Wu-Tang Clan "Demo Tape" (1992)

  

Currently enjoying An American Saga, a dramatization of the Wu-Tang Clan origin story, I've found myself excited once again by the legacy of 36 Chambers, one of Hip Hop's greatest albums. Learning of their leaked demo tape a year prior, I had to hear it for myself. Initially shared with a record executive by the RZA, it eventually found its way through hands, then radio and onto the streets. The source and validity of whats available online is lacking information but it seems genuine. What about fidelity? Fortunately this cassette tape distorted relic is tolerable to get a grip on the music.

Sadly, no lost gem or previously unheard material makes itself known. It seems the best contributions from the then makeshift lineup made its way off to records later on. The rest is intriguing to say the least. In the context of 1992, A handful of RZA's beats stand miles apart with its gritty nature and of course the Kung Fu flick samples. So does his rhymes and that of his guests but mostly the RZA. Track five, It's All About Me, a keen example of how developed the free association rhyme style already was. His words undoubtedly stood apart from anything else on offer. This would mark the end of clean cut beats and open up a new avenue of lyrical possibilities too.

Performing on every track, his architecture for the group can't be understated. Even if you had knowledge of his roll, RZA reigns supreme. Ol' Dirty Bastard appears, yet to flesh out his odd ball personality. Raekwon, Inspectah Deck and Ghostface Killah feature too with the same verses we would hear further down the line. Interestingly, the classic 7Th Chamber demo doesn't feature, a killer track the show alludes to being on this leak. Well, dramas do take creative liberties on history after all!

Track four Problems also has a sample that would be utilized exquisitely on Fugee's The Score. I wonder If they heard this demo beforehand? Either way, this has been a curious listen. I've come away with more admiration for the RZA, hearing his ideas in action. Not everything here is special but the vision is 100%. These beats are so different and the energy he brings to the mic would change the game forever!

Rating: 7/10

Kendrick Lamar "Mr.Morale & The Big Steppers" (2022)

 

 Spoiled by the swift succession of Damn from To Pimp a Butterfly, A patient five year wait returns this generations goat on yet another artistic stride, an expressive streak manifesting into a lengthy double LP. With no doubts to his genius, Kendrick navigates his life through introspective expression whilst drawing a broader through-line with societal issues. That seems to be the key structure with Mr.Morale, many difficult issues are tackled. From racism to transphobia, child abuse and molestation, Kendrick takes on hard topics, often putting himself front and center. Relating from his own life experiences to society at large, he candidly displays both the good and bad of himself in a morale challenging framework. Hence the name, Mr.Morale, examines it all.

With a meaty seventy five minute sequence through eighteen tracks, reoccurring themes and melodic jingles tie together a broad depth of topics. As described, they seem to resurface flipping between the two perspectives, personal and external. With his lyricism refined for substance, it rarely passes by without food for thought. Each listener will find their own moments of both tension and insight across its spectrum.

Production wise, this is a tight craft of snappy beats that lean on a talented array of musicians. It keeps the music organic and expressive while still retaining a percussive Rap energy for Kendrick and his guests to lay down fiery verses where apt. Woven between, the music ebbs and flows into cinematic calms and dramatic tensions ushered in by classic instrumentation. Scenic emotive strings and pianos brake out with their own voice. It sways from the repetition of beats with expansive interludes.

Some personal highlights include the excessive cursing of We Cry Together. A blunt exploration of relationship and communication skills that life's struggles wear thin between couples. The piano loop brilliantly expounds its brittle, hostile energy as it releases tension in the songs pivoting conclusion. Auntie Diaries is an honest exploration of gender identity within his own family. The warmth Kendrick emanates is endearing, getting across his simple, compassionate acceptance for others.

On the flip side, the "reverse racism" of Worldwide Steppers is a contentious eyebrow raiser deserving of deeper examination. That alongside his addressing of an incident shared with a white female fan on stage seem less clear and vague. I haven't studied the lyrics but they are certainly packaged for shock value in their striking delivery. Again he grapples with his actions and the backlash from media and fans alike.

In comparison to his previous albums, the length of Mr.Morale does feed into a broad range of experiences that become a little less distinct, more like a lengthy mood. Each listen has been enjoyable but with that less punchy, pointed tracks you can point to as the peaks. My ultimate takeaway? Kendrick is still sharp and keen, reveling in his expressive capability. We should be ready for more as his talent seems in-exhausted in this, his fifth full length. Not quite as high as he sailed before but certainly class.

Rating: 8/10

Vince Staples "Ramona Park Broke My Heart" (2022)

 

With a talkative tone and casual cadence, Vince returns on this forth outing spinning his introspective thoughts on a breezy laid back vibe. To say business as usual would understate the emotional weight and expressions from this insightful artists. Again, stories and perspectives are told through the personas he inhabits. Lacking the spark a new dimension can bring, the familiarity of his attitude and lyrics lets one swiftly fall into the easy groove the record presents. Its a slow riding, G-Funk inspired chill out where 808s and percussive beats pop low key and the instrumentals croon gently on the subdued, sleepy leaning vibes that drift by with an eerie lack of tension.

I'm not sure if its in contrast to the gravity of topics discussed in his lyrics as there is a lot of pride and warmth expressed where Vince often uses his words to peers into social ills and societal issues. His words make this record feel more personal than the tales of prior projects. His cadence, which at its sturdiest still seems casual, can slip into a breathy effortless slew of words that almost seems intentionally lazy. The vibe is spot on however! These dreamy toned down beats play right into his hand.

The result is a soothing lofty warmth that drifts by yet any attention given to his words reveals a deeper meaning. I love how he can wrap the most potent words into simple lines and expressions to emphasis a narrative. Its almost in rebellion to overworked rhymes and clever wordplay. Vince uses just a drop of poetry and the apt moments so effortlessly. Seemingly much of it plays of as train of thought, ringing of the thoughts directly but a little study often reveals something a little deeper. I do think some of the Ramona Park Broke My Heart's depth does hinge on its authenticity. Are these more personal tales? Either way, its a very easy to enjoy record.

Rating: 7/10

Kae Tempest "The Line Is A Curve" (2022)

 

Formerly known as Kate Tempest, Kae returns after the disappointing The Book Of Traps And Lessons, renewed and revitalized with that magic sparkle heard on earlier records. Always one to cut to the heart of social observations, The Line Is A Curve turns in a personal direction as a love story arcs from origins of pain and separation. Although Kae is often tied up in the observations of the characters manifesting from story telling, this time much of the lyrical feels deeply personal with vulnerability often heard in there voice. The record blossoms from a typically dystopian, dissatisfied, unsettled origin into a warm, endearing resolve found in the love of another soul.

Shadowy, softly glum with a nightly luminosity, the opening instrumentals navigate difficult terrain with terrain as Kae's lyrical journey starts from a depressive state. The mood begins to turn with Salt Coast, its opening gives me an eerie deja vu to Marvin Gaye's Inner City Blues. It must be the same piano chord! With this song both Kae and the instrumental start turning to positive expressions and melodies as the relationship between ones self and the other starts to tangle. Slowly the threads are pulled one by one.

Along the way, These Are The Days land some Pink Floyd vibes with fantastic instrumentation. Mixing a live band with the synthetic melodies has a beautiful resonance. Its something the production achieves over and over, melding different musical elements at the greatest compliment to Kae's words. Things get a little manic with the last couple of songs but landing on the heart pouring Grace, the arc finds its conclusion. One that surely can't be fictions, its such a beautiful expression.

The Line Is A Curve plays with a true album experience, not a collection of songs but a journey cohesive in voice and instrumentation that one can chew on from some time as Kae's lyrics stir the deeper rumblings of thought and the accompanying music setting an apt complimentary tone. The whole thing feels like a hugely personal endeavor to shape the motions of ones life into a piece of art.

Rating: 7/10

Cypress Hill "Back In Black" (2022)

 

Has it really been four years since Elephants On Acid? Having been underwhelmed by Cypress Hill's long awaited return, I found myself rightly cautious about its follow up. Back In Black lacks the input of DJ Muggs and it hurts the group. With Black Milk handling the production, a rather subdued atmosphere arises from steady and cautious percussive arrangements. Its accompanied by darkly urban sampling that rarely leaps of the page, always residing with a soft temperament where the danger is far away. The lean baselines bring some redemption with classy aesthetics, its far from a saving grace. The drum grooves sound weak and thinned out lacking, urgency or a sense of imposition. I think subtlety and craft were the aim here yet its slow tempos and lack of bombast leave the general tone a dull and lackluster one. 

Sadly, both B-Real and Sen Dog seem to be on autopilot. All their verses flow with the same cautious pace. Its rock steady yet rigid. The immediacy and enthusiasm of words are lost in the monotony. Even the better word plays and rhyme schemes lull into this complacency. The records lyrical themes signify a return to roots. Gritty and mean, the pair delve back into gangster oriented tales of urban life in the city. Perspectives are offered, stories and braggadocio as to be expected. B-Real and Sen Dog also reflect on their roll in legalization and a change in cannabis cultures reception in the social fabric. These could be landmark chapters given Cypress Hill's history but this points too falls blunted like much of the record impact.

Every song has the same structure with instrumentals on loop, just going through the motions. Where are the hooks and choruses? Not even a break or beat switch. Sure, each song a hook line in its chorus but it all flows with the same cadence and the verses before it. No song has a memorable spice and a couple attempt to recycle their own or other classic hooks. Black In Back's merits are lonely, just the experience of its two voices to carry a bulk of mediocrity to its conclusion without being offensive, off color or cringey. I have no reasons to return to these songs again. Cypress have announced the next record will be their last and that it will be with DJ Muggs. I hope they find a way to go out with a bang cause this was a soft whimper.

Rating: 3/10

RZA "Saturday Afternoon Kung Fu Theater" (2022)

 

With an eternal itch known as Wu-Tang fever, I'll always have a curiosity for the individual members various projects. Although mastermind of the Wu-Tang philosophy, the prime days are long gone. This latest mini album has him grappling with his two personalities, Bobby Digital and the RZA. The concept is all laid out in its intro, with the next six tracks vaguely elaborating on the dynamics between the duo.

 Teaming up with DJ Scratch, the instrumentals conjure peculiar, glum and rainy moods. Leaning on old timey string sections and rolling out simple subdued percussive loops, the experience is underwhelming. Kung Fu action snippets lack the edge or accompanying bombast to impact. The simple repetitions bring little depth, leaving RZA to solely carry each song with his rhymes and lyrical concepts.

 RZA's flow and energy often feels out of step the instrumentals, his pace and keenness a step ahead of its temperament. Its not terrible but has one leaning on his lyrics for salvation. Baked with old cultural reference and witty word play, its the old rap game sounding tired as RZA's age can be heard in his voice's tone. A few good rhymes and narrative entertain, but mostly this drifts in one ear and out the other.

Rating: 3/10

Rich Brian "Brightside" (2022)

 

Dropping a surprise EP out of the blue, the Indonesian rapper Rich Brian returns with four concise and impressive tracks, with no mention of a fourth coming album. Still a youthful figure at 22 years, maturity is starting to show in his lyrics but more obvious is his flow. Tightening up the bars, increases the pace of his cadence, Brian commands these cuts on his own with one feature, Warren Hue, on Getcho Mans. Its a banging off kilt number led by a dirty baseline and oriental overtone. To me, Brian shows his inspirations a little candidly with his second verse. The delivery style gives me some serious Lil Uzi Vert vibes, particularly from the opening stretch of Eternal Atake.

With that one distinction, the rest of the music stands on its own. The opening New Tooth, a fantastic union of beat production and lyrical direction. Brian moves from fiery Braggadocio raps into a more reflective stance over the two beat switches. It takes the music to an emotive conclusion with its introspective pianos. Lagoon and Sunny split that direction apart further, the first a gritty brooding number muddying in darker spaces. The latter bolsters uplifting moods with motivational words. Brightside is promising set of songs for an artist who sounds like they are in a great creative space.

Rating: 4/10

Benny The Butcher "Pyrex Picasso" (2021)

 

As a new name on the rise, appearing alongside the likes of old greats like Snoop Dogg, Busta Rhymes & Jadakiss, Benny has made a remarkable impression on me. With a firm voice fit for classic story telling, both his style and beat production has a gushing nostalgia for the 90s and 00s era. Pyrex Picasso is concise seven track stint, nineteen minutes of straight class. The title track plays like a cut from 2001, dead serious pianos, a softly sorrow Spanish guitar lick and timely horns, vibes I'll always welcome more of. The following '73 gets dingy with ambiguous samples, gritty drums and low-fi strings. The RZA would be proud! Flood The Block has the Immortal Technique mark, not just instrumentally but how Benns flows with a through line and sharpness that feels like he doesn't have to bend his thoughts to a rhyme scheme.

I could rattle off on similarities to other artists. This really is a case of seeing shadows tho. Where Benny shines on his own is purely through the power of his rhymes and narratives he unfolds. I wouldn't say his style is original or ground breaking, but very well refined as every verse makes a catch, throwing its line and hook. The themes are atypical, street life, prison and drugs. The topics of hard life are aired and also his resolve to make it as a rapper. I imagine he won't appeal as much to the newer generation but this EP embodies the best of Hip Hop from decades gone by. An impressive introduction that will have me seeking out more from this talent!

Rating: 7/10

Pop Will Eat Itself "Box Frenzy" (1987)

 

On occasions, the rush of excitement that always comes from record browsing can get the better of me. The rule I am not learning is to give something a listen before parting with your hard earned cash! Given that PWEI blew me away with their sophomore record, This Is The Day, I was happy to jump straight in! That album was a time capsule of nostalgic innocence, reflecting the cultures of the day. It spoke directly to musical scenes before my time that Ive always been fascinated with. Looking to follow up, the acclaim mentioned in breath of their debut Box Frenzy had me pick it. Sadly the horrors I've found have me wanting to give up. I can firmly say its quite awful.

I'll be blunt with my words but a handful of listens has improved my tolerance. In a nutshell, everything "edgy" of the time retroactively sounds stale, dated and damn right corny! Fueled on by the Run DMC Rap sound, these youthful twenty-somethings hinged all of their songwriting on aesthetics that have died off. Box Frenzy is forty three minutes of unabashed punchy tone abuse, taking synthesized 80s sounds and running them through the mills on old school drum machines and retro keyboards. These arrangements are stark with spacious drum grooves droning away, accompanied by obnoxious "sound effects" and Walk This Way inspired guitar stabs.

The lyrical content is often cheap and cheesy, atypical 80s rapping flows with a lack of underpinning substance. The spirit of these songs reminding me of "dated" party songs, the sort of unbearable 80s tunes encouraging kids to do a variety of then trendy dance moves and routines, hinged on gimmick and novelty. That in your face cheese is tiring but also entirely the point. For 1987 I can see how this would have been on the edge and pulled in praise but having little nostalgia for this particularly disposable and dated sound, Its no surprise it turned me off.

I've been cruel so far and I must say the foundations of what made This Is The Day is firmly heard on this record. A few tracks have something good to offer in the way of groove and energy but the aesthetics tend to be a bit to grating. There is also the term Grebo mentioned here. Labelled as "Grebo Rock" its a curious disconnect from how the term was used in my youth to label the alternative crowd I then Identified with. Seems the term has roots that extend back to the 80s, and a sound I wouldn't associate with the Nu Metal and Gothic music of my youth. This introduction won't have me looking much further though!

Rating: 3/10

Nas "Magic" (2021)

 

Released Christmas Eve, seeing Magic in my inbox was quite the surprise. With King's Disease III now confirmed for 2022, I expected that this shorter album, clocking in just under 30 minutes across nine tracks, would be a collection of outtakes from his fruitful collaborations with Hit-Boy. But alas it is not so! If anything, Magic speaks volumes to the stride Nas is on as his lyrical content feels interchangeable with that of King Disease II. Thinking of these songs as sub-par in anyway is erroneous. It simply seems as if he is oozing with creativity right now and enjoying sharing it with us all. Unsurprisingly though, the tone of these songs are in the same lane. Nas is offering up his unique personal perspective within the Hip Hop scene and addressing his audience with wisdom and a little introspection in doses, much as he has been doing.

Wu Is For The Children is the one underwhelming cut. A reference to the Wu-Tang Clan setting high exceptions for a dreary percussion-less track. The following Wave Gods brings on DJ Premier to drop his iconic drum break style and scratches of classic Hip hop snippets whilst resurrecting Gang Starr themes. The opening Speechless kicks off with a remarkable verse, referencing fallen musical icons of the twenty seven club and the grittiness of his neighborhood. Its a wonderfully articulate flow that extends into Meet Joe Black as Nas touches on successes built, mistakes made and criticisms keeping him energized as he words it. Interestingly it ends with a snippet of individuals mocking his Hip Hop I Dead record statement from back in 2006. I didn't feel like his words provided much of an answer to that though.

Ugly is a wonderfully aesthetic track as its wobbling distorted sampling creates a foggy drone for Nas to paint a gloomy scene with his words in the opening verse. The following couple of tracks are much livelier in contrast and his rhymes are tight and slickly delivered as you could expect. All in all its a sweet selection of tracks to salivate on in anticipation of part three. Not much beyond that though. Hit-Boy's approach get one in the mood but I didn't feel like these beats were exceptional. There wasn't anything here that "leapt off the page". I'm satisfied, left with high hopes for KD3!

Rating: 7/10

Cult Of The Damned "The Church Of" (2021)

 

UK Hip Hop collective Cult Of The Damned return for a beef seventy one minute sophomore record of straight rhymes and beats. The Church Of is stylistically stagnant with their formula unchanged. 90s beats and a production style leaning to the dark, gritty, sombre tones suiting the obnoxious, braggadocios and often self depreciating rhyme schemes. The group deploy their words with a scarcity of hook and chorus, putting a lot of pressure on their verses to carry the album. The backing instrumentals trend towards a subtler roll of tone setting and atmosphere building as opposed to rocking banging beats which it does with a handful of tracks.

With such a large set of tracks the cracks emerge after just a few listens as the quality of rhymes appear to diverge. The mostly Wu-Tang free association style gives the Cult a lot of creative room for pages of clever, witty and pun ridden rhymes. The issue is this record is a book and quickly do the best bits feel sparse between mediocrity as the beats loose keenness in repetition. Sticking to their exaggerated, unhinged, sleaze embracing personas the lyrical creativity feels stale with familiarity. Individuals cadences and tone of voices don't move a budge. Still fun and expressive but drawn out over this duration it gets a little dull with the overall temperament unable to shift.

Pushing off the criticism, there is greatness to be found here. All the beats are solid, however it always seems to be the stronger cuts that house my preferred verses. Norman's Theme, Gung Foo, Step, Good News and the dark and gristly nine minute epic Henry Shots, all have great chemistry. Once again Bill Shanks and Tony Broke are on great form with the better lines. It would I've been nice to hear more of Broke who is absent on too many of these tracks. To wrap it up, The Church Of doesn't move the needle stylistically or thematically in any direction, so there are no surprises from a group who's style doesn't always embody the highest standards.

Rating: 5/10

Limp Bizkit "Still Sucks" (2021)

 

 

Its finally here! The album I thought might never see the light of day. Ten years ago with Gold Cobra, it seemed the Nu Metal kings were about to hit a groove with new singles being released in the following years. Interestingly, none of those them made the cut. The story goes that front man Fred Durst has been continually dissatisfied with his contributions, going back and forth to the studio, unable to finish the project. Its possible that much of the instrumental material here was ready eight years ago!

Its that creative divide the records struggles with, as much of what works hinges on Fred's lyrics which are mostly corny. The opening track Out Of Style has Wes Borland delivering his unique style with groovy chunks of guitar noise landing like punches as Otto brings the tight bouncy drumming and DJ Lethal fleshes out the texture with turntable scratches. Sadly its a fluffed opener as the doubt that delayed this record seems all too obvious. The verse rhymes are aimless and cheesy, finding no gratification with a hook or chorus either. Despite being corny, Fred nailed this twenty years ago with attitude and obnoxiousness. It seems that spark is long gone.

Fortunately the following Dirty Rotten Bizkit steers the overall theme to this "we suck", self deprecating notion that suits Limp Bizkit so well at this point in time. Still hated by many but adored by fans it works like a shield to deter a serious focus on what Fred is up to as you could write a book on the amount of silly rhymes he drops. Its all about having fun and Dad Vibes really leans into that. Its followed up by Turn It Up, Bitch which sounds like a classic 90s House Of Pain instrumental, of course the link here is self evident! They run the Hip Hop routine again with more beats and rhymes at the end with Snacky Poo, which might have the best rhymes of the record.

This side of the band and the overall theme converges wonderfully on Love The Hate as an oddball warbling bass noise rumbles under Otto's tight grooves. Fred and a guest play out a typical hater conversation about his band, steering it wonderfully to that "I listened to them when I was a kid" line. As it goes most the hate they get came from MTV generation kids that once loved them. Personally I never let go of that juvenile enthusiasm, there is just too much fun to be had with the classic LB!

Elsewhere on the record variety is found in droves. Barnacle rocks and roars like a Nirvana 90s grunge classic, deploying all the tropes of that style. You Bring Out The Worst In Me hails back to some of the bands lighter and melodic tracks while simultaneously deploying one of its grittiest grooves as Fred screams and Wes bludgeons his guitar. Pill Popper sounds somewhat like a Ministry track with its driving industrial snare drum. The variety here is fun and definitely on the nostalgic side.

Overall Still Sucks is fun because it has variety and the band don't take themselves to seriously. The lead single Don't Change stands out like a sore thumb tho. It seems it wasn't written by the band and that shows. The emotional angle and serious moody temperament just doesn't suit Fred at all. Other than a few blemishes, LB mostly walk the line well just having some good old goofy fun and banging out the jams!

Rating: 6/10

Lil Nas X "Montero" (2021)

 

With the monumental success of the chart topping, record breaking Old Town Road, the Georgian rapper Lil Nas X has had the musical worlds attention thrust his direction for some time now. Typically critical voices cry the loudest, claiming him a one hit wonder but this record certainly proves that wrong. Now we can joke he is a one album wonder for now, as Montero is simply fantastic, a vibrant album experience, strong from front to back with a very accessible Pop Rap aesthetic brightening up a wealth of self expression and topicality to deepen its warm, welcoming vibes.

In general, these songs are short and snappy, getting to the point swiftly, wrapping themes up with catchy hooks. Production wise, the music never leans to hard into anything but goes all over the place, softly diversifying. Dead Right Now and Industry Baby steer into Trap territory, addressing relations with his father and following it up with a self affirming track bolstering his ambitions. His Country Rap infusion returns on That's What I Want with a bright chirpy chorus delivering an infectious hook over soft sunny chorals. Not exactly the most original composition but he does the idea justice.

From here the songs increasingly ramp up my personal interest, Scoop swoops in simple melodies and jiving percussion giving light to the quirky ad-libs. This track gave me some serious Rodeo vibes with that Travis Scott style production. Quite the fun and creative stint before One Of Me drives hope a fantastic hook with the plain faced "I like this, I don't like that" lines. Such a simple way to illuminate the ridicule of voiced opinions that whirl around individuals thrust into the limelight. Lost In The Citadel ushers in uplifting, poppy Alt Rock guitars as the record starts to pivot to more guitar oriented aesthetics. Paired with tight percussion and deep baselines in straddles Hip Hop from a distance as the lines blur wonderfully.

Then with void we hear Lil Nas X depart from that entirely on an epic sung song, expressing pains and vulnerability while some how working the "Hodo hodo" ear worm in. As his voice opens up the dark and brooding instrumental behind him starts to build slithers of light as the soft drive of muted drums and pounding bass lead to a wonderful sense of revealing the beauty in his singing that was always present. Stunning song. Don't Want It oddly gets away with shifting back to a Trap flavor for Life After Salem to deliver the albums broodiest track. Led by a gristly acoustic guitar it routinely sails into the darkness with swells of Post-Rock guitar and subtle stabs of sinister Gangster's Paradise strings nestled, lurking in the backdrop briefly.

Between the likable Pop and Trap tracks, that bring their own identity, the team producing the instrumentals work in some fantastic music quite distance from that formulae. Its exciting, interesting and very expressive with Lil Nas X singing and rapping with a lot of substance to embrace. It all amalgamates to a stunning conclusion as Miley Cyrus hops on to lend her powerful voice to the albums epic closer, Am I Dreaming. The way the two individually step onto the track in their verses hits like waves, as tension builds up with the duo weaving their voices in a dramatic conclusion, crying "Never forget me". Goosebumps.

Its hard not to be bull about this record. Its arrangement is fascinating, steering from the accessible into expressive songs pulling from areas not often associated with Hip Hop. This might be one of the most enjoyable experiences this year. I'm left with thoughts of wondering if its magic might diminish with time? I think one or two songs could suffer that fate but there is so much brilliance on display. Whats best is a feeling of optimism moving forward. This wasn't just a collection of well crafted appeals but inspired songs moving in new directions. Lil Nas X has the diversity here to really open up and surprise in the future, in my opinion at least.

Rating: 9/10

AZ "Doe Or Die II" (2021)

Twenty six years later, New York rapper AZ releases a sequel to his Mafioso Rap gem Doe Or Die. In the world of Hip Hop there isn't a great track record for artists reviving classics further down the road. That's why I almost passed this one up but a quick check in had me impressed. Now approaching fifty, AZ's voice sounds barely aged, a little rough at the edges but his slick flow and youthful tone is well intact. Most surprising of all, hes got expression in abundance, riffing bars from start to end without an inch of nonsense to be found. This is quite the exception for an aging generation of rappers.

With his timeless flow intact, the tightly stacked rhymes flow again. Grooving off his effortless cadence the lyrics weave between wisdom and observation as AZ drops knowledge and intelligence into his tales. Reflecting on the angels and devils of lifestyle and environment, he paints a path out the dangers of street life with a keen maturity that oozes with confidence. The Mafioso flavor creeps in here and there with his poetic word choices painting lavish pictures however its often withdraws from the violence as his words wave weary warnings to the dangers of such lifestyles.

Its a total pleasure, AZ shines with every verse of this record. Its strangely his guests who spoil the flow. Variety is important and Lil Wayne brings an interesting approach for his feature but every other rapper here just doesn't fit with the vibe. They mostly work in the shadow of AZ, trying to deploy a similar style. English actor Idris Elba also lends his voice for the intro too, however it again doesn't feel like the right fit for an album opening monologue. I think I could of just listened to AZ from front to back. This leads me to another observation, the absence of Nas. With both being active its a shame they didn't hook up again. AZ was a special part of Illmatic, arguably the greatest Hip Hop record of the 90s. Who would of thought these two would still be on top their games all these years later? With them on such good form, hearing him here would of been sublime, I'm sure!

With such an abundance of great rhymes, sadly the beats that struggle a little here. Mostly they conjure moods adjacent to the 90s style. Sample oriented and using oldskool break loops they provide a firm footing but lack a cutting edge. Often toned down, they give space for AZ to occupy clearly, not being overly ambitious or overbearing. On one hand they've essentially crafted beats within the 90s time machine. On the other that doesn't give it much in the way of freshness but I've got to give props to the craft, of all the artists trying to relive that era, this probably came closest. The closing bonus song however throws most that out the window for a more modern sound with some Kanye inspired vocal inclusion with the hook.

 

 Doe Or Die II is an anomaly, a sequel mostly worthy of the name. It can't replace the original but it compliments it wonderfully. My only qualm is a sense of its impressive stature being more analytical than emotional? This is a common problem when observation intersects the nature of mood and inspiration. Is it me or the music? I feel like I could love this more and as I often say, into the collection it goes ready for shuffle to find me again later down the road. I'm sure then these songs will be more than a welcome surprise.

Rating: 8/10

Little Simz "Sometimes I Might Be Introvert" (2021)

 

I have been dying to hear this album ever since its second single Woman with Cleo Soul dropped. What a stunning track! Perfectly blurring the lines of R&B and Hip Hop, its a mover. Warm, bold and audacious, its lush instrumentation is led by a grooving baseline as Little Simz delivers a fine perspective on female empowerment to compliment. Much of this tracks charm is what the record as a whole is about. A brilliant production has its percussive beats and raps anchored in a classy setting that sways in and out of its own theatrical pantomime. Developing an overarching theme of perception, reflection and ambition grounded in reality, Simz navigates the present moment on a mission of affirmation and intent that is this record.

 With a blinding string of opening tracks, we go on an emotional journey. Riveting, bold and poetic, Simz walks us through so many personal struggles and perspectives on an effortless stride. Lyrically the flow and cadence is so smooth and concise, yet her words resonate so deeply. Reflecting on how she was stabbed and yet sees the perpetrator as a victim of the same circumstances she endured shows so much maturity. It blesses this record with much wisdom interwoven in her raps, as well as a lot of candid talks on family issues. Either reflecting on past woes, commentating on present problems or thinking positively ahead, almost every topic here is illuminated. Not only working through intimate and personal issues of abuse and struggle does she also dissect broader societal concepts and ills into the meaning of all shes going through. Its some of the finest lyricism I've heard in a while.

Where the foot comes off the gas is in the records runtime. At sixty five minutes the bulk of material fits closely to this dynamic union of theater and theme. As the record rolls on a few songs break up the mood, which can often be a good addition of variety. Speed does this well with its stiff baseline toying with simple groove and zany synth melodies. Simz switches up the flow and topicality with a fun boisterous stance. It works but in its reflection Rollin Stone arrives abruptly like a trend chaser. With a dark and gritty street vibe it contrasts the rest of the record. Half way through, Its beat switch and slyly sung lyrics feel so aimless and the track ends with a lone use of auto tune sounding like a half baked hook left way out of place.

Fortunately it pivots into Protect My Energy offering up some energetic 80s vibes with its snappy, hasty percussion and punchy melodies. Quite the song, seemingly out of step yet acts as a tribute to her introversion that pops up throughout the record as she comes to grip with it. Point And Kill and Fear No Man bring a little Caribbean flavor to the record but again, feels off point from the main theme and thus drags on despite being equally interesting tracks. Its the vibe shake up that looses its way on the path to the last three songs which wrap things up on a wonderful stride of introspection.

 Sometimes I Might Be Introvert is a stunning expression of an artists life. A slice in time that flirts with the genres classics as its own identity strides for greatness at every turn. Strangely, the criticism is a common one, bloat. With exception to one song, its mainly a case of solid, interesting songs detouring of the path walked by the greater contributes. To pull four of five tracks would have me completely hanging on her every word - I feel as if no respite from this stunning stride was needed.

Rating: 9/10

Kanye West "Donda" (2021)

 

Currently on a downswing of poorly received records, one of musics biggest names suffers the discomfort of bloat with a tenth record that could have been gold. Twenty seven new songs make for over one hundred minutes of music. Its a daunting bulk of tracks that's slow to get going and concludes with four alternate versions. Some of this may have been out of Kanye's hands, the release of the record a typical mess of delays that also make for a lot of free press. Its hard to know where the truth lies as he has stated since that the project wasn't released as he planned, creating yet another news cycle talking on the album again. I'm being somewhat cynical here.

To mirror its length, Donda feels like a whirl of converging stories taking place in the artists life. The passing of his mother and divorce with his wife being two recurring themes among many other stories, including his plea to grant clemency to Larry Hover. Its more of the endearing vulnerability first heard on Ye. His heart felt lyrics and words, where they occur, reflect internal and external realities and on occasional drifts between disillusion and heartbreak, given my perception of how the media interprets and presents his personal life. At his best Kanye is raw, expressive, impassioned and authentic but the lack of focus means its found mostly in the mid to latter half.

The opening string of eight tracks, from Donda Chant to Ok Ok, lack pace and urgency. Most these beats are subdued with sparse percussion hinged on a couple of lively bass stabs. Slow tempos and moody atmospheres in themselves make up a concept and style but the record will pivot. These songs also feel outweighed by guests who take up much of the airwaves. Jay-Z pops up on Jail to usher in an underwhelming echo of their Watch The Throne collaboration. Cushioned by extended instrumental sections and drawn out loops, its sluggish pace drags on.

Then with Junya things pivot. Its an ugly track, with Playboy Carti and Kanye making a variety of strange noises over the uncomfortable, gritty basslines. There is a friction with the church organ behind it, however that signifies the arrival of his Gospel influences from Jesus Is Born. Sampling Lauren Hill's classic Do Wop That Thing, suddenly the gears shift on Believe What I Say. From here Kanye sings on track after track, bringing in more harmonious and tender musical themes housed by his sparse yet timely percussive grooves and lifted by light choral alike synths. Kid Cudi fits in perfectly with a lovely presence on the drumless track Moon. Its a string of songs ending with Come To Life that I'd consider to be what Donda should of been.

This chunk of the music represent the best of Kanye, with the aforementioned vulnerabilities coming to light and him taking up more of the focus on a record that seems to have multiple collaborative hands on every track. Things hit a peak on Jesus Lord, a perfectly composed instrumental loop that pulls on the heart strings as Kanye bleeds his feelings for Donda. Its the albums gem, a wonderful moment preceded by songs that reside in its shadow with Come To Life concluding the theme with a beautiful piano performance to exit on. It feels like a final note but then No Child Left Behind brings another wave of closure with a heavenly arrangement of choral synths and organ tones to bow out again before the bloat returns with the additional part two collection of tracks, to which hearing The Lox again was a highlight.

Having now dissected my thoughts and feelings on this one, it feels like two projects mashed together. An evolved take on Jesus Is King in the middle, surrounded by another theme that brings out Kanye the rapper who frequently drop the rhymes that make me chuckle. Chanting "I know god breathed on this" a keen example of when his sharp remarks don't land, not quite as genius as he thinks he is. "I got this holy water that's my beverages", "They playing soccer in my backyard I think I see Messi", there are a few of these lines sprinkled in that feel unnatural and contrived. There are plenty of counters to these examples, moments where he gets the rhymes and hooks just right but I prefer him vulnerable, straight and not trying to be to clever with the rhymes. Ultimately, Donda is a bloated record, one I'll condense to my own selection of songs to enjoy from here on out.

Rating: 6/10

KSI "All Over The Place" (2021)

 

Taking action on ambition and following his dreams, I've got nothing but respect for KSI choosing to step out of one lane and maneuver into another. Little of what I'd heard before lured me in but the Holiday song was the soundtrack to my own summer vacation and since then I've mulled over this one a fair few times, waiting for something to click. Sadly, I haven't escaped what's most obvious, Olajide is currently more budget than talent. Although he brings expression, thoughts and passion to the fold, he is constantly outpaced by production that is as its titled, all over the place!

The records sixteen songs fracture into a lot of interesting vibes. Strongly inspired by the British music scene, one can hear the classic stylings of the 90s electronic, 00s Garage and R&B with a sprinkling of Grime. The project is mostly packaged with modern aesthetics, taking a predictable yet occasional path into Trap beats wedged between mostly warm, uplifting instrumentals with some colorful Caribbean flavor too.

With KSI revealing how his features are paid for, it adds a sad note as his guests pretty much outshine him at every corner. I'd always figured features were a friendly affair, artists working with friends for the art but it seems in the Rap scene this can be purely business too... or somewhere in between as things are never black and white!

Holiday is still the albums best track. In fact its the one song where KSI shines, getting everything just right. For the most part he does sound like someone attempting to find their voice on the rest of the cuts. Ironically its the more candid and plainly spoken Sleeping With The Enemy that is most endearing. Although his flow is plain jane, the words really hit home, an authentic expression. My conclusion here? I'm really not sure, this record essentially sounds like what it is on paper, someone with a big budget giving a shot at the music game.

Rating: 5/10

Nas "King's Disease II" (2021)

 With less than a year elapsed, legendary New York rapper Nas returns with a second installment of King's Disease. These fifteen new tracks are clearly less married to the original theme, much to its merit. Initially I feared this might be left overs and b-sides from the original sessions but rejoice, this second chapter has a fine artist re-invigorated, finding stride and inspiration with whatever topics he approaches.

Reflecting on what didn't work with King's Disease, it becomes apparent that the production aids Nas greatly here. Too often do nineties rappers try to abridge current aesthetics with clunky beats, awkward hooks and impersonating flows. Still working with Hit-Boy on the beats, this time the relationship births a selection of instrumentals that could slide sweetly back into that glorious era, practically unchecked.

Its not a set path, tracks like 40 Side, EPMD 2 & YKTV throw a modern spice in the mix with aggressive trap percussion to break up the soulful 90s vibes. Sadly Eminem and other features on these cuts feel underwhelming in the shadow of the albums superior tracks. It lends Lauryn Hill a spotlight to shine again with an aged voice, rapping with a laser focused verse from one legend to another. A beautiful moment.

Lastly, there is Nas himself, sounding free, loose, in flow and speaking his mind with a candid honesty underwritten by good intentions and propelled by an unshakable talent. He brings the instrumentals to life with words and story's, turning the beats into songs that last. Coupling his verses with hooks and words between, the frameworks for themes are set wonderfully, leaving a lasting sense of wholeness.

There is much wisdom and warmth to be heard in his lyrics. Always gushing from that timeless flow and crafty wordings. On occasions his descriptive and associative raps conjure a little spirit from the Mafioso Rap era once again. These two notable aspects overlap heavily on the dynamite track Death Row East, an insightful song illuminating details around the East Coast West Coat beef. An era that ended so tragically.

This second chapter has offered up far more than a fresh crop of tracks to enjoy. Its lyrics impact and land with intent to carry. Much of this album feels classic, something to enjoy over and over for years to come. No record is perfect though, there are definitely favorites to pick over others. A little trim would have served it nicely but the majority has a wonderful artist finding their stride again as if it never went away.

Rating: 8/10

Vince Staples "Vince Staples" (2021)

 

What is the significance of a self title record? It tends to signal something of importance, often a debut naming or musical statement of intent. For Vince on his forth outing, its a reflection of self, affirming his artistic stride with a concise record. Its a lyrical ride reflecting his intellect, making mockery of braggadocio and show boating, while shining a light on the influences, pressures and hypocrisies of his upbringing and environment. Of course this is all wrapped up in controversy as he shifts the perspective from himself and packages the outlook in the crooked lines of ugly lines and verses. At twenty two minutes its another very concise album, same length as FM!. There is little room for anything that's not sharp and pointed. Its song titles often hint at an intersection between his characters and the reflection he shines on them.

These ten numbers run fast, no song surpassing the three minute mark. This flow gives power to its subdued instrumentals, led by sparse percussive beats. They rattle pacy, tight hi-hats and groove of the deep 808 kicks with sharp swift snare strikes between. Its all packaged with fast attack and minimal decay for quite the flat tonality, a bland aesthetic that masterfully resonates of its backing instruments and samples that bring in the flavor. It is as mentioned a subdued experience, a tricky chemistry to get right. Its cousin would be those classic G-Funk vibes yet a sleepy alternative, arriving with the bombast stripped out. The loops can linger on a couple of ambiguous elements, shy of potent melody and forging atmosphere through the obscurity of its dreamy arrangements. A lot of the record feels like a hazy memory, much to its charm.

Initially I found the record a little dull but that is the misleading nature of the beast. Its livelier beats get going from Taking Trips onwards, which would peak my attention. As Vince's lyrics set in, I found the keenest of his musings in the opening with some his critiques and perspectives coming back around again later on, always sharp though. On another level these songs play like flipped bangers with the essence of that ripped out. His steady and soft spoken word delivery a breeze to follow on these sleepy tracks. Giving attention to the craftiness of his lyrics, these lines could play like killer hooks yet its all played down into this style that suits him to well. Being a sucker for a little bombast and bravado its what this album does right that perhaps makes it a little harder to get stuck in my mind, however it does play like the kind of record to experience as one thing, because it lacks any weak points, a very clear vision well executed.

Rating: 7/10

Tyler The Creator "Call Me If You Get Lost" (2021)

Keeping on track with a constant flow of records over the years, this sixth installment in Tyler's evolution feels like a step back from the striking charm of IGOR. Its personal preference but I'd argue the presence of DJ Drama drags this project down a notch or two. With his frequent commentaries, a steady flow of interrupting remarks bark over the musics atmosphere, seemingly disconnected in tone and temperament. At apt times he does indeed reinforces Tyler's words and points but mostly he seems like an obnoxious observer interrupting.

Blemishes aside, Tyler's production is on fire again, bringing cutting edge beats and grooves to his pallet of colorful quirky synths. Drawing from classic Soul and R&B vibes it ends up a flavorful show, rich in variety and some avenues into the dark and grizzly aggressive side of Hip Hop music. It would be hard to argue a favorite niche. Its perhaps the swings from the breezy love struck summer vibes of Sweet, into the funk and crunk of the bass driven groovier Rise that gives its flavors more spice as the record weaves past monotony much to the delight of this listener.

Getting both halves on point its the topicality that goes over my head at times but there is plenty of keen lyrical tales. Reflective themes of past triumphs and contemplating personal change illuminates alongside some of his most baited lyrics with the "Rolls Royce pull up" line on Lumberjack. It and other dives into social political topics come with clever rhymes and food for thought. He seems particularly on point in this regard, especially when in a more casual tone, opening up.

Call Me If You Get Lost also hosts a few guests of notoriety who bring some interesting verses. This paired with its fluid changing of instrumental ideas and DJ Drama's commentaries has the records quality feeling oddly fractured. Its a smooth, fun ride, visiting place to place like a road passing through villages, towns and cities. There is plenty to see and touch but as a whole... it doesn't have that defining piece or magnetism like IGOR did. Ultimately a very cool album brimming with talent and creativity but lacking a little glue? I can't quite land my finger on it.

Rating : 7/10