Tag Archives: RAP

Apr 17 2025
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Westside Gunn – 12

One of the more influential conductors within Hip-Hop of recent, Westside Gunn is probably someone I’ve listened to and just appreciated more so than review, however, with Wrestlemania 41 approaching, the timing couldn’t be more right to give my take on his latest release, 12.

Having broken ground (and ceiling) as part of the Griselda collective, his influence is visible throughout Hip-Hop and culture overall, an abstract artist, he’s able to construct projects that feel like audio Basquiat pieces, with raw textures, unconventional sounds and bringing unrefined talent like Stove God and Estee Nack to shine. With 12, you can expect that to highest degree, from the intro, a 50’s doo wop style singing “Who is the goat?”, going straight into the gritty Boswell, with it’s intense sample and his verse sat between Stove God and Nack, his distinct tone bridging the two’s abraded vocals. Track 2, the more sinister sounding Adam Page, proving he’s not lost a step nor looks to be doing so any time soon, complimented with it’s wavy hook. The beauty in his artistry is the next track, Veert, though a much more smooth and soulful sample, yet he’s able to orchestrate a just as menacing display, a theme continued with 055, Stove God further cementing his presence before West delivers another classic-sounding verse. He’s known to have an ear for production, but the sequencing is more proof of his attention to detail, introducing Brother Tom Sos on the more lo-fi Health Science and the contrasting Gumbo Yaya. Tracks like East Miami and the aptly titled Bury Me With A Stove, display Gunn’s ability to draw on the most unconventional canvases, with Estee Nack returning to revel. The rap game’s Sid Vicious continues to powerbomb on (another fan favourite) Outlander, a solo effort that emphasises his standing and position in the game today, before closing out on the Conductor produced Dump Out, another glimpse of Stove God Cooks’ unique flows and lyricism, before delivering an introspective and impactful verse of his own, honouring the incarcerated Donald ‘Sly’ Green, further dedicating the project with it’s documented outro. Including the cover art, the organic picture outside of Carbone’s in the big fur with the fitted, yet another solid effort from the Buffalo legend as he proceeds to dominate a field that he’s responsible for establishing.

Having carved a lane to now dictating the scene, Westside Gunn has continued to not only bring the art of hip-hop to the forefront, but elevate it’s authenticity through the mediums of music, fashion and now his Fourth Rope wrestling imprint (including the “the fly weight” python, gold and diamond encrusted championship belt), an impact that can be continuously seen today in various cultural facets from the music industry to high-end runways and even WWE broadcasts.

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Apr 17 2025
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Larry June, 2 Chainz & Alchemist – Life Is Beautiful

After last year’s release Doing It For Me, Larry June and Alchemist follow up The Great Escape, linking up with the underrated wordsmith and Atlanta legend 2 Chainz.

Though familiar territory for Larry and Al, this 11 track album celebrates the victory of that great escape, however, the addition of 2 Chainz adds a whole new and unexpected level of depth and texture, cementing that success. Kicking off with Munyon Canyon, an interesting listen as audiences may be accustomed to the sound and feel, then 2 Chainz enters and we get to hear him on a tempo that real fans have longed for (since his work with Statik Selektah). This combination is further emphasised with the second track, Colossal, where Alchemist gets to draw for the darker and grittier sound more complimentary to 2 Chainz, allowing Larry June to now follow suit. This is the overall theme, with the three weaving through their essences that seems to effortlessly intertwine, evident with tracks like I Been and LLC. As someone that has wanted an Alchemist & 2 Chainz project, this is quite the audio treat, leading up to Bad Choices, with the album thus far feeling more in vein of the previous Alchemist & Larry June collaboration and the title track Life is Beautiful providing a solid bridge to the next half of the album, where it feels more in style for 2 Chainz, another example of Alchemist’s versatility and attention to detail beyond great production. Track 6, Generation ushers in that more concrete element and Chainz hits the ground running, with Larry June just as comfortable gliding through. The luxurious sounding Any Day finds the perfect blend for all parties, allowing them to accentuate their raw lyricism freely, followed by Epiphany, where by now the unorthodox pairing of Larry June and 2 Chainz feels natural, with Tru Organics like the title, a great mix of the their respective brands. Despite some expectancy (with two of the three having collaborated recently), Life Is Beautiful manages to dispel any predictability whilst maintaining the level of quality, ending with the cinematic Jean Prouvé, smoothly closing out the album as Larry June and 2 Chainz establish their presences once more like a post-credit scene.

I had some initial idea of how this project would sound and maybe was bias to wanting to hear just a 2 Chainz & Alchemist project (which still can happen), however I was pleasantly surprised with how this turned out, as there’s always been a level of opulence with Alchemist and Larry June, so who else better to rendezvous with, than the grandioso 2 Chainz Toni himself to remind us, Life Is Beautiful.

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Sep 05 2024
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Drake – No Face

I saw Drake’s trajectory when I first came across Brand New, then Wayne entered the fold and we witnessed a LeBron like ascension, in my opinion there aren’t many students of the game better than him, and this pinnacle is evidence. He once said himself, “I signed up for greatness. This comes with it”, and it sure has, as he’s found himself having to go against some of the most formidable adversaries, his biggest being his time at the top. Whether it’s contractual obligations or personal choice, but the qualities of his artistry that made the purists raise him up have been scarce (if not missing) of recent, and whilst serving the mainstream, their support isn’t as solid. Highlighted in the battles with Joe Budden, Pusha T and of course Kendrick Lamar, all three he won on numbers, but the cultural currency is far more valuable, and there he’s lost each time.

But as the perimeters in the business of battle evolve, there’s usually a next move and while dumping 100gigs of content in the internet is borderline desperate, as the fickle game eats it up, it’s genius as his relevancy continues. What I do like is, there’s no pictures or promo, just art. Maybe as a kid I would be excited by this or buy into it all, but I skimmed through the recent three pack and it was more of the same, however, yesterday, No Face found it’s way to my ears, and it’s like when the undertaker would get up. It’s not comparable to Not Like Us, but separately, for the first time in a while, it sounds like Drake.

Let me start with, I hate the chorus. If I was in the studio, I would have pushed for something else, because the performance of the verses are top notch, it starts with a flow reminiscent of The Language and HYFR, but it effortlessly transitions into the current version of that, with those little details and nuances he adds that make this stand apart from the other efforts. We got glimpses of it in the battle, but for whatever reason he wasn’t in the same space as this. Even the production (40 definitely worked his magic on this), Drake’s had the luxury of choice over the years and when he’s experimented (working with the likes of Yachty), it still hasn’t felt as whole or authentic as this does, with it’s precision drums and sinister synth.

In throwing out all these different sounds, obviously there’s something for everyone, and this might be what worked for me (minus that hook), though he doesn’t need to do that, but it definitely makes things interesting again. I’m just glad to hear those elements still exist and look forward to the potential album on the way, hopefully, it’s what he wants to make and whatever the genre, be it to this level.

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Aug 27 2024
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Scorcher – Behind Barz Freestyle

As the current scene “appears” to flourish, it’s no secret that the standard, identity, authenticity and thus overall feeling is sub par, and whilst even the real ones are able to venture, there does lack a sense of direction, and that makes this return of the people’s champion even more so monumental.

It’s been a turbulent few years for the British legend, one of the Grime’s graduate Rap hybrids, the Leader of the new school, once the clear chosen one to ascend the culture (to where it currently is now), has continued to stand tall amidst adversity, and a man first before an artist, found himself on a hiatus from the art.

Though there has previously been music released, during these times, including the fan favourite Down, plus more recent freestyles, but the presence on the field was missing, and a few decent touches and key passes later, this freestyle has him win the ball back and lead the attack in stellar form.

I had originally quoted some of the lyrics that backed my point, but truth is, there isn’t a wasted bar throughout this freestyle, some things are being said, if you’re listening.

Fresh off a headline show, he’s back to lead the charge with this new collaboration, and there’s definitely a new surge of energy flowing, as his verse here is powerful for the right ears, and actually what the game’s been missing.

Recently collaborating with fellow Grime legend Rapid, that energy combined has now added a much needed component to the genre’s progression. With a project for sure in the works, I look forward to this new chapter. As the game finds itself lost at times under new tactics and infringements, you need the best players and strongest personalities to anchor the ship, dictate play and bring glory back to the people.

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Aug 22 2024
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Larry June – Doing It For Me

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.

Another good job Larry!

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Aug 20 2024
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Phaze What – Different Shade of Green

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.

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Sep 21 2023
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Polyester The Saint – When She’s Ready

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.

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Jun 20 2023
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Pak-Man – King

The word ‘consistent’ is often thrown around loosely, but few genuinely define it like the Lambeth legend himself, Pak-Man.

Fresh off his independent nationwide tour, only four months ago he released Back Then featuring JJ Esko

The uptempo number serves his core audience, with classic Pakachino rhyme-schemes, grind mode paper chasing music that he’s become synonymous with, but just a month later he releases my personal favourite Corner Store featuring Deep Green

Pak has been at the forefront of introducing talent from across the country and this is just another testament to that, the more introspective, Corner Store has Pak-Man flowing effortlessly over a sample-driven mid-tempo beat, an inspirational offering from the South London artist with its uplifting hook and confident verses, linking up with the contrasting vocals of Sheffield’s own Deep Green.

“Women feel my fragrance and my aura, my papers gettin’ taller, my pagans gettin’ poorer”

Leading up to the latest release, the rightfully titled, King

Back in his element, Pak continues to craft his sound, with his brand of high-end street rap,

“Remember everyone who doubted you, out the mud..where the flowers grew”

silencing critics with another display of bravado and motivational wordplay that further justifies his loyal following over the years, amassing over a hundred thousand views in only a few days, and with a new project on the way, Pak-Man continues to deliver in legendary fashion.

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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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Dec 18 2018
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Wave Chapelle – New Wave EP

In this era of fast food rap, a lot of the new acts have either been overlooked or struggled to gain the respect required, especially when they let their music do the talking, and not the online gimmicks/antics. One of the artists that has been caught up in the transition is Wave Chapelle, while his name has circulated for a while now, he has been learning first hand, the hurdles, as he looks to maintain consistency. Though his name may not be as prominent, his music certainly speaks volumes, with project after project, in the past couple years alone, and one thing evident, is the improvement.

With the New Wave EP, it’s a more reformed, polished version of the Milwaukee gem, with a crisper ear for production, and more clarity in his delivery. As if he’s found his style/sound, or at least closer to, the EP compiles emotion, determinations and desires within bars upon bars. Through the 7 tracks, there’s a variety of elements, from the lyricism, flows and cadences all layered to create such a well-rounded project. You can hear the effort, the boxes ticked, and that’s what makes it disappointing that there was not more praise for the EP. Away from the Yo Gotti cosign, this project is testament to Wave Chapelle’s self belief and hard work, as he’s taken a couple steps back, gained control of his progression, and the music has benefitted as such.

The EP is for sure one of the more underrated offerings from the up-and-comers this year, but while he is still finding his balance, it’s on his own wave.

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