(ZING-DAYA)

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

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

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

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

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

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

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

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

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

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

(WHATSHISFACE)

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

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

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

-Phil Gektor 

-Maundz 

-Raven

-Crave One

-Traz

-Mog.Y

-Lobe

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

-DCORP

-Kerser

-360 (Some)

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

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

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

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

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

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

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

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

(The Black Book)

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

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

-FACES

-PapDirty

-DB

-ODDITY ODYSSEY 

-SZO

-RIVERSIDE JYNN

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

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

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

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

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

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

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

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

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

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

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

(Jayne Wayne: The Juggernaut)

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

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

-Napoleon Da Legend

-PiFF Penny 

-Aïda 

-Gcasino 

And Cuts by Daz Jones!

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

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

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

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

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

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

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

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

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

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

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

(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