs

This is the first time I’ve really researched the production credits, and holy shit! What a fucking line-up! I couldn’t ask for a better line-up if you asked me to! 

And I can still remember it to this day. I was on the bus coming home from work, scrolling through Spotify wanting to find something different to listen to, and then out of nowhere I saw this artwork, had no idea who WSG was, but decided to press play, and the rest was history!

Across this track, we start things off with an intro speeding the legend himself, Raekwon. The surreal instrumentation makes it feel like you’re sitting in a conference with the Sopranos! It’s the perfect way to start an album and set the vibe and tone of the entire record.

Right after that, we get the first official song in -Sensational Sherri (which remains one of my favourite WSG songs of all time) as this is 4 minutes and 19 seconds of absolute cold-blooded & minimal action where we see Westside go ballistic on! 

He doesn’t pull any punches, adlibs every few seconds with a variety of sounds (including the screeching of a car at one point), this track with its banging bass drums and sharp chord progressions makes it feel and sound like a villain’s soundtrack! It’s pure villain energy at its finest! (Not to mention that gritty Benny The Butcher verse that goes along with it)

As with any Westside album, this one is full of wrestling snippets and honesty, some of my favourites in any of his albums! From The Miz saying his trademark line ‘and I’m AWESOME!’ or a personal shoutout by both Hacksaw Jim Duggan and Razor Ramon!

But my favourite has to be the sample of Macho Man Randy Savage proposing to Elizabeth and hearing that crowd reaction? It’s absolutely beautiful! Still gives me goosebumps to this day!

Another one of my favourite Westside songs is on here in the form of -Gunnlib. This one has that repetitive/hypnotic groove with that high-pitch vocal sample that evolves every 10 seconds into a fully fleshed vocal chorus! On top of that, we have those luscious guitar strings and maniacal adlibs that turn this song into the definitive meaning of ‘controller chaos’. 

And the features on this thing?

-Benny The Butcher

-Conway The Machine

-Keisha Plum

-Hologram

-Meyhem Lauren

-Tiona Deniece

-Sauce Walka

They all help bring this album to its cinematic heights of glory that no one else could have. You can tell WSG planned this album out perfectly and made sure each element was finely tuned and executed to absolute precision, and it shows!

LONG LIFE WESTSIDE GUNN. The man who changed the face of the culture, the man doing the most for the culture, the man who lives it! And at least for me, THIS is where it all started. If you haven’t yet, peep below!

https://open.spotify.com/album/2JUpGYRkV6ymlDOX7UFTL7?si=6oYTmjOVRTe70cuIflbymg

(The Colder It Gets)

Unfortunately, due to my regular amounts of reviews I accomplish on a week-to-week basis, I’m bound to miss some the first time around. I’m the opposite of Ask Ketchum ‘I can’t catch them all’, but sometimes I can go back and revisit. This is one of those occasions as we take a look at one of the most revered albums of January 2026, so let’s have a look at it!

This is the collaboration album between MC Mighty Theodore and Producer The Custodian Of Records, and together they drop this solid list of 13 tracks with 42 minutes of content. The features are as follows:

-Fat Ray

-Farma G

-Lee Scott

-Thirstin Howl The 3rd

-Von Pea

I want to start talking about the MC work first. Because this is the first time I’ve heard this guy, and he surprised me in a way I wasn’t expecting. He pulled off a combination of styles across this album that elevated the overall quality and replay factor 10x fold. 

What I mean is his beautiful variation between rapping and singing. Essentially, he does what Drake tries to do but better, more authentically, and more powerfully than he could ever do it!

It feels like I’m listening to the reincarnation of Bob Marley when he raps! A truly soulful and rich experience that honestly gave me goosebumps whenever I heard it!

Across this tape, we hear Mighty’s reverent yet no-nonsense demeanour that makes every word of his feel engaging and strong. It’s as if he’s a bishop speaking to his congregation and spreading his message to the masses! He talks less like a rapper and more like a man giving a sermon; it’s fantastic to hear!

And as I mentioned above, he also has these mesmerising vocals which he uses on a lot of the choruses on here, and when he does, it amplifies his verses to a whole new level. He’s adding a new layer of texture and rhythm to the overall song, one that mere rapping can’t achieve solo! 

I also appreciated the various features he chose to utilise across this tape. A few I’m familiar with, but most I’m not! But all help bring the album to a new level of energy and excitement! If I’m playing ‘Devil’s Advocate’ and call my favourite feature, it would have to be -Farma G. I loved their chemistry together; it really set the precedent for the rest of the record!

Now onto The Custodian, we get one of the more cinematic scores I’ve heard all year! He really brings a level of intimacy and grandeur to an already well-executed album! 

Starting off with those little interlude/spoken word snippets that are scattered throughout the album, starting with that intro track -A Chilli In The Air, as we hear a woman talking in cryptic words over a truly ‘chilly’ beat that makes you feel cold when you listen to it! Like a frozen winter breeze on a winter night, I legit had to put my blanket back on when listening to this track! 

As the album properly gets into it, we hear songs like -If You Got What It Takes, which features this truly classical sonic interpretation with those beautifully crafted chord progressions and choir-style vocal harmonies that play together hand in hand, and when you combine all that with those plucked bass strings (also coupled with the immediate start of Mighty’s incredible singing), this becomes one of my favourite tracks on the album!

Another one I fucked heavily was -Let The Rappers Rap, which begins with this 80’s-style monologue which reminds me of a buddy cop movie montage! As the interlude ends, we get into the heart of the track, which has this combination of glistening piano keys, rock and roll-style drum beats, and a super subtle adaptation of bass strings that help give it its song that extra level of texture and execution!

Or what about the song -Patti Astor Will Have Her Revenge On The South Bronx which has one of the more acoustic instrumentals on the whole album with those gorgeous piano keys at the forefront of the track that is merely paired with these guitar strings and skeletal drums. I loved the minimal aura of this song as it marks almost the ‘calm’ moment of the album.

I’m definitely glad I went back to check this one out because it’s worth it. From Custodians score to the incredible rapping ability of Mighty we have the perfect fusion of a record that I feel everyone should hear! 

https://open.spotify.com/album/7MXzQf6AZ7yMTs9xyiGwQ5?si=vuw69g6oT4KXpyMwV57kPQ

(Get Me 2 Heaven)

It would be an understatement to say that this man had an incredible run in 2025. I covered most of his projects, and they all slapped on a different level. As his experience grows and his skills grow with it, we are seeing an artistic renaissance that is being recognised by everyone in the game! And I’m sure he’s only just getting started! Let’s talk about it!

This is the brand-new collaboration album between MC Jamal Gasol and producer Denny LaFlare/The StandOuts, and between them, they dropped a fresh batch of 12 new songs with the likes of 

-Jynx716 

-Sayzee

-???

-Raegene Denise

-Toney Boi

-Flames Dot Malik

And I gotta admit. This wasn’t a duo I was expecting to see! Two men on two different lanes coming together like this is the definition of overkill, but I fuck with it heavy. Let’s start with the MC work by Jamal. 

One thing I feel I’ve commented on over his past few reviews has been his built-in confidence, stature in the underground, and his fine-tuning of his abilities and skills!

Now it’s gotten to the point where his verses and bars sound like preacher speeches! With his gravitas in his voice, his pure conviction, and his almost spoken-word style of rapping that makes each of his words hit that much harder!

I love his cold-toned, precise, and impactful delivery across this whole project. I also love how his continued growth of confidence and self-worth as he’s decided to feature alongside some of the best names in the underground, and he does fantastically next to them!

Bar for bar, the level of chemistry it all hit more fluently than I could have imagined! Hearing him

Rap alongside supreme acts like -THEHIDDENCHARACTER -FLAMES DOT MALIK -SAYZEE and the rest of the ridiculous cast as he proves just why he’s worth every accolade given to him across the last few years!

When we discuss the production side of things, we have to talk about a man who has been building one of the most underrated beat discographies we have while working with some of the dopest artists we have, period. So to see him being the main producer for this album, of course, got me hyped, and the beats didn’t disappoint! 

For example, we have tracks like -Fear Or Respect, where we see him take a more avant-garde approach with the combination of distorted jazz horns mixed with deep bass and thudding drums that all have such a disorienting effect to it all that gives it its experimental nature!

There’s the track -Filthy, which takes a more melodic approach than the first two tracks with those elegant piano keys that have two different layers from the glistening loop to the long and elegant second set of keys! They both come hand in hand combined in this haunting progression that sounds like Dracula’s castle!

I also love the subtle and minimal addition of those drums that help give a bit of texture to the overall instrumental!

The song -In The End had me surprised with its classical vibes! It made me feel like I was listening to an orchestra! You’ve got those sharp chord progressions combined with those thickly tuned drum patterns. I also love how when the song progresses, you get this extra layer of strings to give it an even further cinematic effect!

Surely there’s no one (who actually listens to the underground) that would assume this album would be anything less than phenomenal. From the masterful production, the powerful wordplay, and ridiculous features, this one is a triple threat on all fronts! Make sure you tap in below and feel 

https://jamalgasol.bandcamp.com/album/get-me-2-heaven

(DANGER DOOM DRILLS)

For what’s shaping up to be an album that is taking things back to the sounds and influences that made him such a household name to begin with, we have another teaser release by arguably the greatest underground rapper of our time teamed with one of the most underrated producers of the same era. Put them together and you’re guaranteed success because after all, ‘A properly executed plan just won’t fail!’ 

This is the brand-new single by MC Estee Nack & Producer True Cipher off their upcoming album ‘S.E.T.U. (SE EMBROMARON TODITO USTEDES). My first experience with these two on a full-length was Estee’s 2021 remix album ‘$1000 PLATES OF MANGU’ and since then they’ve proven to be a dangerous pair— a special kind of chemistry! 

Across this 2 minutes and 7 seconds, we hear True Cipher incorporate that 2022 energy with Nack’s instrumental! I’m talking about that groovy synth-style violin chord progressions that continually loop without breaking! We’ve also got some light and subtle bass notes that can be heard ever so gently. 

I love how there are such few layers going on here but that TrueCipher has the knowledge and experience to turn a little into something grand and popping! 

This kind of vibe and atmosphere brings out the best in Nack and that proof is his verse on this track because (and to nobody’s surprise) he absolutely killed it!

Across these 2 minutes, we get the trademark adlibs and introduction warm-up that we’ve come to expect from Nack, just enough to warm the crowd up and get us anticipated for his killer bars! 

When the verse comes, we get a beautifully executed Bi lingual pen game that has everything from his legendary wavy aura, his infamous street poetry, his splash flow as well as his sharp bars and precision! He doesn’t fuck around.

I love the fact he’s able to turn any single into a showcase experience! It’s because of how fucking charismatic, authentic, and entertaining he is as a rapper! He doesn’t just spit bars; he MANIFESTS them! Especially when you combine a dope producer like True, and you’ve got yourself the making of a modern-day classic!

If I wasn’t already hyped for this upcoming project from the first single, then this one did it. Hearing their iconic chemistry back in full force made me happier than ever, and now I’m counting the days till the full album drop! 

https://truecipher7.bandcamp.com/track/danger-room-drills-feat-estee-nack

(Skip The Formalities)

It’s been over a year since I last covered this man. A talented writer, journalist, interviewer, curator, and MC. He’s one of the most genuine dudes I know, and that’s why it’s long overdue that I cover his shit, especially when the producer is on the level of this? Call it a wrap. We gotta discuss this!

This is the 25th of July 2025 album by Ceverely Yours and Producer Skip The Kid (someone who I’ve had plenty of experience with), and together they drop a seven-track, 22-minute experience with the names of 

-Maine The Medicine

-Son Lee

And as I fully expected it to be. Skip on the production is the definition of smooth and rustic; he doesn’t miss. It doesn’t matter what album or track he pulls off, he always seems to nail that minimalistic aura of looped vocals, angelic chord progression, and methodically paced drums!

None quite match that like the opener -My Heart, that beat is divine. 

From that beautiful vocal harmony loop to those light drums, probably one of the more skeletal instrumentals I’ve heard in a minute, but boy does it fucking HIT and set the table for the music to come!

We have tracks like -Drew Carey’s Ghostwriters with those triumphant horn loops with those shape chords in the background, proving a chaotic energy in the background of this song! This feels like the music to a classic Rocky montage! It’s high impact and ever so powerful! I felt like doing 10 push-ups to this song!

Even the song -Good Times, which has a more gritty tone to it with those closely quipped vocal harmonies that only change up once every 10 seconds! 

Not to forget those heavy-handed drums and light piano keys that give a glimpse of glistening to the song as a whole! This type of sound teleports me back to the mid-2000s era of underground hip hop, that raw and introspective type beats that my favourite lyrical cats would rap over!

When discussing the final four tracks, we get into ‘remix territory’ of sorts. As it’s either solely instrumental cuts of the original tracks, as is the case on -Drew Carey Vs Skip The Kid or -My Heart/SkipMs Heart, and then you have the interesting variations from the original, such as -My Heart Mix, which I can only gather is Ceverly spitting some form of confession to the listener! It was definitely different and not what I was expecting! 

I’d say as a whole, this album has a lot of refreshing dynamics and memorable production that will make the listener want to come back for more!

When we look at the MC side of things, we see Maine & Son lay in their craft with a mix of old-school and present-day approaches in the way they drop their bars, their fluent flows, sharp lyricism, engaging performances, the lot! They have everything going for them and a different personality and styles to differentiate the three names involved! 

You can hear it in the way they execute their stories and their pen game. The precision on the verses, the slick puns and one-liners, the way each person can craft a verbal display that is equal parts distinctive and no nonsense! 

I feel like both artists have such an animated way about them. The way they spit their verses, the chemistry between them! The old school almost ‘Busta Rhymes’ formula of bold personality meets original rapping technique and the fusion makes something special! I could listen to these two come together all day on a track.

Going from two I’ve never heard of before to this? Wanting to make sure I hear both together is quite the leap in just one album but when an artist has great talent that’s the sort of thing that will tend to happen!

So in conclusion. Although this album is a year old, it doesn’t take away from its quality. From the sick production to the incredible performances and even unique set-up towards the second half. This is an album for the (ART)its, and once you check it out, I’m sure you’ll agree! 

https://open.spotify.com/album/40I2lawBmJ2A3icNxnA4zG?si=LE-q5MIqSBW1All2Dr_pGw

(GRIMEY IN A COLD STATE)

I’ve always been a firm believer that sometimes, an EP can make all the difference. In the mainstream rappers are afraid to drop small projects, thinking that fans will get angry over the lack of content instead of understanding that sometimes ‘less is more’ being able to utilise a smaller hand and be creative with it. That’s why I never shy away from EP’s especially ones from new artists I haven’t heard of prior. This is one of those occasions and I’m excited to get this one started!

This is the brand new EP by MC New York Page with a variety of Producers such as 

-Jimmy Dukes

-Moleman Beats

-KLWNCAT

-Homage Beats

In track one -The Coldest Voice we have what sounds like the 80’s inspired montage style production that’s glossy & polished! From that vocal loop that almost gives off a ‘synth pop’ element in its execution! I think it’s the combination of the drums and glistening piano chords that remind me of that era, powerful!

5 tracks, 16 minutes of some pretty interesting blends of Hip Hop. For starters what I noticed is that (in one way or another) each track has a sharp chord progression. The most extreme case is in the second track -PRIORITIES in which the high pitch chord kicks you in the face right from the door! 

In track three -BULLETPROOF it’s a lot more dialled down into what sounds like a rhythmic violin harmony that almost gives off the effect of an underwater texture! Subdued and distorted but still equally as infectious.

On treads four -SEEN IT/STREELIGHTS which is back to the more abrupt formulation from the opener. Taking a few more seconds to introduce itself it still comes out the corner with the sonic equivalent of an empty Hennessy bottle to hit you in the back of the head!

Then on the five track -CALCULATED RISK which has the sharp sounds come from a collection of keys! That definitely reflect a more subtle tone then the rest with an almost gospel feel to the rhythm but none the less it feels reminiscent of the same key element over the entire EP!

Of course, that’s not all these song have going for it. Each track is different in its own way a blend between soulful and smooth & gritty and muddy. Using the limited window they have to create a slight variant that I felt came out comfortably fluent! 

As far as the actual MC work is concerned we have New York Page ‘dope name by the way’ coming through with a style cadence that strongly reminds me of the battle rap underground era of the late 2000’s/early 2010’s with your Pat Stay’s (R.I.P) your Rones, your Kid Twist’s, Dumbfounded and more. 

He has that incredible level of swag that shines across each word he spits. 

Across the mere 13 minutes of run time we get this class in session of a sharp tongued, witty and ever so brash lyricist with charisma to burn. A more in your face approach as he forces the listener to feel ever bar that he spits. Similar to the intense energy of Pat! Ruthless, unforgiving and fucking overwhelming to the senses!

I love how New York Page handled himself across these instrumentals considering they had a hint of variety to them. 

I wouldn’t say he switched his flow up or style but more adapted to the different sound signature and made them work for him! It would be the same with an MC like Sticky Fingaz or DMX. Regardless if you put them over a glossy shiny beat or a hardcore hip hop one, their performances don’t change! Same role applies here!

He’s cunning, precise and ever so cold on the mic with a great spirit rooted in heavy handed delivery and wordplay. For someone like myself who is new to the man I’d say this EP is the perfect introduction to him and now I can be excited for the potential of a full LP release! Shoutout to all the producers who helped bring this EP to life and to the guest -Axel Leon for his contribution! Link to the project below! 

https://open.spotify.com/album/6JyoUmRvcI7dnD6zjgodEx?si=hZDrU5C4TbCPW2nYLCcMTQ