As R&B wavers in and out the mainstream, not far off in the underground, foundations are being laid for the genre’s new age, with Ye Ali at the helm. Having orchestrated in the background for the forthcoming compilation project, he returns to the forefront with the 5th instalment to his Private Suite series.
No time wasted, it starts with Sex In Your Mind, serving as the intro, it sets the scene (the, “in your mind” aspect of this song is such a traditional spin), leading into Good Girls II, switching the tempo up a notch, it’s a similar sound to the current R&B/Drill mash emerging out of New York (and who better to flex in that realm), with it’s notable samples including the legend Joe. Now X3 (featuring 11:11, Zae France and Mizzy Lott) gives us a glimpse into that compilation project. Track 4, Deleting Apps, a great example of Ye Ali’s penmanship, as a lot of today’s R&B are attempts of the golden ages, he actually challenges the norm with his writing and musicality, which sounds current but feels like the classics. Further justified with Missed Birthdays, the sonically sexier of the songs, it’s actually one of the best tracks of recent, especially if you account the vulnerability to confidently deliver such toxicity. Next is the exotic Pree Di Ting (Hold Up), “I know she got a schedule, but I’m not scared to call..”, he opens with, over the warm afro-infused composition, showcasing the depth in his craft. The theme is maintained with Girls From Houston, acting as an interlude before another standout track, Open Late, R&B at it’s core, with the subtle samples, it’s a solid effort with fellow collaborator DCMBR & Benstar, before the actual interlude Pictures With The Opps, breaking the fourth wall whilst restoring the toxic balance (can’t believe she burnt the PS5). Concluding the project with the first and (previously reviewed) well-received single Good Girls.
For a few years now, Ye Ali has garnered a loyal audience and could well have just focused on his solo success, however, he’s always appeared to put the art before him and whilst evident in the quality of these releases, it’s certainly not gone unnoticed as he’s being touted as a successor in the genre to the likes of R&B maestro Tank. With the compilation album on the way and rumours of Traphouse Jodeci 3, the future of R&B is in safe hands.
After a successful Great Escape with the legendary Alchemist last year, Larry June returns for the autumn, but this time he’s doing it for himself.
“You stay home all day, playing Call of Duty, but in reality, you don’t answer the call to handle your duty”
Starting with the 5th part of the now classic Uncle Herm series, speaking wisdom over some groovy instrumentation, leading to Magnum P.I., a wavy depiction of his elevated status, which is emphasised by the Harry Fraud produced Morning Calculations, “When you really got a goal, you gotta stick to it, I wake up early in the morning and grab my calculator”, he opens with. A Little While sounds like traditional Larry June, catered to the female fanbase, that happens to sit between two of my favourites, flowing cool over Jake One & DJ Khalil production, it helps set up the next track. As someone who wants to A&R a Larry June R&B album, Stinson Beach might be my favourite track. I don’t know why, as he speaks in the intro, I was just waiting to hear about marble worktops and Sicilian harvested Orange juice in a laid back flow, instead he turns into David Ruffin, and begins crooning, “I know, there’s things in life, that you..just can’t change, but when I’m not with you, baby girl, I don’t feel the same..”, it’s consistently great from start to finish, a result of the hours he’s put into his craft. It’s an effortless evolution of his penmanship. The mood completely shifts with the trunk-rattling Real Talk Pt.2, a grittier effort, a more assertive display over the bass-heavy beat. Track 7, Three-Piece, sees Larry June unite with popular collaborator Cardo and it’s just that, chill, catchy and encapsulates the Bay. The overall sound of this project captures essences of the Bay and West Coast in general, with his personal touch, portrayed in Where I’m Going (with it’s recognisable sample), proceeding, Meet Me In Napa, a more cinematic audio experience, almost serving as a trailer to Breakfast in Gold Coast. Track 11, Imported Couches, the early single, seemingly sounds more luxurious within the album, “What you gon’ do when then times get hard? What you gon’ do when the cheques stop coming?”, he raps, with an ability to detail a high-end lifestyle without it seeming disconnected from the listener, that shouldn’t be overlooked, adding substance with the aspirational themes to the braggadocios elements. The silk velvet texture continues with Cleaning My Spot (Interlude), a softer approach before the darker sounding, Like A Mack. I know there’s obviously another project in the works, so to be able to sequence a conceptualised body of work that feels organic, with no features (no gimmicks or reaching for streams), has to be applauded. One of the singles, Dreams, another modern day Bay-centric sound, helps complete the album on a high before the curtain closer, Money Bags, a Cookin’ Soul produced vibe, with it’s extended musicality really complimenting the project and neatly sets up for whatever is next.
It’s no coincidence that the state of R&B was in question during Party’s recent hiatus, and as more of his offspring appear, despite no new music since 2020’s Partymobile, his influence remains, and as more low quality attempts continued, it was only a matter of time until the real returned to restore order, with the highly anticipated fourth instalment to his now classic self-titled series.
The demand for new PartyNextDoor music was always there, and late 2023 waters were tested with singles Her Old Friends and Resentment appearing before the official album announcement/roll out. Whilst fans jumped at new PND, it was evident that a project was needed, and when it was announced that it was ‘P4’, anticipation rocketed.
Couple festival appearances served as a reminder of his position as one of the premier musicians, also highlighting his intent to be back outside, reinvigorating the classics and revelling in the prolepsis.
The final single before the album’s release was Real Woman, and while the more potent of the singles, an artist of Party’s magnitude could’ve easily just dropped this album with no promo and I believe it wouldn’t have been any less successful. Then there’s the artwork unveiling, provocative, it did what was required of it, though initially dubious of the choice, you trust the artist’s reasoning and ultimately it signified grown and sexy, a sure reflection of the music to follow.
After almost a minute of firework infused ambience, he croons, “Take off your clothes..”, the opening line sets the tone, aligns the artwork and the movie begins. Off rip it’s quirky quotables delivered in innovative harmonies. Track 2, a previously teased snippet, didn’t fail, with it’s unorthodox DMX sample, Lose My Mind adds to a strong start. Stuck In My Ways, whilst slowing tempo, offers that vulnerability missing from today’s music, the personal outro/interludes provide that personal touch, encompassed throughout the journey of the album. Track 4, Cheers, naturally adds to an organic playlist of party vibes, and maintains his distinct penmanship, “Tamia, Tamia, officially missing me..”, it’s those cultural nuances that can’t be replicated. Complete with the interlude of his girl getting on his case, which perfectly segues into Make It To The Morning, another track that shouldn’t be as catchy as it is, well crafted, another solid example of the male accountability wrapped in charm that’s scarce of late. Track 6, “Ever since I copped you all that ice, you got no chill..”, No Chill, and the previous single, Her Old Friends, both showcase different skillsets in style and cadence despite being similar tempos, which, in addition to The Retreat interlude, perfectly sets up the secret summer smash he’s had in the tuck, For Certain. That entire transition took me by surprise and that’s what you ultimately expect from a PND project. For Certain, the afrobeats sound with the right level of bass and hi-hats to deliver a blend of raw yet clean sound, it’s a progressive step from the man responsible for some of the biggest hits from your favourites, and really might not have fulfilled it’s potential with a combination of behind the scenes industry manoeuvrings and a particular rap feud that shifted momentum. But back to what matters, the music, and Party doubles down on his antics with Sorry, But I’m Back Outside, the aptly titled slow jam sonically leans to the grown side of things, with more lines you can expect to belt out like, “I shouldn’t even be outside, I got somebody inside waiting on me..”. Credit again to the sequencing of this project, with the overwhelming outro, that introduces another single, Real Woman. The song was quality when it first appeared, however it’s amplified within the album, though not the last song, it does feel like the climax of the album, with the necessary A Mother’s Prayer (Interlude), the more personal Family, and the single Resentment serving as the curtain closer of what is, another quality body of music, even beyond R&B, the roll out makes sense as it’s another masterpiece in the discography, now etched in history, once again raising the bar and reinstating his position as one of the leading artists today.
The former pizzy capo continues his independent run with a new trilogy, Different Shade of Green
The first instalment is 8 tracks, starting things off with the anthemic 100 Miles and Running, a bass-heavy offering with it’s piercing sample, cutting enough for Phaze to run through, as he whizzes over the beat with emphatic expressions of hunger and determination. Settled in off the intro, Phaze delivers another of his signature abstract raps with Captain, further reinstating his position in the game, over a more harmonious loop breathing over the heartbeat the bass provides. Motivation continues with track 3, Malcolm In The Middle, more introspective raps are woven over the catchy combination of soulful sample and 808s. Track 4, though like it’s title is ‘Different’, however Phaze flowing menacingly over the eerie production delivers a current approach to his early style & sound. Though the tempo switches up on Oh What A Predicament, the sentiment remains, an aspirational number, celebrating hard work and dedication, lyrically uplifting, with a vengeance. Track 6, with it’s potent sample (that Max B fans will recognise), Phaze is able to create a song for the girls without the slightest conformity, it’s a rarity that he’s able to effortlessly paint into his discography. This is further proven with the very next track, Fatal Attraction, a deeper perspective and another example of his high level story-telling abilities. Just as you’re drifting away with the chimes, it’s back to business with $udbury Hill, continuing the ruthlessness of the intro over the upbeat production, with more confidence and authenticity, depicting the navigations through realities of life in London.
For the second edition, though the shade of green in the artwork is different, the quality of the project isn’t. Kicking off with the infectious Flirty, a melodic uptempo number, at this point it’s hard to even categorise the sound, especially as it transitions into the 2nd track, Shamima Begum, the very British and more boom-bap feeling, a realm he’s always been comfortable in, flowing nonchalantly but impactful, and that continues with Get Down, where we get LL Cool Phaze, far different to Track 4, the hard-hitting Perfect Flight Perfect Landing, another conceptual effort with an intensely focused Phaze (it’s to be noted that over all these varying tempos and sounds, he’s remained prominently consistent). The retrospective Kill Switch shines some light within, setting up for the heartfelt I Wish I Told You, You Could Fly, an ode to recent losses, although sad circumstances, the artistry to be vulnerable and omit that emotion is appreciated.
I understand why he split this into three, as it makes it easier for consumption and avoids a flood of music, which brings us to the first track, Deep Waters, another great choice to intro with (they serve as a spine for the trilogy overall). This project is starting to feel like an evolution of Hip-Hop, with tracks like Oops There It Is, a treble-heavy cut, providing the perfect platform for Phaze to emphasise over. It’s these polarities in production that really credit the sequencing, like Track 3, Higher Learning, A classic down-south sounding beat with the layered sample, and we already know tempo means nothing to Phaze, as he slaloms through the track. POS is another example of that abstract style we’re becoming familiar with, displaying a groovy flow over the spacey instrumental. Towards the latter end of the project and we get the theme music, Undertaker 99, it doesn’t initially stand out the way some of the previous ones might have, however, over the course of couple listens, it emerges as one of the better tracks, and nicely brings us to, New Shit, a call for things to come, though the last track, it signifies anything but the end.
One of the few real artists left, Phaze What once again delivers with this trilogy, a collation of experiences and emotions, with an assortment of flavours and a contrast of shades, ultimately a different shade of green.
Introducing the digital version of my first edition creator’s digest, Ahead of my time, but running late. Consisting of 46 pages, featuring some of my past and upcoming works and insights over the past decade.
[This is the first draft, complete with errors and will vary from the final version but gives an exclusive insight]
Available for a limited time only for just £2. Click the link below:
Digital copy of my creator’s digest. Link will be emailed upon purchase
£2.00
Physical copy coming soon..
[Update: Was about to put the physicals for sale but wasn’t feeling it, so scrapped them, and now redoing the whole thing, still coming soon-ish. You can still purchase this first viewers version to get an idea of it or wait for the official version]
One of Hip-Hop (or music in general)’s qualities was it’s distinct sound and styles representation of it’s location, as the internet era merges those features through trends, it’s always appreciated when someone stays true, and that’s the case with LA’s own Polyester The Saint. One of the west coast’s most slept on producer of recent and thus his artistry can be also be considered overlooked, he’s one of the few who blends the classic essences of the west with a modern spin. A credit to his musicianship, with each project he’s been able to transport the listener beyond the gangsta-rap narrative thats commercially dominated over the years.
For me, he’s evolved the classic G-Funk sound and with When She’s Ready (released mid-July), continues his theme of cool, palm trees and summer breeze, for the OG’s. A more mature direction, true to self, it’s a luxuriously laid back, musically driven sixteen track project full of solid raps and velvet harmonies, infused with high end sonics that could only be described as real playalistic.
If you’re new to Polyester The Saint, there’s a consistent catalogue to catch up on and vibe out to that will no doubt leave you feeling hella good.
The hustle doesn’t stop, as Pak-Man is back with yet another one
Pak-Man adds some South London flavour to the 50 Cent classic with his latest drop. Another display of motivational boss talk and fly raps as the Lambeth Legend continues his impressive run, leading up to the forthcoming project.
It’s become common for Youtubers to turn to music of late, however, one of the early creators to do this was the UK’s own Mularjuice, able to express his personality through his videos, his music has helped provide a deeper insight into man before the uploads. Returning back to the fold with more content, he releases his No Reason EP for 2023
The 6 track EP offers a range of styles, with it’s street-heavy content, a mix of inspiration and bravado, it helps further establish his artistry behind the mic. Someone who is always upbeat on camera, tracks like Grateful help shine a light on his appreciation for overcoming adversity, leading into the single Only The Family,
which further emphasises those statements, as he lets the pain pour out. This theme runs into one of the standout tracks, No Love, a more compiled effort, whilst previous records may draw inspiration from the likes of Lil Durk, this is him drawing closer to his own style and sound, and it certainly stood out for me. Not one to be boxed, the following track Switch allows him to flex his melodies a little more, before stepping it up a gear with the No Reason Freestyle and One Sec, where he tackles traditional Drill sounds effortlessly, concluding another solid effort, but leaving room for more to come.
If you’re not familiar with the ATM boss, then check out his YouTube channel to follow more of the antics, regular characters, motivation and overall jokes
Fresh off the momentum from The Great Escape, the production maestro continues to sour with the release of Flying High
With multiple more production credits and projects on the way, Al serves us up some treats in the form of four new tracks, a snack size offering full of flavour. Starting with (the Earl Sweatshirt featured) RIP Tracy, a harmonious number, Earl and Billy Woods over a classic Alchemist loop, it’s an appetiser for fans of the two, before the darker more sinister sounding Trouble Man, featuring T.F. and (another fan favourite) Boldy James. Sometimes tracks that may not have made the full length projects can work for an EP, but if this is the case here, it only emphasises the level of quality that Alchemist is working at. The mood is lightened with Bless ft. MIKE & Sideshow, the piano sample dominates the production, providing a soothing feel, leading into Midnight Oil, coinciding with that The Great Escape energy, featuring the man of the moment Larry June, Jay Worthy and another forthright verse from Al himself. At this point a full length rap album from the man who entered the game as a rapper may be on the cards, and definitely welcomed, as these rare gems sprinkled so far have been an appreciation seasoning to the music.
A bonus to the EP, is that you get to hear the instrumentals, which many listeners look for especially when it comes to The Alchemist, you can appreciate the compositions and let your mind wonder to the magic of the production alone.
Amongst the more recent rise of UK Rap, one of the figures responsible is none other than Fekky, returning back to the fold to take his flowers
With his own distinct tone and grown content, Fekky had established himself as a staple amongst the current crop of our rap stars, a major label deal resulted in the pivotal Dizzee Rascal featured classic, though some felt it steered away from his true sound, the scene itself was going through changes, still persevering with multiple projects (4Life and Red Wine) over the past couple years satisfying his core fans, he now returns more comfortable than ever.
Flowers, a textured effort, if Drill is the sound of the soldiers, then Fekky’s music is for the Generals, following up to the audio statements that were Wig Man and Man Like F
All releases so far, are an evolution, a mature level/boss mentality of rap, the lack of label support is irrelevant as the authenticity will help cement him amongst adequate audiences. A blend of street sounds and aspirational anecdotes, accompanied with his catchy adlibs, help reinstate man like F back to the forefront like he never left.
These recent releases have certainly raised demand for a full length project which is no doubt on it’s way, overall, it’s a positive as this return helps further strengthen the scene.
ONE Fáris 