Danny Brown "Stardust" (2025)

Michigan rapper Danny Brown returns with a highly collaborative record, spotting features to smaller artists on all but two tracks. Still committed to his brand of eclectic experimentation, unhinged noise oriented beats drive the record, contrasted by a brief concept of grandiose sentiment that kicks off and sees out this latest chapter.

Despite affirming his apatite as an artist is intact, I didn't connect with the albums core. Disorienting vibes dominate, snappy glitched electronics and stripped back yet hard hitting jilted percussion dominates. Frequently drifting into the House and Dance lane, a few numbers like Lift You Up brings an easy, conventional energy to the fold. For the most part, Danny's nasal toned abrasive flow paired with frantic instrumentals lacked a charm or even aesthetic intrigue.

Book Of Daniel opens the record with moving 70s Rock acoustic guitar and piano, sentimental vibes, a snug fit for fantastic verses expressing his state of mind as success interacts with apatite in our terminally online environment. A deep reflection reiterated upon through another's spoken word on The End. Its a touch juvenile and fatalistic but offers a curious space for thought emerging from age and success. For me, its the records one merit, a fascinating stem so brief in the albums bigger picture, it couldn't save my lack of connection to Stardust, this one just didn't do it for me.

Rating: 4/10

Clipse "Let God Sort Em Out" (2025)

 

I Initially passed on this one. Nominations for rap album of the year pulled me back in. Brothers Pusha T and Malice both share cold blooded tones, sturdy and steady, highly articulate lyricists, delivering calm and collected comprehensible raps. Their cool and casual flows breeze by with the serious undercurrent easily overlooked on first pass.

With more spins I got deeper into these tracks, their veterans status swiftly emerging. Expertly architectured verses stack up crafty rhymes. Between them, all manor of puns, cultural references, innuendo and double entendres snuck in between straightforward raps. Lines roll back to back, slick and swift, pushing a variety of narratives. A classy affair always steeped in the air of status affirmation.

Behind the word play run dynamic instrumentals, Not shy of downplaying percussion to a minimal form, obscured sampling constructs slick beats, birthing engrossing moods where the hooks often skirt conventional melody. Its not all spun to this degree but even its more traditional approaches seem to find a distinct manipulation. Let God Sort Em Out plays smooth with streaks of aggression in its lyrics reflected in the beats. Some degree of Mafioso with one touch mystic and another of wealth, class and extravagance. Only POV hits like an obvious banger, the rest play on subtleties.

In conclusion, I'm glad to have returned to this one. It deserved more attention. A slick run of feisty substance stuffed raps not aiming to shock or rock but play braggadocio on the merits of its own sleek articulations. Feature from Tyler and Kendrick are an obvious highlights among a star studded cast of guests from Nas to Neptunes and Stevie Wonder. Within its 13 tracks every hip hop head will find a few to tickle your niche. For me, that was Ace Trumpets and All Things Considered.

Rating: 7/10

Ho99o9 "Tomorrow We Escape" (2025)

Where once a clear vision of anarchic rebellion stood fulled by societal frustrations and obligatory anger, Ho99o9 have descended into an exploratory realm of their own identity. No longer a rattling urgency pervades these abrasive constructs as tangents diverted from rage lack a chemistry to invigorate like their prior anger anthems do.

 

Half the songs, like Target Practice, OK, I'm Reloaded, Tapeworm, LA Riots and Godflesh, conjure the best of this duo, uniting dirty Punk power chord abuse with snappy mosh rhythms and gritty electronic noise abuse. So to do there attention grabbing lyrics and social-political themes echo the bands better material.

 

In deviating from their sharpest formulae, some ideas clearly echo others. Escape captures somewhat of the in vogue Turnstile soaring spirit. Psychic Jumper's jittered rhythm, quirky synths and feverish singing reeks of Tyler The Creator. Immortal's collaboration with Chelsea Wolfe sounds like two separate songs mashed together.

An improvement on Skin, Tomorrow We Escape is all listenable, enjoyable even. A fair record full of variety, mood shifts and interesting compositions. Whats lacking is that shock value, a hit of adrenaline, the spurious venom of urgency that defined previous albums and EPs. Their ideas were once fresh and original. Now feeling worn in and lacking suprise. The new efforts between those familiar grooves simply mediocre.

Rating: 5/10

Skepta & Fred Again.. "Skepta .. Fred" (2025)

The title along says all it needs too, advertising an enticing collaboration between two big UK artists. Dance/House producer Fred Again.. and veteran Grime MC Skepta, a voice I've not heard in some time. I was hyped but to be frank, this mostly feels like padding for the killer track Victory Lap. Hard hitting and obnoxious, its gritty groove rocks off the bold synth baseline and tight drums. Kicking off with a wild monotone hook, the fast vocals chop and change with Skepta filling in a pair of atypical verses.

 

With a sense of adventure, Fred transitions through the first four tracks. Starting with a dirty Grime beat, steadily blending in his signature vocal snippet tunes and touches of House atmosphere. These are tricksy, intricate instrumentals, layered with intimate textures. By Last 1s Left we are fully submerged into the club vibes, holding onto a mysterious urban darkness. 21 Years sheds that Grime hangover, while his partner in crime leans into the sound harder than ever. Its as if their ideas don't quite align.

For me, Skepta is the weak link here. His confident persona an entertaining one, yet his cutting flow and slang laden rhymes feel predictable and aged, lacking a spark of freshness or urgency. Its acknowledged on the aforementioned track, referencing the unchanged nature of this now classic London rhyme style. Aesthetically, the two have chemistry but the overall mood feel somewhat off bar the powerful Victory Lap.

 

Rating: 4/10 

Travis Scott "Utopia" (2023)

Album four and the experience follows a now familiar form, another protracted stream of creativity lacking curation. Once again, sparks of genius emerge within a lengthy escapade touching deeper into the realms of Psychedelia, Ambient and Low-Fi.

Arranging unique aesthetics to conjure estranged and unconventional vibes that fit the trap formula, Travis dedicates a whole track to each idea, forging tame streaks of mediocrity between the bangers. The classic chicken or egg question emerges, as subdued beats devoid of percussive power tend to lull. One wonders if a little oomph from the drums is all that's needed to elevate, as the best numbers have the hardest grooves to propel his curious and distinct atmospheres forward, an unusual intersection of laid back, easy going energy entangled with dark and gritty tensions.

 

The record is star studded, a huge cast of big names reaching beyond his immediate scene on a couple occasions. Despite getting two shots to shine, The Weeknd doesn't have best tracks here, a trend I've noticed with his sublime guest appearances. It speaks volumes to a sense that these features just fill out the space between Scott's unimpressed raps and auto tune tangents. Lyrically, little stuck out within its lengthy runtime, a throwback to the CD filling days where bands would pack out a disc with plenty of filler. That's what most of Utopia was for, tone setting aesthetics with a lack of impetus.

 

Rating: 4/10 

$uicideboy$ "Thy Kingdom Come" (2025)

 

Its a smash! Returning swiftly from New World Depression, cousins Ruby and Scrim spin the wheels recycling their distinct but well refined formula. Now accustom with their gritty aesthetic, I found this thirty minute record to offer little fresh or exiting. Second track Napoleon leans into some classic 90s Southern Hip Hop themes, mustering a momentary flair as the records tone quickly resettles. Later on Grey+Grey+Grey ushers in scary movie soundtrack vibes with a Horrorcore style banger. The following Carried Away caught my ear too. A moody number, leaning on the hazy vibes of its depressing Ethereal atmosphere.

These where a couple of highlights among a lack of novelty. One of my biggest takeaways was noticing how many beats use the exact same drum kit, often with the same hi-hat rhythm. That lack of variety essentially parallels a very casual approach to songwriting. Hastily produced beats, flexing lyrics that feel expressive of the moment but lack a broader scope. Hooks are sorely missed too. Not a single track lands something truly memorable. Although their sincerity is endearing, that power wears off when the creative process feels routine and dialed in. Overall, a disappointment.

Rating: 4/10 

Kae Tempest "Self Titled" (2025)

 The weight of depressive expressions heavies with age, my appetite for hearing such struggles continually diminishing. Self Titled acts as a firm reminder of this personal trend, a brutally unfurled delve into this latest chapter of mental health and gender identity issues. Its tone plays a smothering suffocation, as burdensome lyricism and downtrodden beats unite to paint an artistic doom and gloom matching the pains of this spoken word, rhyme rap poet.

 

 Breaking from the drudgery, Sunshine On Catford acts like a fleeting peak of sun between dreary rain clouds. An inflection of warmth, still lingering on the melancholy of minor chords, tinged by 90s Dance piano melodies in its chorus. A strange sullen lover letter of sorts that finds a similar tonality again on Prayers To Whisper. Otherwise, Self Titled's instrumentals are casually dark, hardly adventurous but competent at assembling percussive grooves with flashes classy instrumentation.

 

Diagnoses stands apart as anthem for self inflicted mental health saturation. Along with another track, a theme of contrast upon these internal obsessions and the world at large emerges. A strange blame game of victim hood that feels confusing as to its purpose. Otherwise the record is pretty coherent, a walk through the current woes of a struggling artist. The expression is powerful but as already stated, this broody temperament has been hard for me to endure these days.

 

Rating: 6/10 

Tyler The Creator "Don't Tap The Glass" (2025)

Arriving swiftly off the back of a remarkable Chromakopia, Tyler suddenly drops this fun fast and loose record. A surprise release, Don't Tap The Glass clocks in as one of his shortest albums under the thirty minute mark. Consequently, this pays without a dull moment, perfect for its restless energy, expressed through quirky tone and playful mood, something familiar of Tyler yet spun again, lively, renewed and fresh.

 

Working with layers of punchy instrumentation, rhythms and melodies overlap in a subtly dizzying frenzy of crunchy sounds, orchestrated with a stroke of class. Jolting grooves rumble with snappy and sporadically off kilter percussion. Plenty of instruments jive in with stabs, strikes and momentary contributions that stack up. It can be quite fun to pay attention and see how many sounds you can single out.

 

Too my ears, the big influences at play are 80s Hip Hop drum machines and 90s Southern Hip Hop melodies, often piano led. Not exclusive, but struck me as part of the approach to many of these tracks, the last three taking on Soul and R&B colors in its temperament. Of course its no surprise, central to it all, written in his name, a ceaseless thirst of creativity flows again. Fresh off a deep, introspective record, Tyler marvelously pivots into a playful avenue with this lively record I'll be enjoying for weeks to come.

 

Rating: 7/10 

Potatohead People "Emerald Tablet" (2025)

 

 In collaboration with a sleek yet little known rapper Slippery Elm, producer duo Potatohead People return with a soothing set of sensuous songs. Delving into the love of their matured Jazz Hop craft, these beats emanate a loving nurture. Every inch of its aesthetic range feels dialed in. Snappy percussion locks in alongside warm grooving baselines. Ambiguous dreamy instruments drift by in the backdrop, swirling softly exotic melodies behind its upfront tuneful lines. Together they form a breezy listening experience, persuasive and classy, nothing but feel good vibes.

 

Emerald Tablet's lyrical element does little to swing it in either direction. Slippery's steady cadence and spoken demeanor a firm fit but far from offering substance to perk the ears. A lot of verses run expressive to his own experiences but fall shy of pulling one into that world. A few lively rhyme schemes emerge but its mostly a tame ride. Where he shines is with these casual lapses into singing. His sung lines feel effortless yet charming, melding into the instrumentals breezy stature.

 

 With an expanded instrumentation pallet of strings, harps, bells and orchestra adjacent sounds, this inspired "leveling up" may have a direct artistic origin, To Pimp A Butterfly. Nightbird tips this hand as its foundations play all to similar to song of that record. Spinning them back to back you can hear all the ques, ideas rippling out from that classic into the composition of this record. Some of its melodies are uncannily alike. Not a blemish but something to be enjoyed. That's mostly my impression of Emerald Tablet, enjoyable but not much is sticking beyond enjoying it in the moment.

 

Rating: 6/10 

Little Simz "Lotus" (2025)

 

Simz is one to deliver a slice of life within her ambitious records, however Lotus is precisely that slice alone. With little beyond delivering ruminations on life's current struggles, one sorely senses the absence of an anthem like Venom or Woman. I suspect Young may have been this intended beat, however its overt British jibe and cheeky tone plays like an echo of Blur's Park Life, lacking that oomph to sell itself.

Free strikes me as the records high point, a mellow spell, uniting Soul and Jazz Hop with periodic flashes of serenading string sections. Simz's expressive yet plain spoken raps make for easy listening through a soothing aesthetic chemistry. This however becomes the records fatal sticky point. So much of Lotus' affable energy fails to surpass itself and muster a meaningful gusto that can break this eternally gentle tone.

Enough comes close, livening up with a firm percussive dance beat. Frolicking hooks and mischievous baselines create a playful tone among its sporadic splurges of zany synth. So to does the records title track strive ambitious and bold with its big instrumentation. Simz' raps a firm source of intrigue and emotive release, yet the jazzy instrumentation feels underwhelming in comparison to the fires set in her lyrics.

Other chapters of Lotus' mellow out into scenic lulls, comparable to spoken poetry. Simz's lyrics feel more like intimate journals or exhaled thoughts than composed verses in a structured song. On one hand, a curious experience, on the other, repetition breeds a dullness as familiarity makes for a mostly uneventful album.

Rating: 6/10

Backxwash "Only Dust Remains" (2025)

 

Taking a step back from the abrasive edges of Metal, Noise and Industrial, Canadian producer-rapper Backxwash returns carrying that stark Soulful pivot heard on Mukazi at His Happiness's conclusion. This new chapter shows signs of growth as Only Dust Remains' eight songs play tight and concise with a refined approach. Toning down aggression, dialing in human voices, choral, gospel and the like, the reoccurring themes of self doubt, identity, guilt, and life's woes wrapped in demonic metaphors, arrive through a shifting lens. Signs of maturity and evolution in perspective manifest through both Her lyrical and instrumental expressions.

Touches of reflection upon these dominant artist defining themes crop up among an arsenal of personal exorcisms. Wake Up plays a focal point, as cries to "wake up" from internalized suffering seem offset by lyrics delving into current affairs of war and politics, as she turns her attention to the pains of external matters. So to does the following Undesirable echo this shift as shouts of "grow the fuck up" cry out over its mellowed instrumental, a voice and string duet adorned by underlying piano chords.

Each song carry's a character best felt by enduring its duration as expressions manifest through the journey, as apposed to simply rocking a wild beat to latch onto. As such, personal preferences will illuminate these nurtured instrumentals. For me, the Dave Gilmore akin unending airy guitar solo of Stairway To Heaven and Dissociation's dreamy build up of uplifting energies were a keen highlight.

So to does its concluding title track turn a similar leaf to Mukazi. The album ends on a gorgeous note, a soothing instrumental encapsulating soulful warmth with a touch of beautiful melancholy. Its chorus hook a blissful one that seems a far cry from this artists roots. Only Dust Remains is a solid record, the brilliant union of expression driven by an artist handling both lyrics and production shines strong. It does however feel like a stepping stone between the past and future if this evolution continues on the next record, which I now eagerly anticipate even if it may be a few years away.

Rating: 8/10

The Underachievers "Homecoming" (2025)

 

With a golden glossy glow to illuminate prior triumphs in their trophy cabinet, the Flatbush duo solidify a concept hinged on their return. Its a homecoming alright, but this brief twenty minute flash in the pan falls short of a glory its album cover suggests. Its shockingly been over ten years since the peaks of Evermore and Cellar Door with activity dying off in proceeding years. It feels like The Underachievers should have left their collaborative legacy alone. The years of silence have not served them well.

Armed with luke-warm competent beats, the pair step into the booth lacking a sense of hunger or urgency that previously defined them. The grit and vitality is gone, in its absence, signs of age, where earned skills and proficiency carry them by on steady flows running rhymes on routine. Cadences barely shift, the tone is consistent, lacking an emotional attachment to the lyrical content. Things start of fair. Losing Feathers reflects on the past, sharing wisdoms and ripping on the laziness of a stoner lifestyle. Past this firm footing, reflective of the album's theme, songs quickly drift off topic, even straying into marijuana braggadocio, an odd contrast to the uplifting message of ditching this self indulged habit to do something meaningful with your time.

Homecoming is disappointing, a reunion of talented individuals lacking enthusiasm. They step back into their unique sound with no fresh ideas lyrically or instrumentally. After all these years, there was little bottled up that needed to be released.

Rating: 3/10

2Pac "Me Against The World" (1995)

Some might praise this an instant classic. With an incarcerated 2Pac sailing to the top of the charts, increasing controversies in the public spotlight only fueled its stature. Time has served Me Against The World well. Thirty years on, it plays as a brilliantly articulated slice of life, a moment in time reflecting the duality of man. Caught between a thoughtful, poetic soft-side and hardened realities of a fraught world unfolding around him, our enigmatic artist walks a tightrope, delving into the details of these juxtaposed sides. Understanding the broader context around this record is practically futile given how well his timeless cadence effortlessly walks you through particulars.

 

Songs run as a play by play of dark events, exposing his character and passionate, empathic political views. Tracks individually cut direct into a concept, expressing inspired and coherent without a wasted breathe. Upbeat G-Funk oriented production echoing shades of 70s R&B and Soul music breathes life into the lean, attitude driven vibes. Joining the emerging crisp and clean production style of this era, Shock G and his crew leave loops and samples in the dust. Melodies and beats come tightly arranged through sequencers composing snappy percussion and memorable tunes to stick with you for a lifetime. One will find plenty of favorite cuts among its fifteen.

 

 The album flows superbly. Intro samples snippets of news reporters remarks to firmly establish the setting. If I Die 2Nite kicks off a string of bangers, leading up to the mellowed soulful classic, Dear Mama, a beautiful timeless love letter to his distanced mother. The next couple of songs lean on this smoother temperament, a calm spot before Old School perks the ears with its appraisal of 80s Hip Hop. It plays like a checklist of shout outs. For a young me, this was a treasure trove of names to explore.

Fuck The World and Death Around The Corner have a fearful 2Pac dialing up aggression, turning to a darker side, foreshadowing his paranoid temperament heard loud on the next records. His anger seems righteous but the cracks in his duality start to fray. These songs contrast the overall upbeat mood. The closing track Outlaw serves as an introduction to the Outlaws crew, a concept he would go on to grow. This direction plays a mild blemish on an otherwise superb record, never failing to woo.

What I've always adored about Tupac is his ability to illuminate the problems of crime, poverty and racism from a perspective often ignored. Retrospectively, Me Against The World is the boiling point before his embellishment of Thug Life loses its potency under the pressures of Death Row records. Given the drama and controversy around him at the time, the stakes are raised. He meets it with his words. Me Against The World is undoubtedly a classic, his most consistent and concise record. A must hear.

Rating: 10/10

Clipping "Dead Channel Sky" (2025)

  

 Leaning hard into their distinct jilted abrasion, experimental Hip Hip trio Clipping return armed with an arsenal of rapid fire razor sharp rhymes, accompanied by cyberpunk dystopian disjointed beats. Its a despairing, paranoid journey, showcasing the unrivaled talents of Daveed Diggs, who blasts vivid lyricism through an effortless cold, monotonous delivery. Poetic and descriptive, he arms this unsettling soundscape of buzzing computer electronics with moments of clarity, cutting through the rumpus and adding a dispirited human element to the already dejected temperament.

 Lyrical themes resonate with defeatism, reflecting current social-political concerns. Early on, dexterous rhymes charm through ambiguous, artistic, storytelling motifs. In its second half, clearer concepts are depicted with plainer language. The emergence of AI, growing wealth inequality, the harms of social media, disinformation and internet related corrosive forces. Its in the latter half that these clearer expressions, the conceptual nature of Dead Channel Sky, takes form for this lukewarm listener.

Mediocrity stems from its dredging, drawn out nature, tediously slow burning through cyber-industrial soundscapes. Short interludes and key songs play drowned in an endless string of aesthetic ideas which only reward when converging upon groove and rhythm. This mostly happens at the heels of 90s House rhythmic energy and signature waveform leads from the era's blossoming electronic scene. In these moments, much is borrowed from the past. The dystopian aesthetic a thin veneer atop what works.

Entertained by a couple of spins, the search for depth has alluded me in becoming numb to its admittedly impressive arrangements of dial-up inspired internet glitch-synth. So to did Diggs' rhymes flourish food for thought initially. That persuasion has swiftly evaporating in this artistic vision mostly devoid of the simple pleasures required to bridge the avant-garde. Dead Channel Sky lacks the curation to drive home its vision, instead flooding us with an indulgent revel, not quite to this fans taste.

Rating: 5/10

Ice-T "O.G. Original Gangster" (1991)

 

Godfather of Gangster Rap and front man for the cop killing Body Count, Ice-T courts controversy with an unfiltered, unapologetic rawness. A subversive force of intellect, Ice masks deeper realities trough his gritty portrayal of street life in LA. Original Gangster affirms his authority on the matter whilst ringing off a long list of social portrayals and systemic grievances. Direct yet difficult, his lyricism runs crude and humorous, blurring lines between tongue in cheek and reality. At times he flows firm and plain yet in a moment can delve into wordplay. Wherever his cadence leads, Ice rarely deviates, sticking to his themes, which each track delivers with focused intent.

Clocking in at a lengthy seventy two minutes, the twenty four tracks chop by with snarky interludes between softened noisy Bomb Squad style sampling. It banging beats rock with late 80s drum loops, keeping energy high. Overall the aesthetic style sounds a year or two behind the cutting edge but its substance triumphs in the face of an ever changing scene. Midnight marks a shift in tone, sampling Led Zeppelin and Black Sabbath a dark, grizzly, eerie Rap horror show emerges. This lays foundations for Ice-T to show his metallic edge, as the record also houses a Body Count track to cross pollinate his audience, something completely unheard of for the time.

These tone shifts shake up the second half another, The Tower, reusing John Carpenter's Halloween theme to chilling, haunting effect. It does blemish the flow considering how tight these upgraded, authentic post-N.W.A gangster raps are. It's been decades since I last spun this classic. It holds up well. A powerful listen by a master rhymer who can hold your attention with his direct penmanship. Classic!

Rating: 8/10

Naughty By Nature "Naughty By Nature" (1991)

An understated classic from the other side of Hudson River, Naughty By Nature's sophomore effort stands the test of time. Uniting radio friendly Hip Hop of the era with Hardcore Rap. This trio's tuneful beats and energetic rhymes somehow grapple the gritty verbal craft and easy pop appeal in the same space. Kicking off with Yoke The Joker, we hear a ferocious Treach drop one of Rap's most legendary verses, rhyming practically every word in the dictionary beginning with s. The whole song is fierce display of talent, his words leap out at you through undying rhyme schemes.

 

In retrospect, he seems ahead of his time. Leaving the classic post N.W.A flow behind. One can anticipate rhymes arriving yet his vocabulary depth is loquacious, a fluent stream of surprises with words beyond casual tongue delighting on a frequent basis. Slick, swift deliveries and chopped cadences are thoroughly entertaining. Every tracks words house a few surprises up the sleeve, spit fit for purpose, wonderfully contrasting the often upbeat, poppy instrumentals with street rugged rhymes.

 Some instrumentals play strapped with typical sampling of the era, reveling in childhood influences of 70s R&B, Soul and Funk. The balance struck sets them apart, with hard hitting drum samples more akin to House music and tight, purpose built baselines. They aid its aesthetic personality along with simple Piano strikes, adding stiff flushes of color and melody to the mix. So to do soft organ or synths chime in on occasion. A Saxophone and Piano solo also liven this sense of elevated beats.

This tailored musicality bridges the cheery tones of OPP, Everyday All Day and Everything's Gonna Be Alight, with hard hitting bangers like Let The Ho's Go, Strike A Nerve and Guard Your Grill. Lyrically, its often gritty. The contrasts this breeds on its upbeat numbers plays a charm that's hard to forget. Naughty By Nature has got it all, endearing beats, enduring rhymes. When it comes to discussing Hip Hop classics this has to be in the conversation.

 

Rating: 9.5/10

The UMC's "Fruits Of Nature" (1991)

Having explored the depths of 90s Hip Hop, it can be hard for records to have an impact on these matured ears. Keen not to pass by The UMC's warm and friendly tone, I've stuck with Fruits Of Nature for a fair few spins. Its struck me as one I could have easily adored if discovered earlier on the journey. Leaving the golden era behind, moving boldly into the Jazz Hop era, this complimentary duo capture the essence of a colorful scene with questions as to how its 91 release fits into the tapestry of influences. I've heard them mentioned in plenty of rhymes, possibly listened to it decades ago but opening track One To Grow On really caught my ear this time.

Its the cream of the crop, with righteous rhymes and a bouncy beat, the pair pack positive messages of personal growth into its Jazzy groove. Devoid of cursing, the record plays with an uplifting tone, two youthful voices with heads held high, aiming for a thoughtful impact on their audience, given the lyrical content which rarely deviates.

Fitting snugly into the era, cadences and rhyme structures entertain with competence, perhaps lingering in Guru of Gang Starr's shadow on occasion. Producers Haas G & RNS line up temperate percussive grooves with colorful instrumental loops. Warm, often sunny, Jazzy and Soulful in nature, halve these track play a cut above the norm. The other half getting a touch tired on its repetitious nature. A few flashes of the "phunky fresh" vibe from Cypress Hill's early sound pass by too. All in all a fun listen, a solid record that possibly held more impact on the scene at the time of its release.

Rating: 6/10

The Brand New Heavies "Heavy Rhyme Experience Vol 1" (1992)

 

 

British act The Brand New Heavies try their hand at collaboration with rap heavy hitters of the era. Adding story driven rhymes to the mix, the Acid Jazz outfit come full circle on their Hip Hop persuasions that mostly shape up percussive loops with repetitious groove. The fit seems perfect, given the shared influences of Soul, Funk, R&B and Disco on both the bands style and young rappers parental music.

Working with a pre-Wu-Tang Clan Master Ace, Kool G Rap, Main Source, Guru of Gangstarr and legendary The Pharcyde, the band scoop up some top talent among other guests, each track receiving a guest act to layer in the vocal element. The band shape their slick Acid Jazz grooves into fruity, flavorful loops - lively, tailored with apt color and melody. Despite its organic nature, the performance stiffens, stripping out the opportunity for tangents, iterations or progressive leaning song structures.

 

Once a beat makes itself known, it sticks firmly, resting a lot of the music on its rappers who meld with the tone to various degrees of success. With such smiley, friendly instrumentals, its curious to hear Kool G Rap excellence on Death Threat. A strutting baseline and shimmering guitar leads add a soft gangster attitude to its tone. Kool takes it the rest of the way with fierce rhymes and aggressive energetic delivery.

Heavy Rhyme Experience Vol 1 is a competent listen, capturing the rap scene at the end of its Golden Era / Jazz Hop sound, right before big shifts in tone over the next couple of years. With quite a few weak performances and a lack of identifiable hooks, its served as a fun listen to plunder a couple of fun tracks from. Sadly wont have me returning for more, despite the disappointment, its a shame more crossovers like this haven't taken place in this era of Hip Hop. There was such potential here.

Rating: 5/10

Snoop Dogg "Missionary" (2024)

 

 

Thirty one years on from the iconic Doggystyle, a beloved West Coast duo return for an inspired set of songs reveling in the twilight years of their careers. I'd summarize Missionary as two veterans bringing the very best out of one another. Dr. Dre's production forges fine beats focused on aesthetic class. Lacking potent melodies, these tracks assemble gorgeous sounding instruments in rhythmic arrangements, striking with clarity to indulge on. Complex with subtle details and intricacies yet easily digested on the firm foundations of Hip Hop groove. Moods sway fun and plentiful, from bouncing LA vibes to introspective atmospheres, Dre covers a fair span of instruments to expand cultural horizons and keep this record flowing fresh.

Snoop has the unenviable position of spinning his tried and true rhyme themes over again. Despite an exhaustive output over the decades, he seems as vibrant as ever, giving every song a firm concept. With steady flow, his mannerisms entertain, refreshing yet familiar, finding a handful of cunning rhymes between his casual delivery. The burden is lightened with a guest on practically every track. Only on a couple of collaborations did I get a sense of elevation through presence. Last Dance with Tom Petty and Jelly Roll, Another Part Of Me with String, two fantastic songs bridging genres, complementing well for unique numbers to remember.

On first listen, the handful of classic Hip Hop interpolations and nostalgic call backs perked my ears. You could call it a false impression. These references swiftly faded behind the bright lights of all new this duo has to offer. Only Gangsta Pose had a whiff of Doggystyle chemistry. Listen carefully, its subdued baseline plays like a G-Funk throwback. I had initially expected the pair to do more of this. The past is the past, I'm thankful they didn't resurrect old ideals as clearly there was freshness here to explore.

Rating: 7/10

Kendrick Lamar "GNX" (2024)

Hot off the heels of a remarkable rap beef, Kendrick's momentum flattens out into a comfortable record. Feeling out fresher styles between classic tones, GNX coasts by lacking the conceptual heights of To Pimp A Butterfly or impactful attitude of DAMN. The past sets a high bar, presenting an unenviable challenge of surprising the audience. That freshness alluded to resides in Kendrick's embrace of a hard lipped persona. Spitting in deepened spoken tone, he lines up the meanest rhymes, aimed like a sniper. Threatening and self assured, Its not quite to my liking and slips away on tracks like Peekaboo where his "hey hey hey hey" hook falls flat as a pancake.

Despite this faltered direction, classic Kendrick crops up in the tracks between. Man At The Garden revels in a sombre slow paced atmosphere, writing up blessings through the lens of deserving. His emotional delivery and contrast with the instrumental illuminates a questioning turmoil within over his many accolades and achievements. Reincarnated casually drops in one of the slickest piano licks, conjuring vibes reminiscent of a handful of West Coast classics. Its another story telling, introspective track where Kendrick routinely shines. Reclaiming the title from Drake, Heart Part 6 mellows with reflective lyrics themed around the humility of his rise to fame.

I can tell that lyrically, a lot of events and dramas are addressed on his meaner tracks. I'm out of the loop and haven't dug into any analysis. I'm not sure that I care to either. On the surface, these slick gangster anthems like Squabble Up feel mild in contrast to the songs mentioned above. They require no knowledge, instead, Kendrick wraps you up in his meaningful thoughts and deep reflections, the side I have always been drawn too most. I'm grateful for that handful of tracks but they will likely be my only reason to return to GNX on occasion.

Rating: 7/10