(Color Sound Experiment 2)

We’re back for part 2! This time around, there’s only 1 track of 13 minutes and 38 seconds, and so let’s talk about this!

Once again, my two favourite beat tape makers, ‘Philth Spector’ and ‘Q No Rap Name’, are back in their amazing collaboration project. Their first one was as original and unique as they come, with colorful, crisp, and clean production that left your mind in a state of wonderful frenzy.

This time around, with this 1 track, I feel a lot more of a concealed sound, that although not as far-reaching ‘experimentally’ speaking as the first, is in its enclosing of sounds such as: 

-Soul

-Classical

-RnB

-Jazz 

And within these limited sonic parameters, they make magic. I want you to imagine a similar vibe to what Knxwledge did on the ‘NxWorries’ series. The smooth and elegant instrumentation with that crisp, soft, and sweet texture that just makes you wish you were on a beach in Hawaii watching the waves crash without a cloud in the sky.

That’s the atmosphere this record gives me! It’s a wonderful listen, and I love how they’ve decided to try something new on this one and experiment even more but with a different direction.

These two are as crafty and creative as they come. Whether they are working on a grand out-of-this-world soundscape or a beautiful, relaxing, and relatable experience of relaxation and joy, they know how to create magic. Once again, nailed it! 

Shoutout to Slim Corvelli on the record as well!

https://qnorapname.bandcamp.com/album/color-sound-experiment-2

(Colour Sound Experiment)

Man, what a treat it is for me. Two of my favourite beat tape experts on the same project together, so let’s talk about it!

So, this is the first of two (that I’m aware of) albums for the ‘Color Sound Experiment’ series. Featuring beat makers ‘Q No Rap Name’ and ‘Philth Spector’, and this record has two parts: 

-Side A (25 minutes and 36 seconds)

-Side B (16 minutes and 33 seconds)

In a very similar format to Q’s other album this year that I reviewed, ‘Living Room’, where it was a few big sides instead of your traditional set of smaller tracks. But regardless, as expected by these two professionals, this tape is DOPE. 

It features a combination of Lo Fi/Ambient sound mixed with Experimental/Avant-Garde vibe samples and atmosphere that builds this sonic world filled with fun yet unique and exciting music that you just wouldn’t hear anywhere else.

This is the kind of project I would play and just drift off into an imaginary adventure in my mind and let the different array of sounds take me to different realms and possibilities through the art of music.

I think these two have a perfect synergy together. They both display incredible talent and creativity in the beats they produce as well as having the mastery to pull their ideas off in fun and original ways that can make every album a diverse experience that is exclusive to them!

If you’re looking for something new, something different, then these are the guys for you! A match made in heaven! 

https://philthspectorxphilly.bandcamp.com/album/color-sound-experiment

(When Moose Attack)

I’ll be honest with you all. Before I even listened to this thing, I was hyped. From the artwork to the album title, this already looked interesting as hell, but as soon as I heard that intro dialogue, I knew this was THE SHIT. Let’s talk about it!

So, this is the latest EP by producer Moose Tarantino, a man I discovered thanks to his frequent work alongside Flames Dot Malik of BSF. Across this one are 5 tracks: 

-A Moose Attack

-Get Away From Me

-Antlers Of Death

-Got You

-No Real Survivors

And man, let me tell you, I just love that creativity. The man named Moose goes, ‘You know what the world needs? A conceptual EP about the danger of moose.’ That’s some gangsta shit right there!

Regardless, I absolutely love the sound of this one. It’s fun, colourful, vibrant, and infectious. It seems the beats just jump out alive. The only other project I can compare that to would be ODB’s ‘Return To The 36 Chambers: Dirty Version,’ where the production RZA did literally sound sentient and toonish. In the same respect, these beats have a touch of dynamic sound and power that it just makes it sound like you’re listening to a cinematic movie right in your house.

The use of a different vocal snippet for each track is absolutely fantastic and adds so much using so little. I never in my lifetime thought I’d be listening to a project about the danger of moose, but who better than Moose using his ‘dangerous’ weapon of producing to bring that to my attention?

Happy Birthday to Moose, and at the same time, my 100th review on my website to be this masterpiece of a beat tape. If you ain’t checking this shit out, then you’re wasting your time elsewhere! 

https://open.spotify.com/album/49TVkwWS0UsBGFAVFF2SKn?si=XQrNEJ_lSk2j955rWfdmRw

(Soul)

The third Fredro Starr album review in 48 hours. I’ve always been impressed with his work with Onyx, obviously. But to think he would blow me away this much in his later career is a testament to how real legends don’t have a ceiling; they just break through that shit!

So, this is a 10-track just under half an hour with a 29-minute length. This album is performed and produced by Fredro! The ultimate master of trade in hip-hop. The features are as follows:

-Pryce Whyte

-Siggy

-Big Al

-Ricky Beats

And on this one, the production is a lot more smooth and serene compared to other works. As the album name suggests, ‘Soul’, it has that sleek and contagious sound that makes you just wanna groove and strut down the street vibing on the album. 

I’ve become so accustomed to ‘hardcore’ styles from Fredro and Onyx that I’m always left surprised when I hear how pristine and, dare I say, beautiful he can make instrumentals when he wants to, and I absolutely love that side of things! It’s a change of pace but a welcomed one as it helped explore a different side of him and his talents as a producer.

Obviously, at this point, you know Fredro and his legendary pen game. If you don’t, then I doubt you’d even be here in the first place. On this one, he’s a combination of his trademark hardcore gritty personality and tone but mixed with a more calm and relaxed cadence to flip things up across the different instrumentals.

Which is nice because it gives fans a variety of sounds, flow, and bars that help expand him as an artist. Of course, for those who prefer his classic aggressive sound, there’s tracks for that! For those who want to hear him in a new light, there’s a lot that, so I feel this choice helps please everyone as well as showing variety!

Overall, another solid project! Fredro keeps impressing me with every new thing I hear from him. This is gonna be his year, and I’m more than hyped to see what comes next! 

https://open.spotify.com/album/1mRIWQfIYJzd4gJgpFLs1J?si=wpkTY6YxQ1m8KeHPHsOGng

(YELLOW GOOSE)

I know, I’m reviewing this album after the latest Fredro Starr release ‘FLAiRSTARR’, but man, Fredro’s evolution is a thing to witness! He’s definitely improving by the month, and I’m happy to be a fan watching this all go down!

So this is the latest project, as mentioned above, produced by Fredro Starr and rapping by JD Era, and the features are as follows!

-Sticky Fingaz

-Ricky Bats

-Johnny Vulgar

-Asun Eastwood

-Shi Wisdom

And across this project, I can honestly say I was BLOWN AWAY with the quality of the production. I had a feeling it would be good based on his most recent drop, but damn! Especially on cuts like ‘Go Crazy’ and the way he put a modern twist on the ODB voice samples and ‘Shimmy Ya’ beat is nuts.

Or bringing back the OG 90’s freestyle vibe with the track ‘Pots N Pans Freestyle’ with that infectious, simplistic beat that you’d hear during lunch when one of your homeboys would start a beat tapping their fists or spoons on the table to start a raw freestyle.

Even the track ‘Know My Name’ with that soul voice sample across those smooth piano keys, man, literally every single beat on this album hits hard, making me groove in a way not many do! Shoutout to Starr, he’s absolutely incredible.

Now, JD Era. The man with the smoothest delivery in the game. With every bar dropped, it sounds like sonic velvet on the track that just glides off the beat and into the ears of the listener! 

His wordplay, lyricism, and penmanship are all at such a high level that he sounds effortless while doing it. Sounds like he knows he’s the man in this shit and he’s just re inserting the narrative once again to all of us fans.

Even alongside absolute legends in the game such as Stickey Fingaz, he still holds his own, sounds, and acts like a boss. I can say he could rap alongside anyone in the game right now and still hold his own! Absolutely brilliant.

This is a collaboration fever dream. The best of both worlds, some of the best production you’ll hear all year alongside some of the best performances and features. If you ain’t checking this shit out, you’re missing out!

https://open.spotify.com/album/2oQzobVxQ8wevdpslmXJD3?si=jScOm0l4RJqrXL6G0kQdOA

(Everyone’s Gotta Pryce)

I still maintain that when done right, not much is better than a solid collaboration. This time round, we have one of the dopest pairings you’ll see anywhere!

So, this is the new album by producer Vincent Pryce and rapper Slik Jack. On this one, the features are as follows:

-Daniel Son

-Bub Styles

-Pro Dillinger

-Dj KutKaper

-AYOO BIGZ

-Asun Eastwood

-Snotty

-Chubs

This line-up is probably the most overkill you could ever hope to have on one album. Absolutely insane list. 

Across this project, Vincent dives deep into that cutthroat, bloodthirsty Boom Bap sound. Every single beat sounds like it’s waiting to jump out of the headphones and strangle you! You can feel every instrument, key, and beat so intensely that it runs throughout your whole body and soul until it feels like you’ve done a whole workout after the album is done.

When you incorporate the level of talent that you have on this one, you know the production has to be on point and then some! But Vincent, being the professional he is, understood the task completely and made sure to pour as much mayhem, violent intentions, and grime as you can to make this one of the most booming instrumentals you’ll hear all year! 

Now, Slik Jack. The lyrical mastermind who’s spent years grinding and sharpening his skills to the point where he can hold his own against anyone in the underground today. Which is evident from the list of affiliates he decided to recruit!

Slik has this cold, raw, and monotone voice that makes you feel like you’re listening to a legit killer on the track. That, combined with his intense flow, sophisticated lyricism, and dope bars, makes him an all-rounder threat. 

He doesn’t skip a beat on any of the tracks, and every word he spits sounds like sonic knives stabbing you right in your earlobes. Not many could slip into these instrumentals as smoothly as he does! He fits them as tailor-made as anyone else in the game.

When he’s rapping alongside these legends, he’s of course going toe to toe and proving why he’s the one not to fuck with in this hip-hop game. 

Definitely album of the year, no question. From the savage production to the intense rhyming and features, this is a project that will be near impossible to beat!

https://open.spotify.com/album/79UrSG5NkLvzIFv2Es2cow?si=F8dcXUzyS2SFVj7NoX9eaA

(Beat Sets From Da Underground Compilation Vol.1)

Well, through starting this website, I think I’ve done every form of project you could do (besides a parody album).

I’ve done: 

-LPs

-EPs

-Demos

-Remix albums

-Beat Tapes

And now I get to cover my first compilation album! So let’s get to it!

So, this is Vol. 1 of a monthly showcase hosted by ‘The Street Dreamer’ on ‘Great Circles Radio,’ where apparently people come together to share live performances, and so this is the compilation of those various beat makers.

So, this album has 18 tracks with 18 different artists, which will be in the link below to view! Each track ranges from 0:59 seconds to 4:23 minutes. Honestly, this kind of project makes me happy because it just sounds lively and fun. 

There’s a certain aspect to it that makes me feel comfortable and warm because I can hear the passion, the creativity for creativity’s sake. This doesn’t sound like a corporate venture where everything is polished just right or all the cracks and edges have been taken out; this sounds spontaneous and interesting, and I had a blast listening to it!

Across the projects, there are so many influences from:

-Soul

-Lo-Fi

-Jazz

-Hip Hop

-Ambient

And although there are plenty of names on here, I don’t know; this does have my two main guys, ‘Philth Spector’ and ‘Q NORAPNAME,’ both who have production I’ve discovered this year and now fuck with heavy!

Actually, while playing this album, Philth’s song stood out the most to me with those sharply cut vocal loops over that booming boom Bap instrumental! Very dope track. 

I wish this kind of experience could be a more recognised and utilised thing. Like if rappers used these competition cuts for their albums instead of processed sounds, I think that would make for a more engaging listen! These are the kind of production you just don’t hear much anymore, and to be able to access the new generation and their own personalities woven into the songs is such a blessing, and I hope to hear more! 

https://thestreetdreamersprodclub.bandcamp.com/album/beat-sets-from-da-underground-compilation-vol-1

(MARLO STANFIELD)

*NEW EP ALERT* What’s more exciting than discovering a new artist? Not much.  It’s always a good experience to widen my range and find different people in the game, so without further ado, the new William Bostick EP!

So, 4 new tracks with a 10-minute run time.

-MY NAME IS MY NAME

-MARLO STANFIELD

-WRAPPED DIFFERENT

-SINNERS TOAST

And William does both the performing and the producing. Which is a pretty dope skill to have, and he does both fantastically! Each of these 4 tracks sounds larger than life, grand, crisp, and lavish.

There’s a level of detail and depth to these instrumentals with various influences such as: 

-Boom Bap

-East Coast Grime Hip Hop

-Soul 

Each song has its own personality and flavour, which gives the listener a choice of sounds to enjoy and choose from. For example, the opening track has the most smooth and glamorous production with what sounds like an 80’s Soul vocal sample loop. 

Then the second track has that in-your-face, street shit Boom Bap to break your neck to! The third track has a more mainstream hip-hop flavour with a more polished and accessible beat that I feel would be played in clubs! 

That final track is what I feel has the most grime-heavy production with those deep keys and piano notes! Sounds like something DJ Premier would make for a Gang Starr record!

Across this EP, William provides a series of compelling verses, bars, and flows to complement those instrumentals! His penmanship is dope and smooth when rapping across the various beats. I love how on track 3 he uses the inspiration of the Slick Rick song ‘Lodi Dodi’, which is one of my favourite rap songs.

Plus, his use of vocal snippets on a few of the songs definitely helps build a certain ambience and atmosphere to the project and makes it feel that little bit more theatrical! 

From the fluent rapping and the excellent production, this is definitely one of the highlight projects of the year so far! Short and sweet and definitely worth checking out!

https://open.spotify.com/album/7xpdFFhXVMtKHsaVy09qdO?si=Aq4tl4bqRhOIkYd0XRV-pQ

(OUT FOR BLOOD)

Man, this is a cool moment for me. This all started because I decided to ask a regular customer at my grocery store where I work what kind of music he fucks with. He told me metal and that he’s in a band (this one) and to check them out. So here we go!

This is the latest EP by band ‘Eight Count’, a hardcore punk band from Melbourne, Australia. Consisting of 5 tracks with a run time of 10 minutes.

This is the kind of punk I love, heavy, unforgiving, and ruthless. If I had to describe the sound, it would be a mix of Black Flag, Kenmode, and Minor Threat.

From the opening note, you have those sluggish and monstrous guitar riffs, and right away with those heavy vocals, there’s no fucking around with these boys; they go right to the chase, no bullshit.

One thing I love to hear on this record (which is something exclusive to Melbourne) is the sound of the woman saying ‘Now Arriving At Frankston’ on the intro to the track ‘3199’,

which is a sound that would probably give nightmares to anyone from here past a certain time due to its ’dangerous’ reputation but iconic nonetheless for those who know of it.

On tracks like ‘Born 4 War’, you hear this more classic punk interpretation in those opening notes, which give off the ‘Black Flag/Minor Threat’ vibes. The heaviness of the album is what reminds me of ‘KENMODE’ in its relentless and deep riffs, slamming drums, and vicious vocal performances, and I feel the track ‘Revenge’ suits that description the best!

The final track ‘Dog House’ is a brutally crafted track to end the project with. The long and sharp guitar notes across this track paired with those fast-paced drums followed by an absolutely shredding guitar solo was the definition of EPIC! They pulled no stops for the close, and it’s probably my favourite on the whole album.

If you’re a punk/metal fan, then trust that this album is for you and for anyone who loves their music heavy and unforgivable! Try it out now! 

https://open.spotify.com/album/6f2dZ2aHqquE8memTx7ws7?si=2EiXidIIQu-ya087NXa3RQ

(FLAiRSTARR)

Man, what an exciting collaboration to think of. Jay Nice and Fredro Star. Two legends in their own right, so let’s talk about it!

This latest album features 10 songs with a 35-minute run time. The entire album is produced by Fredro himself, and the features are as follows:

-Fredro Starr

-Ru$h

-Tha God Fahim

-Big Cheeko

-Kuji Young

And let’s start with the production because it definitely makes like Starr in beat form. You can hear that hardcore influence with those raw, bass-heavy, crisp, and East Coast Street sounds. The kind of shit you’d bop your head to till your neck ain’t working anymore.

Across the violent, hardcore beats, he also incorporated a lot of smooth and catchy rhythms like on the track ‘Never Enough’ that shows Fredro’s diverse side to be able to make more soul-sounded instrumentals.

Even the track ‘Motion Picture’ which sounds like a beautifully crafted 90’s movie montage theme. Has those infectious horns in the background with that light, skeletal beat in the forefront. 

Over the years, Fredro has definitely evolved and improved himself from a rapper to a producer, and this is an excellent example of his work!

Now, on the shortlist of names you could think to accompany Starr on these types of beats, I’d say Jay Nice would be at the top of that list. He’s a man who doesn’t know how to take L’s in his career, and he doesn’t start now.

He showcases his fluent flow, his versatility, and his rare breed of lyricism and penmanship. Across these 10 tracks, he doesn’t miss a beat, his bars are on point, and his passionate yet raw vocals attach to the beats, and he makes them his own.

With every verse, I’m left completely hanging on every word simply because of how talented he is. He’s the kind of MC where he walks into the studio, and the world listens. You drop him in a remote village in Africa, and he’ll leave with a 5-Mics album, but you pair him with a legend like Fredro, and you’re guaranteed a modern-day classic.

Across this album the features understand the task and drop their own amazing fire verses that live up to the hype of the record. They mesh well with Jay and helps him sharpen his own skills by being put with a handful of the best out!

Honestly, I didn’t really know what to expect going into this but this shit goes HARD. The beats are solid, the rapping is dope and everyone synced together better than I could have hoped! 

https://open.spotify.com/album/6YlHQCJQbORpwlQRHYf1oh?si=uIBmxY2qS6isBUwx0lh-rg