Tag Archives: OneFáris

Apr 16 2026
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BASHY – Being Poor Is Expensive

West London’s Bashy emerged amongst the brewing Grime scene in the early 2000’s (with his Chupa Chups themed mixtape, Bashy.com project and other early indicators of branding prowess), as a juxtaposition to the street-orientated or more aggressive style & sound that was generating much attention and fanfare, from his famous battle with Ghetts, genre-evolving tracks with the likes of Naughty Boy and Big Narstie, to creating one of the greatest songs ever, Black Boys, a cultural staple. Continuing to evolve in a transitioning industry, from working as Assistant Music Supervisor on the Adulthood movie soundtrack in 07/08, with it’s lead single, to his own 2009 game-changer, Ransom featuring Wretch 32 & Scorcher, displaying a more artistic and cinematic approach (also considered as the seed from which bloomed the Top Boy universe), followed by the upbeat Millionaire and the introspective Life, leading to the release of his album, Catch Me If You Can. Ironic, as around that time, he transitioned further into acting (with movies such as Shank and the theatrical Markus the Sadist in 2010), though he did feature with the Gorillaz, and put out a couple EPs, not long before starring in the now cult-classic Top Boy, disappearing from music altogether. With a multitude of roles now under his belt as Ashley Thomas, reprising his role in Top Boy’s Netflix resurgence, as well as casted in the latest adaptation of A Great Expectation, the now established actor returns back after 15 years as Bashy with this art-piece of an album, Being Poor Is Expensive.

Whilst Bashy’s jovial aura, bright colours and the shiny ‘B’ earrings helped the young artist stand out, it was his unique perspective of the times that shone light on his artistry, last heard on Catch Me If You Can, with a heavy dose of soul, cultural elements, nostalgia and political themes, however, it may not have been as sustainable in a year that Dizzee released Dance Wiv Me (ft. Calvin Harris) and Bonkers, just before Tinie Tempah and Pass Out. CMIYC felt like it was tailored to the times, whereas with Being Poor Is Expensive, it just feels like a perfectly crafted medium of expression, true to it’s message, coming of age, a beautiful ode to his Windrush heritage, growing up in multicultural London, to still manoeuvring through recurring negatives amidst success.

A concise eleven tracks, starting with The London Borough of Brent, a love letter to the ends, complete with it’s British transport ad-libs, it sets the tone, as he paints the parallels of his success and the misfortune of school mates, “some will break, some break through”, feeling righteous very early as he harmonises, “drugs ain’t cool”, which he quickly follows up with, “but the place where I’m from, people want a space to escape to”, leading into a barrage of compassion and empathy, further accentuated by the choirs, this is only the first track and he’s rhyming taxes, the negative outcome of gangs and the statistical risks Black women face during childbirth. Still in awe of that intro, track two Sweet Boys Turned Sour begins, with Bashy rapping off rip, a blend of childhood nostalgia as the beat drops, over a lighter yet more upbeat production, as he vividly describes the various examples we can go astray, “I’m showing you how, good youts turn foul, soft kids turn shower, I’m telling you how, sweet kids turn sour”. It’s such a picturesque and shared view of inner city London, a great representation that all generations can relate to, as he sympathetically shows understanding of simply growing up and the vulnerability of innocence, prejudice and bullying, that can lead to knife-crime, rather viewing it as a weak decision and glorifying his inability to do so, reminiscing how fortunate for both that it didn’t happen, a much needed contrast within our art today and ultimately life. Only two tracks in and wow, but they were merely appetisers to the title track, sampling Dennis Brown’s Let Me Down Easy, providing a soft base upon which he weaves words of the harshness of reality, with more North West homage, depicting confidence and a form of success-guilt as a black man, drawing the lines between success and tragedy, “Could be a John Boyega or a Damilola”, such a powerful statement on such production says a lot about the thoughts and feelings he’s accumulated over these years that really help define the overall theme of the album.

Track 4, On The Rise, flips the sound, allowing him to flow distinctly over the abstract beat, with Bashy’s classic artistic approach to storytelling, including the beat switch, morphing it into a backpack rap feel, that should definitely translate well live. Much like Blessed, featuring WSTRN’s Haile and (the underground king) Skrapz, possibly the more popular single off the album, understandably with a broader appeal and the legendary MJ Cole – Crazy Love sample, it still stays in context without feeling repetitive. Followed by, Made In Britain, which starts with Bashy’s nan (bless her) delivering a beautiful prayer for her grandchildren, transitioning into this modern-reggae vibe, before the bass kicks in and things by my speakers started falling. As someone that heralds the ancestors and the struggles of those before us, this track is amazing, being fed up of the continuous prejudice, I relate to this song heavily, but from the hard work and struggles of his grandparents, to himself and Kano driving two Mercedes out the dealership, wishing his Grandad could have seen it, it’s these inspirational nuances sprinkled throughout the album that balance the theme. “Survival in our DNA, give a fuck about a VMA, stolen goods up in the V&A”. Bashy isn’t one to be vocal on socials, so to get his stance on things through these expressions adds to the project’s quality, giving the album such depth.

The concurrent foundation continues with How Black Men Lose Their Smile, the title alone omits so much power and emotion, as Bashy shares the systematic struggles that contribute to us losing our smiles, and ultimately our joy over the years, with stories of the men before him and relating to their struggle, detailing the many factors that hinder where help was needed. At this point the album has transitioned genre and feels like a theatre play, “System set up for me to fail, didn’t share features with my teachers, that has affects on your sense of self, that has effects on mental health”, this level of poetry and content cuts deep, I might have shed a tear on my first listen, pushing this beyond a song or music, as some of the realest emotions artistically expressed, that I don’t even think a review could validate. If I was to force a critique, it could be that it overshadows the remaining tracks, however, the activism that binds this album together is cemented with, Lost In Dreams featuring Roses Gabor, a definitive Bashy performance, portrayals of systematic oppression, further delving into police brutality and racism, paying homage to Mark Duggan and Stephen Lawrence. This notion is accentuated on the upbeat, Sticky, displaying the lows and highs as he reminisces on his journey thus far, expressing the early struggles to maintaining integrity through his current successes. With the album drawing to a close, as if he hasn’t poured enough, he delivers heavy on the introspective Earthstrong, sharing thoughts and regrets that most contain within, before closing the album out with Midnight In Balans, (flipping the Soul II Soul classic) he concludes the journey thus far with all the wisdom gained, from enjoying the fruits of his labour to dealing with losses, a personal touch to what has been an incredible offering of growth, aspirations and most of all, unapologetically black.

I didn’t get around to listening to the album well after he had won his MOBO award for it, I even noticed the American media personality Wallo praise it on socials, but nothing had me prepared for the audio masterpiece that was to follow. Is it Grime? is it Gospel? is it Rap? What I do know, that it is definitely one of the most monumental pieces of art to come out of England. Together with Toddla T, the two created a culturally authentic, stellar body of work, with an array of musicality that shows love to the sounds before and helps elevate the message.

Since it’s release, Bashy performed the album live in it’s entirety, truly emphasising the message, including a spoken word rendition of That’s How Black Men Lose Their Smile, which I feel justifies my sentiment and review of this album.

To release an album after 15 years, as an established actor, it clearly isn’t a money grab, there’s thought and intention in this project, all these experiences throughout the journey, playing these different characters, maybe his own story felt somewhat untold and that’s where the substance of this album is abundant.

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Jul 21 2025
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Skippa Da Flippa – Red Tag

As the label Quality Control music emerged out of Atlanta with a whole new sound and vibe, introducing the world to the likes of the Migos, Rich Da Kid and Lil Yachty, one of the pioneers of that era is none other than fellow artist Skippa Da Flippa, his choice of production and unique flow, laid the foundations for what they went on to achieve. Unfortunately, as the label focused more so on the meteoric rise of their other acts, Skippa didn’t see the mainstream success that his contribution deserved, however, after parting ways to forge his own Havin’ Entertainment, he’s carved an underground legacy and a core audience. Whilst QC went onto partner with powerhouses Capitol and later Mowtown records, continuing their streak with Lil’ Baby and City Girls, Skippa has pursued the independent grind, consistently dropping a host of projects including the fan favourite Up To Something, $H2 and the 2023 release Havin’ Motion Not Emotions. Last year he dropped a series of singles, kicking off with the ambient For Better Or Worse, continuing to display that original style, witty wordplay and sprinkle of substance, cutting through with tracks like Pay Me and a personal favourite Strategize,

a more introspective, spiritually strong, motivational anthem. Showing no signs of slowing down, he released even more singles, offering a broader range of his abilities, including the captivating Doormat,

leading up to this year’s latest release thus far, Red Tag

Red Tag is classic Flippa, his strong personality expressed through his distinct tone, it follows suit of his ability to effortlessly craft these catchy concepts. Though I initially was going to review Strategize, and was waiting for a full length project before doing so, as he re-establishes himself with these singles, I felt it made sense to focus not only on the more recent drop, but more so, him as an artist, highlighting his creativity and ingenuity, as the creator of the dab, he’s definitely contributed to the culture and as he maintains these quality efforts will undoubtedly reap the rewards, not just as an originator and individual, but a relevant musician, away from the gimmicks and payola praises. As many of his peers attempt catch their moment again through the safety of budgets and industry support, Skippa Da Flippa has inspirationally stood his ground, with his unreplicable ethos, persona and spiritual drive, you can expect more bangers on the way and hopefully a new album sooner than later. Either way, you can expect Flippa to be Havin’.

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Jun 07 2025
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Lethal Bizzle – Can’t Touch This ft. Wiley & Scorcher

As the new era of Grime continues to grow, favoured by the return of it’s legends, another heavyweight staple returns to lead it back to the top, with More Fire Crew’s founding member Lethal Bizzle emerging with a new original in the form of Can’t Touch This.

Bizzle has carved his own lane since his early Grime dominance, securing chart success with a series of uptempo feel-good anthems and whilst he could have just continued that streak as a solo artist, he recruits the current captain Scorcher and the living legend Wiley for what can only be described as a banger. Can’t Touch This, produced by Felix Dubs, with it’s blend of musicality, piercing synth and heavy-slapping drums, allows Bizzle to reinvigorate the genre, “Original sound, can’t touch this”. As a lot of Grime’s current resurgence depends on nostalgic rhythms, this is exactly the elevation the sound needed. Wiley had faced some tribulations for his honesty and shedding light on the ill-practices of the system and while it may have felt like the game turned it’s back on him, the real continued to hold him in the rightful high regard, and as the genre re-enters the spotlight, his appearance makes it official and he effortlessly returns like he hasn’t missed a beat, with his verse painting the foundations of Grime, highlighting it’s essence and being able to deliver in it’s present iteration, “timeless flows, can’t touch this”, setting the tone for Bizzle to match that energy and remind us of why he was able to breakthrough the way he did. Whilst there are many factors for this new stage of Grime, from DJs, producers and a variety of artists that had not ventured from the sound, however, one of the real reasons for this recent impact is none other than Scorcher and so his feature on this is just mandatory, especially if you know of his origins of clashing and legendary radio sets. Grime consists of elements and together Wiley brings the sound, Bizzle adds the energy and Scorcher provides that street component. A perfect mix of why we fell in love with the genre and even greater example of the growth and direction it’s leading to, plus another great step in it’s evolution. The visuals help portray it further with it’s studio setting and appearances from a variety of the scene’s original members.

More recently, as people online engage with their own verses, I randomly come across none other than Take That’s Robbie Williams flowing, which still baffles me because I never knew he was a barrers like that, he could’ve easily been on this or an official remix even.

This collaboration cements the genre’s reemergence and will undoubtedly revive that live show energy, whilst serving as a sign of more to come.

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Jun 20 2019
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Meridian Dan – London In The Rain ft. Flowdan

It’s easy to see why so many artists are struggling with their love for the game, as it continues to have their art swept under the tide. Dan is 2 for 2, from his return with Vegan Chat, to this Flowdan featured ode to London.

Relevancy is slowly killing art forms, though Meridian Dan is just as pivotal to the scene today, as he was in it’s last resurgence. In an era where the Independent artist should flourish, it’s become regular to fall short of breaking through the barriers now in place. Unless Giggs is posting it on his IG, or you don’t fork out the funds required to have it placed to optimum levels, it’s very likely that even the best of efforts will become engulfed in the constant avalanche of music rolling each day. This means that realistically, you’re work is not going to be fairly judged and you’re not going to see the return it might well deserve. One or two is a learning curve, but after a while, I can imagine it becoming disheartening, especially if you’ve been in the game for a while, and somewhat of a pioneer at that. A common pattern with artists whom you might consider underrated, are also not in the “mix” of things behind the scenes. If the average person is more inclined to retweet or like your post if you follow them back, you can make some sense of how it must be further up the chain. This might have no relevance to Dan or how he feels, but I just don’t feel the same energy in the roll out (at least). Last video had a premiere party, with a good turn out, it cultivated momentum, something similar would have played it’s part, adding to the consistency of quality. It’s still early as he re-organises and establishes a team and his Always8 imprint, but I think he’s developed as an artist and giving us a mature take on Grime, that should be doing way better. This record and the visuals are proof of that, it’s so different to Vegan Chat yet up there in standard. Produced by SX, it’s a great delivery of expression, with Dan able to really paint a picture (movie even), an honest depiction and appreciated contrast to the typical summer release. Features are always interesting, and nobody can deny what Flowdan does on the riddim, which might not be new to the savvy listener, but it beyond compliments the overall score. Completed by a thermal-theme video, with it’s cold tint, it really amplifies the feel of the song whilst maintaing creativity, something that is often missing from tracks today.

London In The Rain has racked up 30k+ views (YouTube) and 50k+ on Spotify, which (though it might not translate financially) is a great indication to his audience and further potential. Anything is possible, and I know there’s more in the works as he continues to evolve, (as with many artists) I just hope he sees the potential in landing these jabs as much as the haymaker.

“Anything to numb the pain, it’s London in the rain..”

meridiandanlitr

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Jun 18 2019
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Wale – 09 Folarin

Just earlier I was thinking, if only I knew somebody that was as versed on Seinfeld as I am on Wale, then I could start The Podcast About Nothing, a show solely dedicated to Wale & Seinfeld. Then I come back to this track, ’09 Folarin’ is for every reason why Wale is top tier and not recognised as such at the same time. Not everyone likes Caviar, but we’re all well aware that it’s a high-end delicacy. Those that know, know of his skill-set, the respect amongst his peers, more importantly his discography, but his name tends to fall short in that conversation/list. Drake has offered clarity and a pulse of current trends and sounds, Cole has that same clarity, yet found a way to capitalise off the opposite spectrum (more so because of their entries into the game), then there’s Kendrick, who let’s not forget had to cater to current sounds with Damn for his position to be solidified. Then you have Big Sean, who has a weighty list of hits, that very clarity I hold high regard to, but seems to occupy the middle of the list with Wale, falling short to the likes of Meek and 21 Savage, more so off popularity. Now Wale does not have the same clarity, and maybe that’s an excuse I’ve found as to why people might overlook the DC rapper, but if you look at his most popular verses (for e.g, No Hands Remix), they’re the more clear, in comparison to say, The White Shoes. Maybe I’m just trying to blame the mix, or maybe the majority audiences are truly fickle and don’t gravitate towards good music as equally as we’d like. Then comes the argument of press and all the avenues that promote everything the same because they’re not true curators, but rather taking advantage of the clicks and streams, thus unfairly diluting culture.

He currently has a track circulating, with the Meg The Stallion featured Poledancer, doing well in clubs and online, so one thing you can’t accuse him of being is, inconsistent.

Bringing us to ’09 Folarin’, two minutes of Wale straight spazzing oh so effortlessly. In nostalgic style, over the jazzy production, complete with horns and bells, the sample-based beat screams Wale, and maybe that’s another reason for the lack of impact, this same lyrical exercise and cool flow might hit harder over some 808s and futuristic synths, but fuck all that, if you appreciate music, you can appreciate this. Touching on his ability, status and more, filled with basketball and wrestling references, it’s classic Wale. That, “Chip on my shoulder”, bar and it’s delivery was exquisite. I start to realise, it really is less about his vocal clarity, or sound, but just (like mentioned before) the bias and unfair lack of support from basically every supposedly credible source. Not to mention, how the labels allocate support based off how big the buzz is. As an artist, he’s been creating, and don’t get me started on how slept on Shine is. Much like when Schoolboy Q stated his disappointment in the distance between the critical acclaim and sales of his Blankface album, or DJ Khaled’s recent distaste (in the back of a custom Maybach) at the idea of having a Number 2 album, artists are human, and the efforts of their expression would be in vain if not shown proper appreciation. While I see the similarities with Wale and Joe Budden (when he was rapping), in terms over underrated and being overlooked, today’s climate is also best suited, as we see with him dropping this lil’ gem on Soundcloud, and really he just has to create as he feels, and let his core fanbase enjoy. Now if he makes a shit project, that people cannot vibe to or live with, then that’s different (and highly unlikely), but for now, as one of the few that can actually rap, he’ll for sure solidify his position amongst the top naturally.

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Jun 18 2019
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Milli Major – Ooo Na Na ft. Tempa T

Milli Major takes time away from the streets, to give her the “Rah rah rah”..

More known for his gritty street sounds, Milli Major makes the transition that I was initially sceptical of, however, I made it out to a lickle shoobz the other night, and I would have got to skankin’ if this came on. It would be unfair to review this as such, or be critical, when really it’s just a feel-good track that’s suited for the club (and festival). The addition of Tempa T is always respected, because 1) He’s not jumping on a track with just anyone, and 2) Tempa T has a commercial grime appeal, which shows with the general response of the track thus far. There is clearly an effort being made, with a great, clean and crisp visual, love the traditional vibe, it only emphasises the Ghanaian notion within the song.

My scepticism was basically for being accustomed to a different sound with Major, and not being so tuned to radio or heavy in the clubs, my A&R brain was conflicting, but the reality is that Milli Major has experienced some success in this streaming era with the more Garage-sounding production, in fact, his highest streamed tracks are basically that, which now makes all the sense, and so why not continue to have fun and add some depth to the catalogue. It’s always good to hear from Tempz, who actually goes in on this one, adding to the track’s potential live, as you can imagine how that’ll go.

The more you listen to the song, the more it’s appeal grows, in time for the summer and definitely one for ya BBQ playlist, with over 100k YouTube views and like 30k Spotify plays, there’s clearly a lot of people feeling like, “Ooo Na Na”.

millimajor

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May 20 2019
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Scorcher – Gargoyle

Since the (from Jail) release of (the heavily underrated) Down, Skywalker went quiet (for obvious reasons), but God is good, and back like he never left, he returned with the emphatic Could Be Worse

a typical take from Scorcher, as he reintroduces himself back in the game. Reality is, I never got round to reviewing it because I was actually just enjoying listening to it, and naturally, the streets united in rejoice for his return, out the box and into the booth, “nothing weren’t safe from when I come out”.

There isn’t too much to “review”, just listen and soak up the new energy. Whilst Could Be Worse served as the appetiser, it was not long before the people wanted more, and it was already in the works, as he dropped the new track, Gargoyle

“Top of the roof” music, it’s a slower tempo but more intricate freestyle, as the Dark Knight reasserts himself back in position, watching down at the game. “They ain’t see me for a minute, didn’t emcee for a minute..”, only few could take a hiatus and walk right back into the mix, but then few hold his level of credibility and stature in the scene, “I ain’t got a reload lyric, but I got a Reload lyric, you can double up and reload wit’ it”.

What’s genius about the tracks he’s dropped thus far, is the rhetoric. We know the industry has changed, there’s a heap of new acts (many who I’m not even up on), and people will have their doubts and question Scorcher’s place in this climate, and as he further finds his feet amidst the distractions, he has an answer for all, “they think local, scoping the galaxy, meanwhile i’m getting followed by focus and galaxy”. The younger fans and industry people are part of something that Scorcher helped lay the foundations for, and even if they’re unaware, he’s assertive of his own influence, “Dem man are all my kids, these man are all my youts, dem bwoy are all my sons..”, and he ain’t telling no lies.

Not a negative, but I think the impact of Could Be Worse has overshadowed Gargoyle, and I would have preferred a whole EP or project straight after, but it’s always better to test waters and reassess things. To be honest, I’ve just been glad to see him out, participating in football matches and just to know a man is back with his kids. There’s a lot more to come from him, so lock in on the socials, and stay tuned, as he looks to deliver like only one of the greatest talents to emerge out the country can.

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May 08 2019
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Dream Mclean – Durag Beckham

“Love, they don’t show enough..”

Around 2013, Dream Mclean was on an ascension, standing out amongst the generic sounds, with his distinct tone and modern take on British culture, before it was even understood let alone accepted, before there was a Slowthai, his sound & style was gaining him a fanbase (mentioned amongst the likes of CasIsDead), that included his peers, most notably Professor Green. Like so many potentials around that time, I guess the industry was not at the same stage, and though he continued, and as part of the collective Monster Florence (featuring long term associate Siris), despite the quality and sound, it still did not quite connect as deserved, which brings us a couple years later to his new solo release, Durag Beckham.

I randomly came across the post, of the infamous Durag Beckham pic (when he met Prince Charles), with Dream captioning it, “feeling like a new me”, and then the trailer. With one of my earliest reviews being of Dream himself (like 10 years ago), my appreciation of his talent or belief in him remains, and so I was not only intrigued to hear, but to see if he’s able to sustain that momentum in today’s climate.

“I feel like a new man, I feel like David Beckham in a Durag..”

Produced by New Machine (one of the more heralded underground producers), someone who I’ve come to hear a lot of quality from (through his work with Phaze What), it was no surprise to hear something that sounds so left, yet fits right into what’s current today. The combination of a melodic loop caged between a catchy drum pattern, with a kick that you feel in your neck (props to mastering from none other than The Last Skeptik) with it’s laid-back sound yet uptempo energy, it’s easy for the lyricist to deliver a breezy flow, that slaloms on the beat, ultimately creating this wavy track. It’s cool, catchy and if you pay attention, it’s somewhat addressing this new feel and direction, and as a sign of more to come, I hope it’s pivotal in re-establishing himself as one of the more exciting acts in the country.

dmdb

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Mar 10 2019
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Meridian Dan – Vegan Chat

The bar has been set for Video of the Year, as Meridian Dan rises out of the fumes of his German Whip.

From undeniably leading the charge of Grime’s resurgence, Meridian Dan had found himself caught between maintaining that sound whilst growing as an artist, two things that don’t often mesh well. Having basically opened the door, you could say he was lost amongst all those that followed after, not because of him or his music, but just the way the game is, a lot of changes and transitions followed, and though he gave us a mature take on Grime, at the time, it was continuously compared to his breakthrough single. Still active, the limelight however had began to fade, with the numbers game churning newer acts, and the support seemed to have followed as such. It’s frustrating for any creative, and at one point, unless you were personally checking for Dan, you would think he was inactive. Where he provided the spark for our music to flourish, it also provided the avenue for sub-genres to re-emerge, UK Rap became more prominent, and almost put Grime to the back. None the less, you can’t keep a good man down, and fast forward to 2019, off the back of presenting Boxing segments and music with the likes of God’s Gift, having switched things up in his personal and professional life, the Meridian legend, brings that new lifestyle and energy into his music with Vegan Chat.

Very few artists still care about the creativity, or production value, especially with their visuals, or maybe that is just their personalities, one dimensional and basic. Not with Dan, those that know or have witnessed enough, will be well aware that he’s a charismatic and funny individual, blended with his pedigree and upbringing, it’s what made him stand out in the first place. I knew he lived a vegan lifestyle, but had no idea what to expect when I came across the title ‘Vegan Chat’ (Was he even releasing music, or was this some new cooking/talk show?!), all I had been told from a close source was, “he’s back”, and they weren’t wrong. Musically, it’s classic Dan, as he lays out the plan and intentions from here on, effortlessly flowing, citing his stance as a person and artist, as he looks to stake his claim as one of the elites.

“I’m a positive guy, I don’t do bad energy..”

Visually, it’s a masterpiece really, from the concept, down to the execution. Shout out to Pierre in the opening scene, safe-guarding the operation. It’s a constant journey, that whilst so different, remains in line with the premise. From the traphouse (bagging up vegetables), into the amazing transition of the joint to the boxing ring, knocked out by the bull, later revealed to be none other than hometown hero Dillian White, into the butcher scene, with Dan playing multiple roles, an ode to his self-sufficiency and the multiple positions he plays in his own career. This video shows more potential for Dan within the acting world, this could have easily been a Guy Ritchie movie, and it only gets more intense, from the slaughterhouse to playing detectives and the underrated scene where he’s torturing what appears to be Ronald McDonald for the hidden meat factories.

Though the video has done well, it most certainly is underrated, and maybe with Giggs’ Big Bad visuals and the impact he has, having somewhat overshadowed it, but when those lists get made in December, if this video is not mentioned, then they can all go fuck themselves really, because Meridian Dan most definitely kicked it all off, and I for one, look forward to what’s next.

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Jan 17 2019
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Wholagun – Sweets

The Croydon General cannot be faltered for trying. The large consensus is a lack of consistency, yet, if you actually checked, he’s been nothing but consistent. From 2017’s Solution To The Problem, to starting 2018 with his Savage Sunday series, not to mention, he’s dropped at least 5 videos in the past year. What the fuck more do people want?!

And so in 2019, it’s back again, with a track he teased towards the end of the year, Sweets

Linking up once again with Edixion Beats, the two have a chemistry, or at least a proven history of quality bass-heavy production that compliments the rapper’s vocals, so it’s no different here, with the calm piano sitting above the gritty beat, perfect for Wholagun to give us more flows, condensed street raps and a delivery to match the best. The video, serving as the visual aid, gives a bit of shine to Croydon, complimenting the track itself, the shoot looked like it was fun, with a good synergy amongst them, it’s one of the few videos I would have actually been in. I don’t expect Sweets to be a gamechanger, but it’s for sure a great start to the year, and progression is evident, with the track uploaded to the streaming sites too, something that was not always the case prior.

There is definitely a new project on the way, with these first couple tracks set to give some idea into the sound and direction, but as always, there is no lack in quality nor consistency. If you like authentic street rap, with wit and flows, then look no further, as Wholagun sets to take it up a level.

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