Tag Archives: OneFáris

ShaqyDread – Ready Up Steady Up

The versatile North London act kicks 2018 off with this new effort, Ready Up Steady Up

When people complain that the track isn’t long enough, that’s really a compliment, and that’s been said about this, as Shaqy delivers his raw vocals over the uptempo drill production, by Freebase & Walkz. There’s vulnerability in his tone, and it fits, with the heartfelt nature, as he sings, “Had to kick the door in, they didn’t want to let me in, they got sister in the can, I’m with my bruddas in the streets..”, highlighting his struggles as an artist, his sister being locked up (Free up sis!), and his intentions to prevail, and maybe that’s just it, it’s a track that would resonate with many, and just as it builds up, it’s over. His voice has that command, and listeners want to hear more. The positive thing is, he is working constantly, creating new styles and sounds as he looks to hit all angles, so most definitely keep an ear out for the Tottenham talent.

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Drake – Scary Hours

It was that time again, where the world stops what they’re doing to listen to the new Drake. Only Drizzy can drop a 2 track project.

I spent the end of last year listening to Views again, despite the surrounding criticism, I really liked the album, and then More Life also, they were two projects where his position and ability was questioned, and I remember how serious I took it in Do Not Disturb, when he says, “Takin’ summer off, ’cause they tell me I need recovery, Maybe gettin’ back to my regular life will humble me, I’ll be back in 2018 to give you the summary”. I felt he deserved a break, and the conviction in which he says the last line, I was sure there’s an album coming (which makes me wonder how much he actually rested?!), none the less the year has started, and he dropped two new tracks as part of Scary Hours. Starting with God’s Plan, it’s signature Drake, he’s clearly had some time to reflect, and that’s what these songs are, reflections, complete with the catchy quotables for us to caption our instagram pictures with, like, “Don’t pull up at 6am to cuddle with me”, he keeps it real, “I feel good, sometimes I don’t”, even shouting out partners Oliver and 40, and giving them props for his success, it’s the more lighthearted of the two, maybe more catering to his female audience, because on Diplomatic Immunity he gets straight to the bars. Floating over the sample-strong production, Diplomatic Immunity is synonymous in rap with the classic Dipset album, and maybe the sample has a similar feel, from a more higher plateau, and he raps as such. Addressing the doubters and rumours, whilst speaking up on his accomplishments and position, even some bars for the gossipers, “2010 was when I lost my halo, 2017 I lost a J-Lo, (A-Rod)Rotterdam trip had me on front page though..I had to lay low”, not to mention the jabs at Joe Budden, now whether that finally gets Joey back in the booth we’ll see, but what I was more intrigued by, was his displeasure at not being included in the ‘Black Excellence’ discussions, a term recently heralded by Diddy, and Joe also, so that honesty is as always appreciated, as he raises the point that he isn’t always praised for his accomplishments. If there was a criticism, it’s just ending it with “Shakira”, I’m just being picky, something about the way it ends, I don’t like, but has it stopped me from listening to it or rapping along….nope! There has not really been a rap star of Drake’s stature, he has been an open book through his music, and so it appears that he has got some things off his chest with these tracks, as he prepares to take over again with what is safe to say, the most anticipated album of the year.

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Dave East – P2

The talk of New York, Dave East has been a force of late in the resurgence of New York rap, an authentic artist with modern aesthetics yet true to the ol’ skool rules, with elements of the greats, he has been rapping his way through. Yes he has found himself a lot more attention from the ladies for more than his lyrical abilities, but it doesn’t dilute his music in the slightest. If anything the more a radio-friendly single aimed at the ladies is expected, the more grittier and darker his content is. He came to attention with the release of Black Rose, news of him signing to the legendary Nas’ MassAppeal imprint further raised his profile, but it’s his authenticity that has kept his ascend. It was not long before it was announced that he had partnered with Def Jam, bringing us the more introductory Kairi Chanel EP, leading us to what became his highly anticipated project, Paranoia: A True Story. I enjoyed the project, and though it was considered that there was not as much label support (amidst there changes), East was not deterred, instead announcing the sequel for the top of this year, and with no expectation, he released P2:

While it is very early to call it, I have to admit, this is his best project thus far, and I’m throwing it in the potential album of the year, as he sets the bar for the year. More in his zone, P2 is heavily armoured with motivation, the missing art of storytelling, flows, bars, production and substance throughout.

Very rarely can you listen to an album of late from start to finish, let alone 15 tracks. From the Talk To Big intro, as he flows smooth, “I got n**gas that’s never coming home, bitches say they love my music…don’t know none of my songs”, it sets the tone of the project. “I need some shit I could feel…nobody touch me, I say I’m meant to be here, the doctor say that I’m lucky”. 

From Prosper, the Tory Lanez featured Woke Up, and Powder, it almost tells a story, of desire, commitment and success, before one of the standouts, Corey. Dave East is one of the best storytelling MCs out right now, and the lyrical journey is really enjoyable (down to the skit at the end), more so for those that can relate to such relationships. P2 almost serves as another level of the rapper proving himself and he continues to improve, so does his versatility, proven with a track such as Thank You, it’s lighthearted, catchy and not one bit sounds like he’s conforming or reaching, as he thanks his haters. I Can Not gets back to the aggressive sound we’re accustomed to, setting up for Annoying, which features an impressive verse from T.I. (who continues to body his features). Next up you have another standout, What Made Me, which is his ode to the rappers before him and their influence, incredibly infectious and dope..especially if you’re familiar with the legends he’s naming. Violent sees the return of one of New York’s unsung heroes, Lloyd Banks, but personally it’s overshadowed by the following song, I Found Keisha, the follow up to one of Dave East’s popular story-themed records, Keisha. It’s more so the lyrical picture painted, with the captivating flow. It’s a strong record to have towards the end of an album, and whilst the Bino Rideaux (All $ In) featured Maintain will find itself bumped loud out of cars and headphones, it’s not as soulful as Never Been, where Dave reflects of his life prior to the current success, leading to a similar but even more sentimental and heartfelt outro in Grateful featuring the emphatic vocals of Marsha Ambrosius.

I’ve found myself listening to the album thoroughly, even since Drake dropped Scary Hours, I still just press play on P2 and enjoy. It’s definitely looking promising for Dave East, who is yet to release a full-scale debut album, but he’s definitely close and if P2 is anything to go by, he is definitely living up to the buzz around his name, rightfully, as New York and bars ain’t going nowhere so long as Dave East is about.

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Youngs Teflon – South London Press

One of South London’s finest, Youngs Teflon has been the bridge between the ol’ skool and new, as one of the younger ones to watch, he has now become a checkpoint for a lot of the up and coming rappers, with many who work with him, going on to cement a name for themselves, he is also one of the few from his era to successfully transition into this new stage of the scene. Possessing a strong fanbase, his loyalty to the game has shown him stay true to his roots and play position rather than capitalise or conform. His latest EP South London Press is proof of such.

Affiliated with the standouts from Big Narstie and Blade Brown to 67 and K-Trap, Youngs Tef has become a staple in the scene, and while people may have expected him to make the transition for a more commercial sound (I was was hoping more people would take to last year’s underrated Flex N Finesse), with this 6 track project, he’s remained even truer to his sound, with his audio depiction of that side of South London. From the more introspective intro, down to the wavy Birthday, he’s still able to offer some variation. More impressive is the fact that whilst fans digest the project, he has more heat in the stash, and recently released the visuals for (one of my favourite tracks), the title track itself, racking up just under 200,000 views in a week, shows that he his definitely on course to further establish himself as one of the elites.

Whilst he has played his part and held it down, I do hope that he takes up more of the opportunities and shoots rather than look for the assist, as he most definitely is deserving considering the amount of work he has put in up to this point, and I have no doubts that he will not only persevere but reach newer heights.

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Bonkaz – What You Want

The UK scene has been thriving of late, with the elite further staking their claim, and newcomers rapidly rising through the ranks. Amongst them, one of the original breakthrough acts, was Bonkaz.

From his appearance four years ago in the (now classic Krept & Konan anthem) Don’t Waste My Time (Remix) alongside Stormzy, Swift (Section) and Youngs Teflon, where he held his own (though Swift might have had the hardest verse), he continued with tracks like We Run The Block, You Don’t Know (Bonkaz), Lonely and not to mention a large amount of freestyles and covers (more recently his version of Kendrick Lamar – DNA), which though showcased his versatility, it also appeared to hinder his trajectory. Some may argue consistency, others felt the lack of support, there is even suggestion that he played position and helped push others before himself, and in some ways it can be agreed, but honestly I believe he’s still finding his sound. Whenever we have an act as such who garners a predominantly female following, they become caught up in trying to cater to all. The likes of Scorcher, Griminal, even Yungen, have all faced that dilemma. Bonkaz seems to have only given hints of that potential, with his previous Fuck Fame and Mixtape Of The Year projects catering more to the streets. He is capable of delivering a solid body of work that can help propel him, I’m in no way saying he should make “girl tunes”, but rather utilise his ability to elevate the sound and himself. In his defence, he was stifled by the false allegations and accusations which he has since opened up about and put behind him. Leading to this new effort, What You Want:

The track will definitely go well at his shows, it has that amped uptempo sound, it’s in the vein of Don’t Waste My Time and Yungen’s Ain’t On Nuttin, as the catchy street anthems with potential to find themselves on rotation, unfortunately it has not yet caught that kind of response or momentum. A part of me feels its to do with the perception, maybe we’re not looking for that kind of content from Bonkaz (if this was a 67 record, there would probably be a campaign to get it to the chart), the video (as much as I appreciate the ‘different’ visual) will appeal to a younger, more diverse audience, combined with the theme of the song itself, will resonate with a select number of people, but still it’s accumulated over 50,000 views in under a week. Bonkaz’s ability shouldn’t be in question, lyrically or in creating a hit, but his versatility has clearly made things tougher, fortunately for him, he has developed a loyal core of fans and peers alike, and with the foundations for his “Romantic Rudeboy” path already laid, you can expect not only for What You Want to grow, but to hear more abstract british rap from the young talent.

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Ard Adz – No Rain No Flowers

One of the scene’s unsung heroes, Ard Adz has been consistent to say the least, one of the few underground acts to have a solid fanbase, to where everyone else had to take notice. For some time now the rapper had been overlooked, but no more, as he follows up on an array of mixtapes with his new EP, No Rain, No Flowers.

Heavy with the street raps, many of his fans noticed a more conscious theme creeping, as he began to bring his faith further into the music, something that merely highlights his transparency as an artist. Unafraid to share emotion, where many may fear the backlash, it was even more appreciated and added to the familiarity that audiences felt with him.

With No Rain No Flowers, Adz gives us 6 tracks, that help establish not only where he’s at, but the intentions as he continues on, starting with the intro, Dirty’s Pain

where he unapologetically flows, weaving between his love for his people, but the lack of trust, his ambition to succeed but his disgust of the shady industry, it plays well setting up for the current anthem What’s Gwarning

Classic Adz, as he details the street life, going back and forth with feature Bellzey, “My brother said life is a gamble, so I’m hitting life at all angles, I got the steel on my waist, it beats like I got it off Banglez”, through the catchy flows, there’s still lyricism and metaphors present (as with that line he shows love to producer Steel Banglez). He makes it seem so easy, it’s almost his signature, which he carries on into the Oye Oye Freestyle. The EP thus far is catering to his core audiences, as he opts to stay loyal to his rap roots, with the S Wavey collab, Cause Jahanam, over the classic Alchemist production, it’s a casual vibe, thats sets up the next track perfectly, the standout Fast Lane. “What have I become, I’m a devil to the lord, but an angel to my son..”, the track depicts his struggle with life and religion a little further, with an assured take on him finding his balance. With talk of an album soon to come, the last two tracks help steer into that direction, including the last track My Ak. A relatable track, for many with people locked up, and it shows the loyal soul that he is, through this introspective cut.

In the first track, he says, “I’d still rather sign to my son than Virgin..”, in the last, he says, “I’d rather sign to my son before Def Jam..”, such strong indications of his anti-label stance, and with the content given, he’s certainly not looking to compromise in the slightest. There are many of his fans, who comment and mention his ability to provide beyond the gangsta rap, but for now the South London artist is clearly looking to cement his legacy within what he knows best.

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Wizzy Wow X Big Zeeks – Freequently

Wizzy Wow is no stranger to vibes, having produced so many for a variety of UK acts, so this time he links up with up and comer Big Zeeks for this new one

This should have dropped pre-summer, it’s definitely got that feel to it, but regardless, Zeeks’ catchy flow fits perfectly on this Wizzy Wow & Prince Galalie production. It’s one of those tracks, where if it was a more known act, it would find itself on radio rotation and in every club DJs mix, so I hope people definitely take to it like it deserves. Wizzy has been around for a while now, and continues to experiment with sound and styles, whilst Zeeks is one the rise with a recent string of underground hits, so it’s great to see the two link up and create something as cool.

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Blay Vision – Turner Ave.

The young producer has been forging his own sound over time, notable behind the boards, producing vibes for a variety of MC’s (most recently Phaze What – Neva Dat), though he’s proving more than able behind the mic also, and with Skepta broadening the parameters of Grime, Blay is one of the up and coming acts to utilise the freedom. His 2017 release Turner Ave might be one of the top Grime projects of the year (amongst the likes of Manga St Hilaire’s Outbursts From The Outskirts).

It’s clear from the get go with These Guys, as an assured Blay lays out the mindset and his intentions,

and the project backs that sentiment, as though you can hear certain influences, overall it really stands alone from whatever else is out at the moment. Track 2, Fully Involved, one of my favourite productions this year, and I’m glad that he attempts to have substance, as if he’s aware of what the production provides, allowing him to structure more thoughtfully, and from a humble perspective of an up and coming act, so the content fits well. I find myself separating the production at times, but in all honesty, I can hear he’s more seasoned as a producer, but the flows are impressive, more so the stories he weaves and the lessons he attempts to stitch together, it’s really well crafted. I really like how the project flows, he most definitely thought about performances, as tracks like the hype Skeen, will undoubtedly get the crowd jumping, and through the raw delivery, there’s lines to take in, “I know man that’ll marry your mum, come to the country and dun your clart”, that’s a reload right there!

[I recognise good ol’ Southampton, after I spent the last couple years there]

Around track 7, there’s a minimal shift, but if you’ve come this far, you’re certainly hearing the rest of the project less critically, like the vibezy My G’s, with it’s catchy hook and satisfyingly piercing synths,

I’m proud of his evolution thus far, from the early sounds of his I have on my old laptop, a more refined sound, and it continues with the JME featured Gone Mad,

he’s back at it right after with Free Mo, which is more him flexing his MC abilities, switching up the flow, and it’s a more musical approach, as it’s another well structured effort that I can see working well live. I like tracklists that aren’t predictable, and as he begins to show his versatility, this is just that, an array of tempos and styles, one minute your just nodding your head to Amnesia,

the next you’re tuned in, relating to the introspective and open Normal, “Anxiety got me thinking a madness, I just wanna be normal”. 

Such records really highlight his abilities, beyond a talented producer, crafting quality songs, whilst still being able to give you the more performance based bangers like 99 Pace

and the final track on the project, Violent, which gives you a more confident Blay, it’s as if you’ve travelled on a journey through the project, and that’s what you want, from an artist’s perspective and listeners alike. It takes a lot of effort to put together a project, let alone visuals and without the support of masses it can be a hit or miss, so props to him as he carves out a moment for himself with Turner Ave, an array of sounds and flows, all rolled up into a dope project.

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Wholagun – Solution To The Problem

It’s been a long time coming. The South London rapper forged an almost legendary street status, an OG to many of the up and coming stars today, Wholagun had found some early success with a string of hits 3 to 5 years ago, generating a decent amount of views and following, however, for various reasons, it felt like he had not entirely made the transition into rap, not to mention the scene was not as healthy then. In the past couple years he followed through with some more freestyles and street bangers, with fans almost demanding an entire project, and so today, those wishes are granted, as we finally get the release of a full body of work, Solution To The Problem.

8 Tracks, fit to satisfy the core fans, but with enough range to introduce himself to new ones alike. Wholagun can rap, there is no denying it, what makes him some of your favourite rapper’s favourite rapper, is his versatility, flows for days, and as his brand increases, as will the content, with this EP showing early glimpses of just that. It starts with the lead single Dirty, it’s straight forward, easy to digest, and catchy, Wholagun has pretty much perfected the British trap sound, proven with the next track Weighty Cheque, following a similar format, as did Pretty & Bad, maybe I wanted more from him because I know what he is capable of, so initially I was disappointed, but couple more listens later and they’ve grown on me, the flow patterns and punchlines do it justice.

You can never judge from a couple tracks, and that’s exactly the case with this project, as track 4 takes a more melodic turn, “the game is mine, I rap, I sing, I’m taking the piss..”, and he is, the fan in me was vibezing, and the part that wants to see his talents rewarded was pleased, because it’s quality enough to be put up there with the current crop, one criticism I had, and If I was in the studio with him, I would say, to avoid the repetitive choruses, saying that, on this record, it made sense, and fit well. It might just be a personal choice and in fairness a lot of the biggest tracks out today have similar hooks, but I do believe he is talented enough to do better, and I just wouldn’t want anyone thinking otherwise.

I realise that because I’ve been waiting for this for long, I’m almost judging it, in all fairness, this is a re-introduction, as he re-asserts himself, letting you know, who he is out here, “I don’t wanna hear about big man, when you ain’t bigger than man”. The get money motivation is strong throughout, and by track 5, I realised he’s giving you doses of genius, easily digested, “I just got a call from the plug, got the front room looking like ‘dam”, this exact ability to paint a picture lyrically is why so many have loyally waited for this. Best thing about the project is that it only continues to get better with each song, bringing us to track 6, Be Rich, an introspective take on that previously mentioned motivation, is one of the standout tracks, “I’m tryna get that bread, my daughter needs her pizza, I’m tryna leave the ends…ain’t tryna rise that heat up”, he further delves into his desires to really establish himself in this game, making no mistake that it’s going to take hard work.

My early criticism/disappointment might not have made sense, me knowing he is capable of more, and when you hear track 7, you can understand, out of nowhere there’s a track catering to the ladies, and in no way has he had to compromise, nor is it a reach in any way, there’s strength in vulnerability, “feeling a way when you hug me, I feel like the man..only God is above me”, Winner it’s quite soulful, and very much appreciated, making it another standout. The last two tracks might be the best, with Real Talk 3 really cementing Wholagun at his best, the insightful raps, engulfed in wisdom, it’s human, it’s the epitome of what rap is for many, that inspiration, to keep going. “Every days a blessing, I just wanna see us all progressing, feel like everyone fights depression, ’til you realise your minds a weapon”.

I wanted to end it at that bar, powerful, emotive, important, that is Wholagun, who has given us a quality body of work, that he can only build upon as he continues his imminent rise to the top.

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Rival – The Bisc series

Four months Almost a year ago, up-and-coming artist and biscuit king Rival announced that he was going to release a new track, every week. I thought it was going to be for a month, and then I would get to reviewing, but low and behold, he has not stopped, and thus far the Bisc series is 23 50 52 tracks deep. There is so much to understand about this, first of all, it is no easy task to just record one, let alone a series, and more so to deliver each week, along side his podcast and other endeavours.

Each track, linked with biscuit, initially might seem different, and it sure is, as he is able to intwine his love for biscuits with his music, and no..the series is not about his love for each biscuit, but rather themed around it in unique fashion, there really is nothing like it around. A special mention has to go to the producer CRT, who has assisted Rival with not just the loyalty with the production provided but quality. His diverse sound can be seen as the catalyst in Rival’s development as an artist beyond Grime.

On a mission to deliver 52 tracks within the year, the music is very open and personal, it’s from a real place, and it is disappointing that it has not gained better traction, especially as the music he is delivering is not shit at all, more importantly, it’s motivational, for the underdogs, as we continue to overcome obstacles in pursuit of our dreams, Rivz has provided the soundtrack each week. There are different themes and sounds throughout, to be honest, there is so much that I cannot break down each track, and there is more to come from one of the hardest working artists out there. The one thing that can be said regardless, is that if you appreciate real life music, then this is for you. Rating the honesty and relating to the desire, applauding the incredible level of consistency, from the music itself, down to the simple but effective artwork, featuring a different biscuit (he definitely deserves a deal with a biscuit company for sure).

The series has not been easy at all to maintain, and it’s audible around tracks in the 20s, where the artist himself acknowledges a dip in enthusiasm and it beautifully reflects within the music, as that energy is restored and around track 28, and hasn’t looked back, lifting the bar with songs like Wintertime Flow (32). As highlighted as the actual duration is, the fact that fans and listeners have travelled this musical journey with him. It’s been experimental, as he tests the boundaries, through sound and content. There’s christmas and new years specials, and even an ode to Amsterdam (and Pri D’ami), where he really documented the traditional ‘dam trip. Overall, with this sincerity offered, the music really stands out, that honest connection alone through the highs and the lows is why this series looks to be a defining moment in Rival’s career thus far.

Stay tuned to the talented wordsmith, as he will surely be continuing to add to this dope series, with no signs of slowing down any time soon, as he further establishes himself and proves doubters wrong.

“Bare biscuits for ya headtop”

Update: Today, Rival released the last track of the series, number 52, the Finalé. It’s been a long road but for those tuned in (and I can only imagine how Rival himself is feeling), it’s been quite the musical journey, as this exhale of a track marks the occasion and whilst this is the end of the Bisc series, it’s the start for so much more. Big up to Rival, CRT (and all the biscuits), regardless of the outcome, don’t lose belief, be proud of your accomplishment and take that momentum forward with you into the new phase.

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