Tag Archives: Review

Jun 05 2025
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Daff – Free ft. Ay Em

As the UK’s current music scene thrives, beyond the pop-centric acceptance, now with a plethora of talent and sounds, sub-genres of Hip-Hop, Grime, Afrobeats and beyond, the country hosts a variety of established acts. More notably, UK Rap finds itself in a great space, with the likes of Giggs, Nines, Pak-Man and Potter Payper (to name a very small few), now household names, credit has to be given to the foundations on which it’s legacy stands, one of the unsung pillars is Ilford’s own, Daff. Responsible for the absolute street classic, Half. Unfortunately, as he broke through towards establishing himself in that early iteration of rap with his 2012 debut Only Just Begun, he found himself sentenced to sixteen years in prison, which whilst halted his progression, equally cemented his sound and style and that absence only grew the demand further. He’s since released a variety of Jail freestyles and actual tracks with the 2021 EP Rap Never Left, including a feature on fellow Illmade artist Potter Payper’s recent album, reigniting the interest. Building on that presence, despite limitations as we anticipate his return, he released the emphatic Free featuring Ay Em.

One of Daff’s qualities aside from storytelling, was the introspect and compassion in his music, the anthem Half hit the way it did because of it’s realism, there’s plenty of get money songs, but rarely has anyone spoke of giving their mother their earnings and that was just too real to be overlooked. With Free, Daff reignites that storytelling, able to vividly share gritty experiences, descriptive events intwined with heavy emotions and personal battles through a motivational lens, holding hope of his imminent return while displaying that empathy which has held him in such high regard, ending his first verse with, “Bout to have the game in a guillotine, before they free Daff, Free Philistine”. It’s this exact selflessness that highlights him as a man, his morals and principles before anything else. Ay Em has lowkey been a cheat-code on hooks and matches the feel of the track with his effort in both substance, tone and delivery. Daff’s second verse continues the theme and ultimately shows his level of faith and strength as he ends his second verse, “All the feelings that I really had to harbour, before you free Daff, free Gaza”.

There’s even a AI-generated visual, though usually might be off-putting, makes sense in the current situation and the opening shot of him walking outside is deep, as we hold hope for that to be a reality soon enough.

The positive is that he’s served the majority of his bid, whilst finding himself able to continue his artistry inside, as fans alike hope and pray to live in a day with a free Daff and Palestine.

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Jun 04 2025
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Key Glock – Glockaveli

The heir to the Memphis throne found himself at the helm through tragic circumstances that tainted his Yellow Tape 2 success (with Ambition For Cash surpassing 500 million streams), effortlessly stepping up to the mantle, contributing to the PRE projects and with the release of Glockoma 2 in 2023, which was considered his (mainstream) breakthrough, with the anthem Let’s Go featured on the deluxe, in heavy rotation, becoming another track to boast over 100 million streams. Amidst the independent success, he took a deserved hiatus, though only a year, with a couple singles and an international tour to feed the fans, however, after handling priorities and as the ink on the paperwork dried, linking with Republic records, he returns as a major act in a major way with his new album, Glockaveli.

18 tracks (21 as part of the deluxe) of classic Mr Glock. Starting with Hallelujah, I never envisioned such a sample but its an adequate intro, before fastening his crown with the Makaveli-inspired title track Glockaveli, a continuation of a style and sound we’ve become accustomed to from him, however there’s definitely some levels raised, justified with one of the standouts, Blue Devil, with it’s popular sample, Willie Hutch – Tell Me Why Has Our Love Turned Cold, more notably recognised from the Three6Mafia smash Stay Fly, with that Memphis connection in full effect as he naturally glides. Whilst tracks like Made A Way and Watch The Throne feel similar to previous efforts, by track 6, Badu, you realise that he’s really stepping it up, there’s a new sense of maturation and determination in these songs, emphasised by the main body of this album, with songs like She’s Ready, No Sweat, Grinch (with it’s Curtis Mayfield sample) and the motivational Sunny Dayz. It’s more varying production and giving greater glimpses into his personality beyond the glamour. The lower half of Glockaveli feels a bit more experimental in sound but matches the previous in feel, that combination of soulful samples with hard-hitting beats, layered with a crisp commanding vocal, an evolution of his artistry, with Papercutz, Kill My Vibe and I’m Gettin It, contained nicely by Again, before the more grimy Cream Soda, mid-tempo Don Dada, World Is Ourz and the mean 3AM In ToKEYo. The deluxe edition gives you three more tracks with Money Habits, Going Hard and the underrated All Dogs Go To Heaven fitting smoothly.

Musically the project isn’t too far out from what fans would expect, I could argue that it could’ve been more concise to really amplify and appreciate the standout tracks, but if you consider the streaming game and the hiatus..I don’t think anyone will be disappointed for overdelivering and as I continue to listen to it more, it only sounds better. Consistent with no features, there is definitely a rise in quality, whilst obvious in the videos, the mini movie for Grinch, the creative and innovating No Sweat and more recently Glockaveli, paying homage to Lil’ Wayne’s A Milli, but more notably the clarity in the mix & master really adds a glossy finish and makes the difference to what is yet another quality offering from the PRE x Cutthroat general.

Although I know there’s more on the way, Key Glock could easily take another break as Glockaveli is more than enough to feed fans for a while, ’til then, it’s All Eyez On Key.

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May 01 2025
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Etta Bond – Make Me Cry

One of the most unique talents out of the UK, the beautiful singer/songwriter Etta Bond is one of the pioneers, a prominent talent who stood out early with her unconventional style. Similar to soulful acts like Cleo Sol and Bluey Robinson, the artistry found itself falling behind in what was a transitional period for the music industry, none the less her distinct tone and authenticity cut through and fast forward, as the natural talents rightfully progress, with the likes of Cleo, Jorja Smith and newcomer Kwn, Etta Bond is definitely one deserving to shine. Having teased fans with 2023’s A1, Lie To Me and the introspective (and a personal favourite) Zone, she returns with another two quality tracks, Let Me See Your Phone and the latest release, Make Me Cry

Let Me See Your Phone, is classic Etta, sultry, enchanting and captivating, with longtime producer Raf Riley, it’s a slow and soulful number, her vocals like an additional instrument, taking centre stage as she croons with a perfect balance of confidence and vulnerability. As great as her voice is, her lyricism is heavily underrated and this track emphasises that songwriting ability. Which brings us to the more uptempo offering, Make Me Cry

This is exactly why fans have been craving for an album from her, these contrasting sounds like ranges of feelings are what make artists special and she does this effortlessly. With it’s catchy drums, she’s able to match it’s infectiousness and deliver an emotionally strong and sexy effort. It definitely reminds me of a particular song from the past and though it must be from a while back as I can’t seem to remember, I’m thinking Justin Timberlake or Beyonce maybe, but that merely highlights the level of quality of this song. Credit to Raf Riley, once again creating a perfect canvas for Etta to vocally paint across and being able to delve into these real subjects so organically further champion why she’s so underrated to me.

Like Let Me See Your Phone, Make Me Cry is another step in the right direction for the songstress and hopefully will be part of a full length project in the near future, giving us a greater sample of her artistry, with her blend of innovative, relatable and honest music.

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Apr 30 2025
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Ye Ali – WYA? I’m Not Mad Anymore

Having cemented himself in the R&B realm, as an artist (including last year’s Ye Ali & Chill 4)and behind the scenes, writing and producing with newcomers and legends like Chris Brown, Ye Ali has been experimenting with genres, from displaying more raps to now releasing this new dance album, cleverly titled, WYA? I’m Not Mad Anymore.

There have been a few dance album attempts of late, Drake tried and it didn’t transition how he might have liked, Beyonce on the other hand, was able to cut through but more so as her discography has given glimpses, so initially, hearing this was a dance album, I might not have been as keen, preferring his R&B prowess, however, upon actually listening, I was surprised.

Seven tracks of upbeat soul (produced along with JVD) starting with Eyes Wide Shut, a perfect blend of his soulfulness with the club ambience, an insight into what this project is. No More Chances establishes the theme and is the more natural of the blends and maybe even my personal favourite. Party Just Peaked continues that vibe and is one of those classic picturesque songs that could have easily been a Chris Brown hit. Strangers In The Club musically is the more dance sounding, other than the harmonies in the back and he gets to rapping in what felt like a more British twang, it’s something that Pink Pankthress for example could deliver, which just highlights Ye Ali’s ability in constructing these tracks. Track 5, Secrets, the shortest track on the album is also one of the catchiest, though serves as an interlude, at this point I’m surprised that I’m enjoying a dance album as much as I am, nodding along to the uptempo drums. Echoes follows suit, similar style to the fourth track but doesn’t feel as experimental, before Who But Me? the smoother of the dance tracks, that not only is reminiscent to previous Ye Ali efforts, but also closes out the album nicely.

If you said he compiled some of the more upbeat R&B tracks in the vault into this concise project, I might have leaned towards it more, though the A&R part of me feels there are a few songs from this that might have stood out better amongst the more traditional releases, notably No More Chances and Party Just Peaked as the standouts, however, conceptually WYA? I’m Not Mad Anymore works well, as it isn’t too far left for his fanbase and will help him venture further in this direction as a creative.

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Apr 24 2025
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Pak-Man – Outside

Having established his hustler’s ambition and stance through the success of his last project Legendary Still, Pak-Man makes some changes and is back outside.

“Real life rodeo, investment portfolio”, Classic ‘Patek’ Pak with his bars mirroring his lifestyle, elevated and staunch, despite being obviously overlooked, there’s few that can really deliver this style so fluent and honestly. It’s braggadocios but with reason, as he continues to independently forge his lane within UK rap and beyond.

Leading to the latest single, Outside.

“South London in my veins”. Resuming from where he left off, it’s more motivational music for the masses as he continues to boss up and raise the quality while he’s at it. Though similar in content, (with production and high level mixes on both courtesy of Cee Figz) Outside is a slightly higher tempo to Changes, and much like Pusha T, the Audemar aficionado is able to create these recurrent vibes so many times and yet they always offer something different. One of the reasons why I was waiting for a full length project before reviewing is because in his mixtapes and albums you get a more diverse platter of his craft, introspective, at times vulnerable and ultimately human, blended with these gritty and glamorous displays, shows more to his penmanship, delivery and overall artistry. He’s one of the few pioneers who has continued to maintain his legacy through music (independently might I remind you), which not only heralds him as an established act but adds value and emphasis to his upward trajectory.

There’s no doubt of more to come from the South London legend, so stay tuned for the follow up single and more so the next full project from the Rolex reverer himself, Big Pakachino.

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Apr 18 2025
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Turbo, Gunna – Classy Girl

Gunna is one of the few acts that has been able to deal with adversity, returning with quality music to reach greater heights and while industry and online chatter thought famous relationships would hinder, his longtime collaborator Turbo was really all he needed, further proven as the producer puts his best foot forward with this new track, Classy Girl

I had seen a video online playing this as a new Gunna leak but I didn’t pay it any attention, it wasn’t until the other day, I was in the zone, working on some art when this randomly played and stopped me in my tracks. The infectious beat, with it’s encompassing synths, is heat on it’s own, then add Gunna who matches it’s simplicity with an equally catchy flow (I’ve never found myself singing out, “Rolls Royce Mansory”, yet here we are). There’s such an 80’s vibe to this production with the sequencing and choice of sounds, combined with the subtle strings, maintaining a futuristic feel, that allows Gunna to effortlessly harmonise over. A follow up on Turbo’s 2023 released Bachelor which hadn’t hit like this, so if it this any indication as to the direction in which these two are going with forthcoming projects then I’m definitely looking out for it. Few new releases of late have had any real playback value let alone played on loop, whereas with Classy Girl, like the tag, I can’t help but to “run it back Turbo”.

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Apr 18 2025
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Kwn – Do What I Say

R&B/Soul tends to find itself in the background, despite it’s DNA being present in the majority of genres and though the likes of PartyNextDoor and Ye Ali have helped its resurgence, it’s still not as prevalent as deserved and none more so than in the UK. The country has had a rich history from the likes of Lynden David Hall, Damage, Fun*mental and more recently Bluey Robinson and Daley. However, as acts like Cleo Sol, Jorja Smith, Mahalia and Raye help lead the culture to the forefront, the talent plus marketability has the industry seeing the value again, with none more so than London’s own, Kwn (pronounced Kay-wuhn)

The signs have been there, her 2022 release Episode Wn EP showcased her distinct tone, production choice and songwriting ability, exploring her versatility through experimentation as she developed her sound, which comes together on the personal favourite Wn Way Or Another. Couple years later, after songs like Eyes Wide Open continue to shape her artistry, she appears on Kehlani’s While We Wait 2 project and earlier this year, the Oakland superstar returns the favour, appearing on the remix for Worst Behaviour, noticeably garnering her more attention and though I came across it, it did not strike me the same way as when I randomly see a promo clip of her latest single. There was something about the vocality that caught me, a unique cadence that despite the lyrics maybe not even being for me, just further emphasised her ability as a songwriter to make it so catchy over the infectious production, you can’t help but sing along to the perfect blend of modern R&B infused with the classic elements. Much like Leon Thomas’ Mutt, Do What I Say is such an unconventional “hit”, (imagine her stepping out to this at like Wireless fest, or any live show for that matter), but thats what makes it so captivating and will capitalise greatly on her new found limelight.

Her identity is such a strength, as few acts can evoke such dominance and vulnerability in this space so naturally, Chris Brown being one, which puts Kwn in great company as she continues upon what can only be a fruitful career on an upward trajectory (as we await the new project), which is obviously good for the artist, but also R&B overall and I can’t help but be proud that its out of the UK.

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Apr 18 2025
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Ruff Sqwad – Flee FM 2

After returning to the forefront last year with their unique spin of nostalgic genre-establishing riddims and flows, the Ruff Sqwad mandem are back with the second instalment to their pioneering album

The trio add to the success of their Flee FM movement, with Flee FM 2, another 7 tracks, featuring some new vibes and old Grime classics, kicking off with Xtra 2025, a sound many Grime fans new and old will be familiar with and what makes this project special is the fact that whilst some of us may be relishing the nostalgia, a lot of fans get to put names and faces to some of the most prominent sounds to have come out of England, that are being played at sets and raves still. Tracks like Freshers featuring Roll Deep’s Roachee, the Ghetts (formerly known as Ghetto) classic Top 3 Selected is remixed featuring the legendary D Double E. It’s Grime to it’s core, maintaining the high-tempo throughout, with Rapid stepping to the mic for Baileys Freestyle, Slix taking centre stage on Reason and Roachee joined by another legendary figure, Boy Better Know’s Frisco for Lentil Crisp, before introducing the young star RB on the last track Freestyle. Grime has come through stages of dub tapes, CDs, even sharing tracks via bluetooth prior to the YouTube era, and Flee FM gives you a sense of all those classic moments, they’ve really captured the natural essence of the pirate radio days but delivered in the streaming space, and with so much potential for the tracks and artists that can be reintroduced in this redefining format, this now serves as a solid foundation for Ruff Sqwad to continue to elevate Grime’s sound and culture.

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Apr 17 2025
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Jordy, Scorcher – Know Me For Music

What happens when one of the best up and coming rappers in the country links with one of our legends?! Jordy has steadily been climbing to the forefront as one of the more prominent rappers in the country, though I was introduced through his appearances on the Filthy Fellas football show, which coincidently I first came across through Scorcher, fast forward in a full circle moment, the two collaborate on Know Me For Music.

Whilst responsible for the recent Grime resurgence, Scorcher has been one of the original hybrids who was able to effortlessly run through tempos and displayed just as much prowess in the rap realm, and this is no different. Jordy has been consistent, crafting out his own audience and organically developing his artistry, though I can’t say I’ve heard everything from him, the features with the likes of Louis Rei and freestyles that I have come across, he’s definitely one of the more talented no frills artists about, and along with Scorcher, doesn’t disappoint. Kicking off Good Measure with the hook and his distinct tone, he’s a true to himself artist and that’s evident with his verse, it’s wordplay with substance, which allows Scorcher to delve into that introspective space for the second verse. My personal favourite is the latter, Ain’t Settling For Less. This time Scorcher starts it off, with a verse that’s reminiscent of his Dear Diary days and though I hold Scorcher in high regard, Jordy steps up, including one of the hardest lines I’ve heard with, “A n***a sayin’ that he made me..that’s too jarring, cos If I bite the hand that feeds me, I’m self-harming”. Though there’s not much to dissect, the one complaint is that it’s only two tracks (Three on Jordy’s bandcamp), as their contrasting individual styles and content compliment each other and makes for an unexpectedly palatable pairing.

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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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