Yeat "AftërLyfe" (2023)

 

Following up on last years Lyfë, Yeat returns to hold down a lengthy record on his own. Onboarding two alter egos, the twenty two tracks have only one guest artist. An unlikely cause of my disappointment, yet seemingly fed into the repetitive nausea I experienced. These hypnotic beats, alien and psychedelic by design, persist on a single idea. With no beat switches, little in the way of structure, they make themselves known swiftly. Shuffling Trap hi hats bustle away alongside brief melodies on loop.

Over top, Yeat brings in sleazy slurred flows, breezing off the reverb, toying with plenty of dreamy auto tune vocal manipulations, leaning deep on the slang and sluggish cadence. Of the lyrics I could decipher, little value was unearthed, lots of nonsensical boisterous bars and wealth braggadocio that lacked hooks and repeated itself a lot.

Although this formula yielded some groovy hypnotic beats I return to on occasion last outing, this followup was abysmal, little of the beats landed and the vocals became rather grating as the hour of music dragged on. A note of merit is the closing track Mysëlf. Far from great but at least an attempt to introduce a change of tone with dreary acoustic guitars, piano and soft strings. Overall, a big disappointment.

Rating: 3/10

$uicideboy$ "Sing Me A Lullaby, My Sweet Temptation" (2022)

 Hailing from New Orleans, this independent Rap duo made quite the impression. Muddying between Horrorcore and Cloud Rap, their dark leaning beats and heavy subject matter had its familiarity while introducing new ideas to digest. Its mostly the flows of Scrim and Ruby da Cherry who consistently captivate. Their distinctive navel voices and tight rapid flows hit rhythmically with snappy timing. Endeared by creativity, the shuffling of pace and pitch keeps things exciting. Best of all, the pair have an ear for melody, transitioning into catchy sing raps frequently that nail the mood of a song.

Instrumentally, the variety is decent, delving into different Southern styles with echos of Memphis Rap and the sluggish distortions of Chopped And Screwed. The sampling pull on the esoteric and obscure with odd sounds twisted into solid Rap beats. The darkest moments pull on brooding pianos and melancholic strings, the likes more suited to depressing Classical. Great to hear such an eclectic source of sounds. Of course, its loaded with darkly samples and snippets to beef up the grizzly atmosphere.

The subject matter wades through its share of typically misogynistic boisterousness. Between the showboating emerges a handful of tracks with difficult subject matter, addressing emotional ills, mental health struggles, drug abuse and urban trauma. The expressions are endearing, honest and laid bare, tackling the difficulties of life from personal darkness. Although a fantastic introduction, Sing Me A Lullaby, My Sweet Temptation has waned on repetitions but I've found a few songs to return too.

Rating: 6/10

Len "You Can't Stop The Bum Rush" (1999)

If mid 80's Hip Hop with its clunky grooves, fun but dated rhyming tropes is your niche, then You Can't Stop The Bum Rush might just float your boat. I'm quite partial to the era, however Canadian group Len's millennium offering has little to add aesthetically, essentially a stiff nostalgic resurrection. Its bizarre his how eclectic and interwoven with other genres this record is, however the music isn't all as fluent.

Echo's of classic 70s Electronic music to the likes of Kraftwerk emerge, as a string of songs foray into crossover with Hip Hop the likes of Afrika Bambaataa once flirted with. Loaded with body popping vibes and vibrant 808s, the authenticity should be sky high with legends Biz Markie and Kurtis Blow hopping onboard to lend their voices. Despite this, the lack of reach to new territory has a stale energy about it.

After Cold Chillin the flow looses pace, ditching the Hip Hip beats to explore Rock, Punk Rock, Pop and Jazzy vibes to see the record out. Although its nice to hear such diversity, only June Bug swoons with its easy flow and gentle singing. Of course, the albums star is Steal My Sunshine, a massive hit known the world over. An oddity, considering how little of its charm gets echoed elsewhere. Worth a listen but quite mediocre.

Rating: 4/10

King Geedorah "Take Me To Your Leader" (2003)

 

Operating under the alias of Godzilla's three headed nemesis, the beast King Ghidorah, prolific hip hop entrepreneur, rapper, producer, MF Doom puts his talents to work. Take Me To Your Leader is an oddity, an album standing apart from the norm with its quirky thematic charm. Emerging from the ashes of old Godzilla flicks and Ishirō Honda's "Invasion Of Astro Monster", vocal and action snippets revive a unique vision to life. Monster Zero runs by as a keenly cinematic track, unloading its samples front to back without a verse, as does title track too later on in its thirteen tracks.

Between the instrumental passages of crafty world building, a diverse range of voices drop onto the mic. Mostly rhyme riddled and intricate in nature, lyrical games play out on the bars, adept with flow, woven with tricksy word play and verbal acrobatics, the focus shifts as the album matures. With such talents strutting, the subject material often slips into bombast and prowess as these emcees rhyme hard. In its transitions, the spectacle remains, suiting this novel packaging for a memorable listen.

The beats rapped over are relatively straightforward. Its the source material and obscure movie dialog sampling that gives this production an undeniable charm. The firm mix of Soul and Jazz gets obscured by a string section focus. The occasional Sci-Fi theme's spice up the overall vibe and tend to find themselves paired with stints of sampling as the guest verses end up on the Jazz Hop leaning cuts. Although capable of dissecting its composition, the elements are gripping throughout, making for a record difficult to critique on its own merits. If this suits your preferences, you'll adore!

Rating: 7/10

Kid Cudi "Entergalatic" (2022)

 

Having adored a collaborative Kids See Ghosts and the psychedelic tinged Cloud Rap of Man On The Moon III, time with the American rapper slash producer seemed overdue. Lured in by the infectious hypnotic mellow sways of Do What I Want, exploring this newest record seemed like the next logical step. Entergalatic plays like a river of vibes. Its a series of Ethereal moods drifting by, mostly pronounced by its dreamy instrumentals and Kid Cudi's ability to converge on a gratifying hook.

Most the lyrical verse seem like casual commentaries on life's unfolding events. Passing observations and emotive expressions suit the conjured atmosphere. Cudi arrives calmed, smooth and chill. The beats touch on tensions and introspective degrees, never veering to far from its soothing allure. Occasionally the percussive attachment drifts into restful, relaxing states as atmospheric ambiences take hold.

A track featuring 2 Chainz, Can't Believe It, arrives with apt timing, breaking up the mid point with a nightly low key banger. Cudi's deepened flow, mostly the hook, has an uncanny resemblance to Rich Brian. Its a welcome change of pace among a river of catchy hooks and ambiguous melodies that swoon sweetly to its own rhythm. Its Kudi alone who builds much of this rapport, his guests don't bring much to the table.

Despite such good graces, little emerges beyond the sway of its tantalizing yet mellow vibes. A selection of favorites will rear their heads among the variety but the album mostly slides into mediocrity. Fertile ground for embracing the mood but never commanding the listener to yield. Could of been much more despite easy enjoyment.

Rating: 6/10

Backxwash "His Happiness Shall Come First Even Though We Are Suffering" (2022)

Traversing deeper into painful themes that have defined Backxwash's raw, hopeless expressions, this newest installment of darkness suffers familiarity. Scarcely making ground on I Lie Here Buried With My Rings And My Dresses, an unhinged rattle of caustic demonic beats accompany now accustomed flows. They run formulaic as the Canadian rapper settles on her flat tone and biting cadence for another round lyrically battling her demons. Its plays as a war siren of distress, simmering in a difficult intersection of ignorance and bigotry. Select samples of pastors preaching illuminate these struggles aptly, focusing the records somewhat conceptual scope to a degree.

 His Happiness Shall Come First Even Though We Are Suffering sums itself up well. A tale of religiosity preaching division and judgement. Although not a sole focus, it fits a discomforting darkness felt through its rough instrumental abrasion, a continual unease suited to the evils parading as morals highlighted. When on point, a potent chemistry. Yet a lack of subtle bombast, groove or sensible musical appeals bounds it tightly to a thorny bed of pain. Weaving layers of disorienting noise, soft distortions and broody bass, gospel samples and estranged companions stir a wild atmosphere. These instruments peak curiosity but lack command of simple pleasures to sway one.

Almost brilliant yet a spark is missing, or just all too familiar. An issue becoming stark in Backxwash's cadences, especially later in the record, Juju a prime example. The hard rhyme inflection and pacing of words becomes repetitive and stale, adding to a sense of stagnating style. The albums ambient feeling one retreading horrors expressed before with an interchangeable nature. One distinction apparent this outing were a select few songs hiding uplifting or beautiful instruments within its mix, burying them a dense darkness, occasionally surfacing them for false relief.

Rating: 7/10

Brockhampton "The Family" (2022)

 With wounds still fresh, Brockhampton supposedly returns from their recent post Roadrunner breakup. In less than a calendar year, this resurrection paints a sour flavor in its expressed explanation of existance. Dominating the airwaves, through commentary and production, The Family arrives like a Kevin Abstract record for this outsider looking in. Peeling off scabs from a painful separation, the woes of using drama for content seems lost on the nature of this dissection of their unraveling.

On one hand, The Family plays as a wonderful self analysis, a raw reflection. Like a fly on the wall of a therapists office, we cycle through events and dramas that tore the group apart. Its candid, unabashed and sudden. The other hand, an eerie postmortem called while a pulse can still be felt. This unease is steered by Kevin, lopsided in representation and drowning the music with early era Kanye West imitations.

Often do his vocally directed instrumentals reek of Kanye's genius. So do the flows, cadence and expressive schemes play uncannily alike. Its not found at every turn but throws what could of been a luminous reflective concept record into the unease based on imitations and a questionable timing that seems to retread some of the lessons its trying to learn through this open autopsy. Despite that, there is class at play, music to be enjoyed. Production is well rounded, topicality interesting, engaging yet that lack of self awareness breeds the inescapable odd tension, throwing all feelings into doubt.

Rating: 4/10

Nas "King's Disease III" (2022)

 

Finalizing a stellar trilogy, Nas falters not on delivering this inspired prominent stride for a third time running. King's Disease III suffers its own familiarity but wins one over with its articulate excellence. His timeless flow, lacking filler, spits commentary thoughts over past, present and future. Housed in consistent architecture, this third round of musing grabs and engages once again. Tales of the youth, lens through age and wisdom. Well wishes, ambitions of action to revive community values and an indulgent helping of nostalgic reflections on the culture that informed his artistry.

All topicality gets delivered through that tight unwavering lens, a razor sharp focus keeping lyrical narratives firmly on track. The main theme, a stance affirming legendary status, echos again as the King's Disease. Retreading these ideas on certain verses, the firmness of this flow glows brighter, its digestibility and ease to follow still a goldmine, despite circling this particular theme. I wonder could it go a forth round? Unlikely, other topics rise head above shoulders in their freshness.

Behind him, Hit-Boy returns to handle production, their relationship still apt. Resurrecting 90s vibes with modern production, a plethora of pitch shift soul singing snippets give the third chapter a warmer distinction. On a couple cuts, percussion is subdued, or dropped entirely. Nas' cadence serves as the rhythm. This chemistry comes ripe, picking plump verses for voice to resonate on its own pacing. Other tracks reminisce It Was Written, Nas' second album. Undoubtedly a bias for me to adore.

Beef echos I Gave You Power, a sublime track where young Nas inhabits a pistol behind street crime, rapping from the weapons perspective. Twenty Six years later, a complimenting instrumental tone helps center his rhymes from a view of beef itself played well. Thun delves into similar tones too, with its rainy, sinister string section. Michael & Quincy furthers this darkly avenue. The beat switch shifts gears, amounting a contrasting nostalgic reflection on the 80s duo's significant trajectory.

Blessed by distinctive songs to pluck as favorites, the whole album still fits the glove. Now a familiar project, its greatness becomes difficult to distinguish in its similarities. Time will two, the last to chapters still sound stunning. One point worthy of notation, this entire record has Nas go at it alone. No features or guests. Another signal of this remarkable level of greatness so deep into his career. Whats next I wonder? I do think a shake up in theme, approach and aesthetic is required. Although in a bold artistic stride, all good things come to an end. Best to get ahead of that reality while on top.

Rating: 8/10

Gravediggaz "6 Feet Deep" (1994)

 

Unwittingly, I've uncovered Hip Hop's Horrorcore origins, a treasure trove of terror led by none other than RZA of the Wu-Tang Clan. United with The Undertaker, Grym Reaper, Gatekeeper and producer Prince Paul, this Rap quintet delve deep into life's dark sides. Graphic themes of death, suicide, murder, poverty and black suffering permeate. Both serious and comical, the latter gets punctuated by gruesome exacerbation of comic book horror tropes through verbal creativity. Its former sincerity makes use of thematic extremities to highlight the serious issues of street life.

I'd been aware of 6 Feet Deep's existence for decades. Despite an encouraging reputation, my playlist choices always gravitated to something else. Finally cracking the cookie, I'm overwhelmed by its fortunes. Slipping snugly into an early 90s Jazzy ruggedness, to many samples, flows and drum beats echo many favorite sounds, posing the tricky question of how it fits the tapestry. Warmer Southern tones turn up on Mommy What's A Gravedigga, 1-800 Suicide and Blood Brothers, the latter cruises on a chilling nightly tone with its shimmering pianos and danger lurking baseline.

Diary Of A Madman plays like a blueprint for what I know of Rap duo Jedi Mind Tricks, both beat and flows are uncanny. Many other songs conjure similar familiarity. A handful of verses spat akin to Ol' Dirty Bastard, and the occasional beat like Graveyard Chamber reek of Wu-Tang outtakes, perhaps leftovers from the era of RZA's Demo Tape. Recorded over the prior three years, overlaps with the nine are no surprise, yet Gravediggaz stand boldly apart with their own devilish identity.

The distinction is wild, leaning into theatrical cheesy horror tropes, grim lyrics get cut keenly into its topicality. A depth of cultural references finds its linage in the unsavory side of American cultural history. Experimenting with unhinged wordings and maniacal cadences on occasion, the music ebbs and flows between tongue in cheek humor and deadly frankness with more conventional cuts. Prince Paul's contributions certainly serve that convention, with RZA and other producers offering up the looser screws. All in all, 6 Feet Deep is an essential experience if a fan of Hip Hop's darker leanings.

Rating: 8/10

Yeat "Lyfë" (2022)

 

Riding a wave of hype, this up and coming youngster Yeat builds on top a direction the likes of Playboi Cardi, Future and Lil Uzi Vert have established before him. The latter Uzi features on this EPs opening track Flawlëss, the two melding as such bt Cloud Rap standards. Vibeing with subtle psychedelia and mellowed out aesthetics, these beats pair clicky, tinged percussion with zany synths and flat bass rumbles.

Going heavy on the auto-tune, Yeat's voice electrifies tonally, blurring synthetic boundaries. Its a stylistic evolution, words play second fiddle to the feels of cadence and delivery as his flow melds melodically with backing instrumentals. Trendy slang and slurred annunciation lead way, bending vowels and consonants to the whims of self expression. This groovy, easy, laid back gelling is a pleasure to observe.

Sadly, the attention on his unique presence equally highlights seemingly knee deep lyrics. Sleazy slang, cheap nauseous rhyme schemes and a heavy reliance on braggadocio paints a shallow portrayal of the moment. There is only so many claims to success and flipping stacks one can endure. A lack of variety and substance leaves one with little to take away in terms of food for thought. Obviously its not the point.

Despite this, the moods are hypnotic. Songs play like low key bangers. Letting his voice spiral off like an instrument, the beats resonate in their unusually synthetic take on the current direction of Hip Hop. Simple loops with short melodies sink into the contagious aesthetic with ease. The bass stomps find apt moments to drill thumping repetitions, a niche touche. Producer BNYX seems to consistently have hands on the better tracks. In general, they seemingly "glow" more than his contemporaries.

The further utilization of vocals in this auto-tune chemistry is somewhat reminiscent of how Kanye West once brought the harmony of voices forward. This time, the script is flipped. Zany, odd and alien, yet mellow, chilled and groovy, the style being evolved here has something to offer. Lyfë however falls a little short as a record. Its final songs drag, recycling ideas which are wild and exciting in its opening stretch.

Rating: 5/10

Megan Thee Stallion "Traumazine" (2022)

 

Roped in by her catchy Thot Shit hook, Megan struck me as a subversively talented artist overcast by the provocative lane she resides in. Sometimes referred to as "stripper rap", the reversal of overt objectification in Hip Hop often leads to bigoted conversations. Brushing that noise aside, there is a lot to enjoy here on her sophomore effort Traumazine, my jumping in point and a strong introduction.

With a lengthy string of tight banging beats, the appeal is strong. Lean aesthetics and slick execution takes on a reflective roll as many of these songs reminisce on classic Hip Hop vibes and beats from years gone by. If you're a keen listener, you'll hear a lot of familiarity. My personal favorite is Not Nice. Stealthy baselines and ambiguous ethereal sounds between the firm percussion give me some serious 2001 vibes.

Fronting the instrumentals with power and confidence, a crisp flow and swift articulation makes for breezy listening when it comes to understanding the topicality. Megan brings fifty plus minutes of focused, narrative driven rhymes. Braggadocios status affirming and showboating aside, a significant substance emerges as legal battles, personal struggles and emotional distress brings depth to her talents.

Although mostly voiced through a fierce, fearless front, a few vulnerable moments let the guard down. These stories tie up many showy sentiments to a human aspect, putting feelings to the exaggerated persona. Its a story of struggle and hustle, often playing out through explicit lyrics. With Traumazine she weaves in the person behind this success game, balancing out the boisterous with meaning and direction.

Although fun, fresh and powerful, its superbly recycled Hip Hop vibes and somewhat saturated topicality have these fifty minutes feeling stretched on each spin. Although lacking obvious weak spots, curation may have aided. Her tone and cadence has its range, explored early on and maintaining pace throughout. The decent consistency holds much of its material on par and leaves one wondering which tracks will survive memory? Its been a fun record but I'm unsure that time will favor its lasting power.

Rating: 6/10

The Color 8 "First Friday" (2018)

  

The second of two picks by this intriguing band has also yielded a sour taste. Unlike Foot On The Gas, First Friday mixes up its raw Rap Metal riffing styles with jam sessions and Smooth Jazz tones. This is no sleek crossover between opposing temperaments but a clash of moods. Songs swing from fiery angered rap verses and gritty guitars to soft and supple melodies swooning in their own ambience.

We On and X gel its ends together awkwardly. Distorted yet bluesy guitars bustle and hustle but to what avail? The record drifts from one idea to the next, lacking focus or concept, with a breezy, mellow mediocrity in its sails. The finer aesthetics emerge in its Jam sessions when its instruments find a groovy cohesion, warm at first but lacking a depth after repetitions. This band had a spark in their best material online but I found none of that here. I think I'll close the door on this one for now.

Rating: 3/10

The Color 8 "Foot On The Gas" (2022)

 

This Arizona based four piece, The Color 8, are a somewhat eclectic assembly of talents. These musicians may revel in one anothers company but for this listener, their musical inspirations feel left behind in the past, as opposed to being nostalgic or revivalist. Little new is offered with many metallic riffs offering similar once aggressive tones to the likes of Cypress Hill's crossover, or Ice T's classic Body Count.

Its all driven forward by loose, dirty distortion guitar riffs, Rap and Metal collides with the spirit of their encounter around the late nineties early naughts. For that alone I'll find a stronger connection than most. Even appealing to my personal tastes, this five track struggles. Half rapped, half shouted hooks rarely land and the swift dexterous rap verses lack a spark on personality in the wake of rappers that came before.

WTFU is possibly the albums best track. Social politically charged, dropping in with bouncy riffs on the chorus, harmonic guitar noise licks for the verses. Its great but all from the Rage Against The Machine playbook. I could drone on with details and specifics but ultimately a lack of something original shining through really hinders the mediocrity. I've checked out their other material online and its clear they are talented, capable of so much more than this dulled rusty Rap Metal revival.

Rating: 2/10

Clipping "CLBBNG" (2022)

Still one to keep an eye on, even remixes of Clipping classics set for the club scene were a curiosity. The 90s sounds of Dance, House, Acid and even a soft sniff Big Beat make sturdy foundations for modern aesthetics. Producer Jonathan Snipes has made great of the source material. I would not of guessed the finessed story raps of Daveed Diggs could suit this mold. Kicking off with Nothing Is Safe, the soft synth tunes and shuffling percussion vibes well with his raps. Its second of four, Drop Low, follows along as an instrumental alternative take of the first track.

Things get interesting on Get Mine, kicking off the unforgettable alarm clock, its obnoxious grate is cut up and rearranged with groove alongside the percussion and Acid synth leads. Its counterweight of chopped up effeminate vocals go back and forth, finding interesting overlaps and a reference to Cypress Hill along the way. It would of been nice to hear more raps in the project. The final track samples the "drop that game on them" insistently, as dirty baselines rumble and pivot with bright piano chords and cheery child choir singing among an arsenal of animated sound effects.

As volume one of hopefully more, hearing this style meld with Digg's raps would be a treat. This installment offers just a glimpse of that, the rest of the material lays more on the shoulders of Snipes's own creativity. He is class at what he does but that middle ground could be better explored. There is clearly an interesting chemistry.

Rating: 4/10

Snoop Dogg "Da Game Is To Be Sold, Not To Be Told" (1998)

 

In my youth, this one caught my attention with its overt, unabashed use of 90s Photoshop aesthetics. The then trendy Pen & Pixel Graphics covers are certainly eye catching. At the time, I cared little for the music but since learning of Master P and No Limit Record, my interest is renewed. Snoop was keen to exit Death Row Records, as many of its artists were. He found home and friendship down south, No Limit records taking him in with a warm embrace. The result? Essentially a creative low point for the legend as he is rotated into the album production line at the peak of cultural relevance before a sharp decline in the years to come. Despite going double platinum, this ain't one to be remembered but within a couple notes of interest make themselves known.

No surprises, features from the No Limit crew are in abundance churning out the raps. Produced by Beats by the Pound, the aesthetic, tone and No Limit cliches dominate the narrative. I'm fond of the occasional beat but for the most part, this is ruggedly rushed, now dated and simplistic music, lacking sparks beyond a routine music creation system. A couple tracks try to recreate classic G-Funk grooves. Gin And Juice II & Still A G Thing whimper from the shadows of game changing anthems yet do have a compelling knack to them, mostly driven by Snoop's persona.

 Snoop is a raw adaptation with this crew, his often near spoken word, snide flows and crude lyrics rarely bloom beyond shallow showboating. His identity as slick and cool as ever yet the gangster oriented stance affirming and general vulgarities become a tire quickly. The hooks and chorus are all too casual to get in deep across a massive twenty one songs on a typically bloated, 80 minute CD filling project, the No Limit way!

There is one blemished jewel to be found however. DP Gangster has Snoop and C-Murder resurrecting an N.W.A classic, reinterpretating the beats and flows of Gangster Gangster. Its essentially a cover, a re-imagination, something that seems to be a no-no in Hip Hop, yet I thought it was a delight. I'd love to hear more artists taking on old tracks, giving them a different spin! Anyways, I knew this was going to be disappointing but with curiosity leading the way, I had a bit of fun!

Rating: 4/10

Wu-Tang Clan "Iron Flag" (2001)

 

Picking up a fever, delving into the leaked Demo Tape & ODB's Return To The 36 Chambers, I thought id wrap up my cravings with Iron Flag. Released hot of the heels of The W, its commercial decline gave it a dire reputation at the time. Subsequently, I'd never given it a fair go and maybe I should of left it that way. The talent of these rappers is not in question, however the Wu mastermind RZA himself might be.

Iron Flag's instrumental tone is a frequent bore. The production of these beats hinge on short repetitive loops from front to back. With little in the way of variations and nothing to offer with song structures, the record is a grind. RZA turns to tighter constructs with clearer samples, often 70s Soul, crisp drums and synthetic instruments. Its a departure from the gritty, low fidelity musk that once defined them. Radioactive manages to capture that spirit but its a lone track among many.

A few others put their hands on beat creation but Mathematics and other guests simply fall inline with RZA's vision. Its one of hard hitting percussion with moody sampling housing brief, stabbing melodies on loop. With a tone that lacked any excitement, it was tough to get into the rhymes. Despite competent flows, the topicality felt like a group on auto pilot pumping out another record that lacked depth.

Rating: 4/10

Ol' Dirty Bastard "Return To The 36 Chambers: The Dirty Version" (1995)

 Hailed by some as a classic, Return To The 36 Chambers strikes me the unleashing of a wild talent Hip Hop didn't know how to handle. Ol' Dirty Bastard stood apart as the oddball within Wu-Tang Clan. His loose delivery, unhinged energy and bizarre spurts of unabashed singing was charming in bursts between his colleagues. That persona is explored at depth on his full length. With plenty of shock and awe, Ason's oddities strike with rigor new and old. Not only does he bite with lyrics, tangents and general strangeness become a frequent entertainment on this off-kilt ride of a record.

Kicking off with estranged hype trifling, the long winded intro is a snooze before his classic Shimmy Shimmy Ya kicks things into gear. From then a string of grizzly low-fi beats terrific rhymes get packaged into unconventional flows and faulted song structures. The track Baby C'mon has ODB's verse dissipate into a whirlpool of fading reverb, cutting the song short for a select cut of short beats to see the song out.

Loaded with all things odd and unusual, Ason shines on his own initially. As the record endures, weaker cuts get crowded in among features from his clan as the antics stretch thin. Everyone brings their a game, still young fresh and hungry but the flow falters. Goin' Down has a childish intro dedicated to strange noises we probably all made as kids. This and Drunk Game, a comical piss take of sensual Soul songs, arrive with weak cuts like Brooklyn Zoo II, a revision of songs from the record so far.

The faltering pace arrives on the heels of Proteck Ya Neck II, a big name to live up to. Eight Wu-Affiliates jump on the mic with ODB, dropping fiery verses that were doomed to live in the shadow of a classic. Fun but perhaps could of done without the reference. The record then ends with a studio recording Cuttin' Headz, one heard on the Wu-Tang Demo Tape. In the age of hour plus records filling CDs, curation seems a miss once again, something not considered at the time given the price of music.

There is undoubtedly a hint of classic in the mix. In my opinion, it arises from to two key aspects. Firstly, these are the dirtiest beats from RZA. If you were looking more of that Kung-Fu loaded low-fi, its here in abundance with a more bass oriented flavor. Second, the shock value ODB brings would of been wild and fresh at the time yet with age, immaturity and blemishes sound worn. That is nothing to take away from his persona, however I've grown a massive appreciation for his artistry with the Clan, having given this a proper go now. Much respect! Rest in peace Ol' Dirty!

Rating: 7/10

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