(Luc Lion)

I can’t believe how many albums I’ve covered in the last few weeks by this man. It seems the more I review him, the more I’m gravitated towards his work, and this one seems to be his most exciting so far! So let’s get about it!

This is the latest album by Producer Jazzy Lion Man, and this time he’s working with MC Lucai, a man I only discovered with this album! This album has 16 tracks and only 2 features: 

-Zaid

-twogeebs

Now, it’s no surprise that, as his name suggests, Jazzy is prone to gravitate towards the heavy jazz influences and samples (and on this one he does too), but on top of that, I feel a more grand and adventurous nature about him when it comes to this production because the sound is more fresh, crisp, and atmospheric than I’ve heard him since ‘Jazzy Fatu’.

You can hear those ambitious instrumental cuts, those delicate keys, intricate melodies, and plucked strings combined with those precision-based drum patterns and organic lo-fi elements over this album that feels like a theatrical rollercoaster ride with the most high-end equipment! 

Across this 29-minute album, you can feel the love, the dedication, the appreciation for the music itself woven into this record. You can tell Jazzy wanted to do something special and pull off an epic assortment of instrumentation and arrangements that all come together to create this magnificent score that is ‘LUC LION’.

For me, this newcomer was the perfect chemistry choice for the record. To say they matched each other’s energy would be the biggest understatement of the year! The way these two bounce off each other, MC to beatmaker, is some of the best I’ve ever heard! The entire album, Lucai was relentless, not even stopping to take a breath, just straight bars after bars! He was throwing one-liners, puns, double entendres, witty lyricism, and more!

He was on a mission to show the world what he can do, and he did just that. His flow was deadly, his wordplay even more! With lethal efficiency and accuracy and a pen game so strong that it makes most pale in comparison.

It’s not only his strength in rapping that is so talented, it’s how well he syncs with Jazzy. I’m talking every beat feeling like it was ripped right from Lucia’s brain on what he imagined the perfect beat would be, and Jazzy extracted it from the brain to the board and created it exactly how he wanted it! I’m not kidding, this pair is ridiculous. 

I’m so happy I was given the opportunity to check this out because it’s fucking fantastic. I can’t pretend I’ll have time to cover all of Jazzy’s frequent releases, but this one is definitely one for the record books!

https://open.spotify.com/album/37h1oDHi9RPaJ3qQqv091K?si=v6D7xdQiSLaUQP9AgKQJfQ

(Olympus Has Fallen)

Not to be mistaken for that shitshow of a movie back in 2013 with Gerard Butler. But instead, we have a new project by Da Grand Hova and Oktane, and together they are

‘World Leaderz’

This latest album by the world consists of 19 tracks with just under an hour in length. The features include

-Lyve 

-MC Gravity

-B Wilson

-Born 5th Child

Now, as I’ve had many experiences with Da Grand Hova, I knew what to expect when it comes to his production, and as expected, the instrumentation was beautifully crafted, larger than life, and yet ambient and even minimalistic at times in its execution.

There are a lot of influences here from

-Lo Fi

-Art Rap

-Soul

-Funk

-Experimental

-Classic Hip Hop

And what’s impressive is how he can utilise these different sounds on the different tracks without it sounding clustered, messy, or awkward! It’s all done in tasteful compartmentalism, and it sounds amazing!

I love how organised yet at the same time how various each song is. You’ll never know what to expect from one song to the next, and with almost an hour of content to go through, you’re guaranteed to find something you like!

Anytime he’s on the beats, he always goes out of his way to make sure each sound, note, string, chord, whatever it may be, sounds as grand and naturally organic and cinematic as possible. It’s hard to explain unless you listen to it yourself; it always sounds natural, and that’s one thing I’ve always appreciated about his work!

Now onto the MC work! As I should have expected, it’s equally as natural, smooth, and in its own divine way devastating! I hope someone gets this reference, but I would describe it as when Tanjiro from Demon Slayer fights demons! He’s the most kind-hearted and pure being in the world, but when he’s got his mind set on killing you, nice or not, you’re dead!

That’s the best way I can describe this. You don’t ever feel any malice or hateful energy off this record. No pointless thug braggadocio or drug talk, just straight, dope bars that shine aura! 

BUT, in the same breath, they are some of the dopest bars you’ll hear in the game, so they are sharp enough to cut through the competition! His bars are fluent along with his flow. His razor-sharp intellect weeds off the haters, and his perspective on his verses is refreshing alongside his introspective pen game to match the lavish production!

Yup, this album is definitely better than the movie.  Fantastic chemistry between the two with quality features! What more can you ask for? (If we are talking about the film, a lot more!)

https://open.spotify.com/album/3t1DpSTD9NlSnV71JZeizF?si=ljTVUeLATzCEgNonFXU3dQ

(Cymandre 3000)

You know what they say, there’s a first time for everything and today I get the opportunity to review a remix tape. Featuring the works of Brycon & Maître D and the vocal performances of the legendary Andre 3000!

This is a 16 track project with various 3 Stacks verses used for the vocal performances and across this album we hear different interpretations and re imagined sounds of the classic songs we all know and love and so at the end of the day I feel this project is one to listen to with open hearts and ears of a major ‘what if’ scenario comes to life and we get to hear our nostalgia in a realistic new light. So how does it fair?

Featuring the works of Brycon & Maitre D and the vocal performances of the legendary Andre 3000 blended with interpolations of the incredible 70s funk outfit Cymande.

Honestly, I actually love a lot of these remixes. What these two did to dare I say ‘brighten up’ and experiment with already established sounds really comes to be sounding fresh, exciting and just overall original. I know some fans out there don’t like when an album or single is messed around with (and I’ll admit to having that mentality with some parts of my life) but when it comes to music and artists trying their hand at an new style and paying homage to the arguable ‘Greatest Of All Time’ of yesterday by putting an alternative spin on things I think that’s completely justified and okay!

For example the remix of ‘Mrs Jackson’ which features a more soulful and slower instrumental to flesh out the strong message of the song that might get lose in the originals infectiously rap pop style beat.

Or the track ‘Hey Ya’ which we already know has one of the pop heavy beat of the Outkast discography well in this one it’s more slower tempo, soul/tribal sounding. Not to say I’m the biggest fan of this switch around but that’s the purpose of this record! To listen with your ‘imagination’ first ears second. This is an opportunity to let your mind wonder and see what the other side would have sounded like.

At the end of the day, some will appreciate this for the creative venture this is and some will hate it for ‘messing with the originals’ either way it’s an interesting and unique take on some of the most iconic rap songs in history and I invite you to try this out with an open heart and mind! 

https://mikecthemaitred.bandcamp.com/album/brycon-maitre-d-present-cymandre-3000

(Train Spotting)

Talk about an anticipated album! This one has been rumoured since the start of the year! And now that it’s finally here, how does it hold up? Let’s talk about it!

This is the latest collaboration album between MC Rome Streetz and Super producer Conductor Williams. If you don’t count the ‘Death & The Magician (Dusted Edition)’ by DJ Muggs, then Rome’s last album was ‘Hatton Garden Holdup’ in 2024, produced entirely by Daringer. 

Since then, he’s been building up hype from international tours to a handful of different singles and now finally dropping this 14-track record with 33 minutes and featuring only two names: 

-Method Man

-Jay Worthy

I’ll let it be known here. I absolutely love Conductor Williams! I’ve been supporting him since his work on the majority of the Griselda release, as well as his fantastic ‘Conductor, We Have A Problem!’ 3-part beat tape series. His production has always been experimental, dark, hypnotic, and left-field.

His music always features otherworldly sounds and distorted chords and strings that make you feel like you’ve been kidnapped by a UFO, and this is the ASMR they play in their spaceship. It’s always an experience, to say the least, to listen to this work, and this album is no exception!

This album features the trademark, mystical, distorted, manipulated instrumentation combined with the occasional unfiltered music sample normally added at the start or end of the songs to give it that extra splash! 

The main aspect about Conductor’s instrumentals, regardless of the album he’s on, is that they all have the effect of hypnosis on the listener! He’s found a way to turn repetitive, loop beats into a kind of ritualistic experience where your mind is stuck in a trance from the first to the last track, completely gripped by the production. 

That’s the effect his music has, and it feels even more amplified across this project! If I had to choose my favourite track on this album, it would have to be ‘Joe Pesci’, not only because he’s one of my favourite actors, but the way that song loosely features the rhythm for Stevie Wonder’s ‘Visions’ off his classic album ‘Innervisions’. It was done so smoothly and beautifully handled that I couldn’t help but admire it!

Whether it’s his thrilling beat tapes or his notorious production features across every rapper from Rome to Drake! Conductor doesn’t know how to miss! 

Now, Rome. The man who has been rising up the ranks for the past few years now, and one I only started to pay attention to after his major Griselda release ‘KISS THE RING’. This man has been on everyone’s mind for a while now, and further proof of this is how much anticipation this album had based on very few facts of the release date leading up to it. 

The hype alone made us all patiently wait, and that’s mainly because of this MC Rome. 

This man has become the dictionary definition of ‘Brag Rap’ personified. You can expect with every Rome verse to be roasted, hear him boast about his women, wealth, rise, and career.  He ain’t scared about pissing people off by flaunting his success into the faces of the haters and even his contemporaries! He’s the man right now, and he’s going to tell you about it!

He has his trademark slick delivery and flow. His in-your-face gritty lyricism and cocky studio cadence. This level of energy and self-confidence is perfect for the ‘Griselda’ brand, and his top-notch pen game is evident here more than anywhere!

He proves his worth in the game by rapping alongside the legendary Method Man! Proving he’s not only worthy of sharing the track with him but showcasing his growth, talent, and sharpened skills! 

This album is as good as I was hoping it would

be! The production was flawless, and Rome proves once again why he’s the one running shit right now! 

https://open.spotify.com/album/0W1weRxZoJaDit9WvMQ2i6?si=yAaAxWB9Rxmvdl3PGTHW1Q

(ZINGCLOPS)

It’s incredible that there’s an artist out there where each new album I hear from him (old or new), I’m convinced it’s his best one yet! Very few artists have this level of consistency, and he’s one of them! So let’s talk about it!

This is the 2024 release by FEED THE FAMILY’s own Borirock. The man who has shifted the culture single-handedly with a list of albums in a row that defy all logic of being that good without a dud yet. We are talking a solid run from 2024 to now! And this is one of those albums, which includes 13 tracks with the features of 

-Al Divino 

-Top Hooter

-Estee Nack

-Shaykh Hanif

-Mickey Diamond

That is one solid roster to bring forth for this record, and with fellow FEED THE FAMILY member Tremendiss on the production, this was bound to be a modern-day classic!

The thing about Tremendiss is his ability to tune any sound, instrument, or aesthetic into something grand and cinematic. He could be recording an acoustic guitar album and somehow make it sound like a million dollars. With every album I’ve heard him produce, he always elevates the production to a new, unreached level of quality, grit, and supreme performance that turns a record into a masterpiece score. 

His attention to detail is second to none; across this album, he utilises so many different aspects such as raw vocal loop beats with skeletal hip

Hop beats to 

Old-timer/classical music samples paired with hypnotic strings and theatrical horns such as the second track ‘OPTIC BLAST’.

Even tracks like ‘COKE IN LOGAN’, which has these eerie organ keys that sound like a villain in a haunted castle playing a tragic melody in the dead of night! 

Each track on this album is different and equally masterful and engaging. It’s as if each track has a will of its own and takes over the soul of the listeners with its beautifully written beats and instrumentation! I ain’t joking, this is the best I’ve heard Tremendiss; if he ain’t one of the best producers out right now, I don’t know who is!

Now, onto Borirock. The man with enough energy and personality to fuel 100x artists and still have enough to drown in. The rap game really hasn’t seen a character like him, and it’s that wild, unpredictable aura that makes all his releases stand out for their replay value and entertainment factor!

On this album, he brings his trademark wavy vibes with his ridiculous levels of enthusiasm and passion on the tracks! The way he delivers his bars feels like fireworks on the tracks; it’s explosive, colourful, and loud! He ain’t never one to censor himself or sound lacklustre; it’s always 100 miles per hour speed or nothing!

Plus, his adlibs are always fascinating to listen to! It’s like a sonic adrenaline shot that pumps up the listener! The fact he’s on the track with Al Divino on most of these tracks should be illegal. Whenever they are both on a song, it feels like I just drank 5x energy drinks back to back; I’m always left with too much energy then I know what to do with! 

I also love how this album ends with a Mickey Diamond verse! Mickey and Bori are a match made in underground heaven, and it was the perfect way to close the album!

Also, I love the artwork, name, and intro skit to this album! How it’s about Cyclops (Scott Summers) being the best character! I personally prefer Wolverine, but I love the comic influence on this album!

Overall, another classic release by Bori! At this point, I’ve heard him work with five different producers, and he was fluent with all of them! The levels this man can adapt are ridiculous and skilled beyond comparison! Definitely an album you can’t miss out on!

https://borirock.bandcamp.com/album/zingclops

(Black Hole Superette)

In this day and age, I could count on one hand the number of artists that can hold my attention down for an hour or over. Off the top of my head, I’d say Kendrick Lamar when he’s on his conceptual shit is one, but another is this man who has been creating one of the greatest and most underrated discographies in all of hip hop. Let’s talk about it.

This is the latest full-length album by underground lyrical legend and pioneer Aesop Rock. Emerging since the late 90s, this man has been holding down the underground long before it became as popular as it now is. His albums have been the true culture shift that helped evolve the scene into what it is today, and he’s back proving he hasn’t aged a day!

What’s even more remarkable is that this album was entirely self-produced by himself and features some of the greatest lyrical minds in the game today, such as:

-Armand Hammer

-Open Mike Eagle

-Homeboy Sandman 

-Lupe Fiasco

-Hanni El Khatib

This album is one hour and eight minutes but feels like a fraction of that. It’s because Aesop has been able to captivate an audience like no one else can. With his god-level lyricism, unmatched vocabulary, and skills on the mic (for those who are unaware, it’s been proven that he has a more complex vocabulary than even Shakespeare did), he’s that good.

And across this album, he’s showcasing the same level of in-depth wordplay, puns, double entendres, and intricate rhyme schemes that literally put everyone else to shame. Across this project, he’s going back and forth between telling short stories to flat-out spinning out the audience with his feats of lyrical superiority and doing his so in his trademark, witty, and introspective manner. 

The most standout track to me is ‘Charlie Horse’ as it depicts the three strongest lyricists of our time coming together for a collaboration single unlike any other. A dream pairing for all the real ones and a song that doesn’t disappoint. 

As the production goes, this is exactly up the alley as you’d expect from Aesop. Art Rap/Experimental, raw and unrefined alternative hip hop that he’s been working with for over 20 years now. 

It’s unpredictable, interesting and off the wall. He’s always finding new ways to keep his production fresh and unique, and he’s always open to using any and every instrument palette at his disposal to make the beats.

You’ll find anything from synths to drums, horns, strings, keys, drumless to glossy to pop; he’s literally got his hand in every jar, and he’s come out with an original album because of it. If you’ve been a fan of his over the last 20 years, then you’ll love this production! It’s him to a tee, unpredictable and fun.

This was one hell of a fucking album. The features were perfect, the production was ecstatic, and the lyricism was prime Aesop at his best. This is the kind of shit REAL underground hip hop heads love to hear!

https://open.spotify.com/album/63y5mkLctupacSr20e0O6j?si=92-_WXSCQ3qQaopsFazQNQ

(Jazz McDuff)

I’ll tell you one thing, I’m a complete sucker for jazz albums, whether that be hip hop or otherwise, so when I saw this album cover, track list, and album name, it got me intrigued, so I had to check it out, and thank goodness I did because this thing was a blast!

This is the latest beat tape by producer ‘Jazzy Lion Man’, a man I first became aware of with his wrestling-themed album ‘Jazzy Fatu’ and since have covered a few of these albums, but as someone as frequent as he is, it’s impossible to get through everything, but this is the one that stood out to me! 

It’s an 11-track, 20-minute project that’s heavily based on jazz instrumentation and themes.

From the very first track, you have that classic ‘John Coltrane’-sounding feel to those beautifully crafted horns and old-school hip hop pattern. This feels like a track that would be perfect for a band like ‘A Tribe Called Quest’ to go off on!

As the album continues, it has small talk interludes that remind me of the layout of Madlib’s ‘A Shade of Blue’, how he had different Bluenote affiliates discussing the history of the label! 

This gives me the same vibe!

As the music continues, each song has its own jazz personality and characteristics. Each representing a different era and subgenre of jazz. Whether you’re talking about the 

-Traditional jazz

-Bebop

-Avant-garde jazz

-Acid jazz

-Free funk/jazz

-Jazz blues, and so on.

My main three favourites in jazz have always been Miles Davis, Herbie Hancock, and John Coltrane, and this album (among many others) showcases what I feel are homages paid to those legends in one way or another.

I can hear it in the tempos, the jazz fusion sounds, the stylistic choices, and more. This album is meant to be a love letter to the golden era combined with the elements of hip hop to create a fresh, atmospheric jazz extravaganza that is perfect for any occasion!

Again, I’m a complete sucker for jazz. I hope Jazzy Lion Man will continue production like this going forward because he does a fucking amazing job!

https://open.spotify.com/album/5TLhsdEMqQOeUCBp35fnld?si=2VAqfLinR0qTOr-vT0TQ6A

(Frizzed In Your Pants Mixtape Volume 1)

So, new artist alert. It’s always an exciting aspect of what I do to have an endless supply of artists and producers I’ve never heard of, and today I get to experience both! So let’s get into it!

This is the latest mixtape by MC Rapn Frizzy and produced by 8am beats! This mixtape features 

-Aaron Johnson

-Yugen 

-Cloud Leme 

-Kool AD

And it’s made pretty clear from the first song that, unlike most of the other reviews I’ve done, he’s going for a more ‘mainstream’ ‘trap’ approach to his music. 

If we start with the production, you can hear those influences of 

-Trap

-Mainstream Hip Hop

-Experimental

-Noise 

There are actually a few different sounds going on in this mixtape, but for the most part, this is the kind of sound you’d expect to hear from artists like 

-Lil Baby

-Logic

-Migos 

-Young Thug

Artists of this nature, we’re talking high and glossy instrumentation. The instruments feel bigger and more ‘radio-friendly’ than other cats in the underground (as most likely he’s trying to cater to that non-underground audience), and his inspirations sound as much!

Like the track ‘Redrum’, for example, with those long-winded haunting strings combined with that traditional 808 sound and hi-hats. This is definitely the kind of track you’d expect to hear at the clubs and the radio these days!

There’s also the track ‘8 Beers’, which has a more acoustic base to it, but of course, as the track progresses, that trademark trap flavour comes into it!

I feel this kind of album is a working effort to please the audience a few levels up from the underground (maybe this he won’t feel this way), and if this wasn’t his intention ‘sound-wise’, then I hate to be the one to break it to him, but yeah, as someone who has reviewed over 400 pieces of content this year, I can safely say this isn’t the sound you hear in the independent scene, but if his goal is to reach the big leagues, then this record will surely be met with praise there!

As far as the rapping itself goes, I sensed a lot of similar trends of ‘free form’ rapping combined with that trademark braggadocio lyricism and the mainstream ‘singing/rapping’ combination that is very popular right now.

Now look, just because he’s choosing to ride the same wave as guys listed above doesn’t mean it’s a bad album or a bad performance! I’d actually say for what he’s doing, he’s delivering a lot of flavour, enthusiasm, and energy across each of the tracks! It’s just as a reviewer, I can identify the commonplace of his flow and delivery!

There are a lot of artists out there today who are prioritising ‘vibe/aura’ raps over deeply lyrical and conceptual ones, which is absolutely fine! There’s an audience for every branch of hip hop, and even though this specific style may not be my cup of tea, I understand the vision he has and what he’s striving for, which is dope!

The features on this mixtape definitely suit his level of personality and energy in the studio! They all feed off each other quite well and make for a fun and engaging atmosphere!

All in all, it’s definitely not the kind of album I’d say is ‘underground’ based on its sounds and vocal projections, but hey, if I’ve got my knowledge right, this was just a collection of throwaway songs that didn’t really fit into any album, so I wouldn’t take the criticisms too heavily! It’s a vibe, and if you’re into that mainstream atmosphere, you’ll love this! 

https://rapnfrizzy.bandcamp.com/album/frizzed-in-your-pants-mixtape-volume-1

(Based On A True Story)

I know I’m late to this one, but today I was out of ideas for reviews and then I remembered this existed, so I couldn’t resist. 

This is the latest album by legendary actor and rapper Will Smith. This man should definitely not need an explanation. I refuse to believe no one knows who he is!

The Fresh Prince himself, the first man who got a Grammy for a rap album, the man who became notorious for his clean, swear-free raps and, most importantly, for his films. 

2005 was his last album, ‘Lost and Found’, an album I actually fucked with as a kid! With that banger single ‘Switch’, which came in so many variety remixes, such as R&B and reggae. 

Anyway, it’s been 20 years exactly since that album, and what has happened since? Well, with this album, he features with him on the production: 

-Lexoskeleteon

-OmArr 

-Days of 1993

-Lastnight

-Kyle Townsend

-L’Amo

-Beau Nox

-Manuel Lara

-Zach Ezzy 

-Lucas

-Leo Son

And MC’s:

-Jac Ross

-Big Sean

-Obanga 

-Joyner Lucas

-Russ

-Jayden 

And look, across these 14 tracks and 37 minutes, I have to surprisingly say I don’t hate this! 

When it comes to his music albums until now. He’s always had the reputation and exception of being that ‘clean guy’ in rap. There was always a level of expectation to him that he’s going to prioritise G-rated themes and lyricism over a substantial record. 

Don’t get me wrong, his earliest few albums were amazing club, radio albums! So many hits, and that’s not even including The Fresh Prince theme, but as he passed the 90s, his music developed more stigma for, dare I say, a stunned rapper focusing on the ‘family-friendly’ feel over quality. But this album actually feels like a solid rap album that’s only focused on quality!

In fact, the first two tracks on this album contain swearing! Obviously, nothing compared to the majority of the rap scene, but still, for Will, that was surprising to hear the F-bomb dropped in the intro! 

As the album progressed (although definitely not perfect), he felt the most passionate, reinvigorated, and alive that I’ve heard in years. 

One thing you will notice about this album is that he’s definitely become a slave to the trends of the times. It does feel like he’s sacrificed his originality in his delivery, but despite that, I feel his actual flow, lyricism, and the way he spits his bars is still very fresh and entertaining (despite what the harsh reviews and critics have said regarding the record). 

I feel if anything, the harshness is due to him trying to push his way into the hip-hop scene and just mildly copy what everyone else is doing over mostly trap, hi-hat type beats. Considering this is his comeback album, me and the rest of the world were expecting a more ‘creative and original’ spin on his trademark style from the 90s, but instead, we get a man trying to fit in with popular culture, and that can rub people the wrong way stylistically, but even so, I still think his actual verses sound pretty good! 

Is this album corny? Fuck yes. Especially the track with him and Joyner (what a nightmare pairing), and he is effectively picking and choosing every style hot right now as his base for this album. But besides that, I still feel he’s hungry for it, sharp (mostly) lyrically, and provides a rather entertaining edition to his discography after 20 years! 

So I’d say ignore the reviews and see for yourself if you like it or not!

https://open.spotify.com/album/6Xmk0viXpOgutxl16nchTb?si=CNcEFsKYStqQ1WDdRuZNbQ

(Dockumented)

It’s been exactly five months now that I discovered this man with his ‘War Dogs LP’, and since then he’s remained on my radar as someone who is original, creative, and someone who fits in their own lane unlike any other. So, with that being said, let’s get into it!

This is the latest EP by rapper K. Burns. This time around, he has two producers with him: 

-JackMadeDat

-NCL-TM

And together they help cultivate six tracks that help elevate and distinguish K. Burns from everyone else. This production, unlike other projects of his, is more on the ‘mellow’ and ‘melodic’ side of things with a lot of jazz influence with sharp synths, gentle drum patterns, and glossy piano keys.

This is the kind of production that you listen to to help relax and just sit back and enjoy the record. There are so many surreal elements such as gorgeously layered vocal arrangements, a tranquil aesthetic, and a hint of ‘ambient’ atmosphere with those angelic vibes and soothing loops that remind me of the 90’s jazz rap acts like the kind of production you’d expect to hear from ‘A Tribe Called Quest’ 

There’s even tracks on here that feel like an 80’s montage like ‘Retrospect’, which has those sticky bass and electronic guitar strings that sound like they were ripped right out of the movie ‘Lethal Weapon’ right before an action scene. This kind of colourful and warming production is what makes K stand out so much.

He always chooses the most skilled, talented, and aura-filled workers who always bring something unique and original to the table that I just love that sets up the path for the man himself.

The man, of course, being K. Burns. In the space of five months, he’s gone from an MC to a social sensation that everyone talks about in this game and for good reason. As I said at the start, he’s in a lane of his own, and he doesn’t ever compromise on his vision, ideas, or execution.

As usual, he features his trademark slow, methodical, and calculated bars with his monotone, deep vocal tones that command the room. He ain’t in a rush to go nowhere because he knows the game is his, so he’ll take his time.

He talks, walks, and acts like a boss. He has those street bars mixed in with introspective and personalised lyricism and pen game. His flow is smooth and wavy as he glides track for track, and his enthusiasm and passion for the music itself is evident in every word he spits.

For this EP, he doesn’t need any features. He’s an artist that has recognised the importance of being able to work a project solo and what that projects to the audience and the culture itself. With only six tracks, he didn’t leave any room for error and utilised the production phenomenally!

All in all, I was very impressed with this EP. The two producers brought the most heartwarming instrumentals to the project, and K, as usual, brought his lethal yet compelling dose of MC work to the forefront! Can’t miss this one!

https://teamfamegvng.bandcamp.com/album/k-burns-dockumented-ep