This is the recent release on AE Productions, and it brings
you some exclusive versions of the track Opportunity Knocks, from the upcoming LP
release of the same name.
This one is a collaboration between Californian emcees Paavo
& Hugo Monster, with production from J & Mo (aka DJ J-Man (Cut Beetlez)
and DJ Mo’ Money. This one comes in a dope 7” at 33.3rpm package and features four
exclusive mixes from J & Mo, Jazz Spastiks, The Process (aka Ollie Teeba
& Jonny Cuba), and Charlie Tate.
So, sit back and join me as I take you through each one of
these remixes.
It all kicks off on Side A with DJ Mo Money’s In-House
Remix. This one features production from J & Mo and cuts from DJ J-Man.
This one has a wicked jazz hop vibe with an infectious beat that is alongside a
dope mix of horns and piano that immediately gets you moving to sound. The
message from Paavo & Hugo Monster is simple, when opportunity knocks, you
have to seize the moment and make the most of it, because if you let that
moment go, you might not get another. That moment might seem small, or it might
appear to be huge and overwhelming but, don’t think about it, even for a
moment, grab it and go with it and show everyone exactly what you are made of.
They do this with the use of slick wordplay and the kind of flows that get you
hooked and bouncing’.
Next up is the Jazz Spastiks Remix and this one, in
true Jazz Spastiks style, takes the track to another level. They give this one
a more chilled edge by softening the vocals slightly and using xylophone and
horns, alongside a sweet head nod beat to give you type of sound that makes you
just want to kick back and chill to this one, but still with enough energy to
keep you moving.
Time to flip the wax to Side B and first up here is the World
Expo Remix from The Process, otherwise known as Ollie Teeba and Jonny Cuba
(Soundsci). As you can probably guess, the guys give this one a pure slice of
Hip Hop with wicked beat, organ notes, cuts and more. Mix all that together and
you get a sound that amps up the adrenaline levels and has you jumping around
before you know it.
Last up is the Jazzual Suspects Remix which comes
from Charlie Tate aka The Jazzual Suspects (Colossus, Monkey Business, The Big
Cheese All Stars, etc). Here, horns and piano vibes merge with some sweet drums
to give you a deep Jazz sound that puts you in mind of sitting in dark, smoky
club, just drinking in the sounds as you casually nod a long…
Here we have four different versions of one track, each one
gives the words from Paavo and Hugo Monster, a different platform or stage if
you will. Each mix does not take away or change the message of seizing the
moment but, what does happen is that each remix just subtlety changes how that
message is delivered. You have the jazz infused, punchy delivery with DJ Mo
Money’s In-House Remix, then the more laid-back sound of the Jazz
Spastiks Remix. The Process, once again, give us a more hard hitting
delivery with the World Expo Remix, before we get chilled out once more
with the Jazzual Suspects Remix. Each side of this 45 starts us off on a
high before bringing us back down again, rather that just have one side with
two hard hitting vibes and one with the more chilled ones. It makes for a more
varied listening experience that keeps you on your toes.
With the long player coming in the not too distant future,
this single gives us solid feel of what to expect, especially if you know of
the previous work from J & Mo and/or Paavo and Hugo Monster. This is a
cracking release from AE Productions and is, as always, the full package with
full colour cover with a collage from Zoë Douglas-Cain and design and layout
from Darrell Krum, just to finish things off.
If you don’t have this one or have not heard it yet, then
you need to get on this one pronto. It’s definitely not one to sleep on.
Huge thanks to Mr Fantastic and DJ J-Man for letting me
bring this one to you and keep watch for the album, coming soon…
Diggin In Outer Space marks the first time I have had KISTA
on the blog, and not before time too. Kista is a self-confessed vinyl junkie, producer,
and Graff writer. He is also the owner of Soundweight Records, on which this is
released. The album is his latest release in a career that spans the last two
decades and features many standout releases such as ‘Collecting Dust’
which he produced alongside US emcee Glad2Mecha, and the highly acclaimed ‘Songs
From The Sea’s Edge’.
His deeply rooted and traditional Graff style has seen him
produce work for many of his own releases and Diggin In Outer Space is no
exception. The cover, by KISTA himself (See above), features a number of different pieces
that show his name and demonstrate his broad but classic style. The cover also
has this cut and paste style to it and features Graff pieces that are
interspaced with images of legendary NYC Graff writers, images of vinyl
records, Hip Hop and other musical influences, plus just a hint of psychedelia
too. This stunning imagery more than mirrors the what the promo material says
about the album “From start to finish this album takes you on a timeless
nostalgic trip of all this hip hop, record digging, graffiti, drum breaks,
spoken word, 90’s mix tapes, and Skateboarding”.
Now, I have always been a lover of the cut n’ paste style
mix and so I am truly looking forward to deep diving on this one. So, let’s not
hang around one more second. It’s time to join me as we turn the clock back to
the Mid-eighties and early 90’s for a journey into hip hop, dedicated to the
one and only ‘The 45 King’, let’s go Diggin In Outer Space with KISTA…
We begin our journey, of two halves (or sides as it were),
by lifting off from planet Earth, into the void of outer space with the Intro
(Stereo Test). This is more than intro to the album, but also and intro to
vinyl records, how to play them and a hint at crate digging too. It all comes
courtesy of a vocal sample from yesteryear over banging drum break, with a dash
of some electronic vibes to boot. Now that the needle is in the groove and we
are suitably thrust into our seats for the ride it’s time to get the Correct
Technique, and we do this by listening, intently to the drum break and all
the various samples, as they come together to get our head nodding, and the
head nod sound is something that is always critical as it transfers the energy
from the music into your body. Especially so when you’re floating through the
void of space. Now, something that was always a huge part of the early Hip Hop
Electro sound was the fact that it had that futuristic computer sound, and that
also expanded into the Graff scene too with futuristic styles, and it’s time to
explore the Graff side of things on Computer Rock (Future Shock). Wicked
infectious bass guitar and a dope beat, really gets ya adrenaline flowing, just
like the kick of grabbing a bag of spray cans and markers and getting out onto
the dark streets and into the subway tunnels to get your name up, in the
freshest style. The sampled vocals from graff writers really takes you back to
watching documentaries, like Style Wars, for the first time. You would get a
huge kick from practicing your own tag, before heading out and getting up for
the first time. Computer Rock Pt2 (The Essence) takes us deeper into
something that is the essence of both a graff writer or an emcee, and that is
the technique; each has to have their own individual style or styles of
creating their craft, from the tags and bubble, or wild style pieces, to the
wordplay and flows, you technique is everything and is up to the observer to
see if they can follow. Keep It on mixes up organ notes, xylophone
notes, and vocal samples over a wicked drum beat to give us a sound that almost
has a laid-back edge to it but, still has that banging vibe that keeps you
bouncing as our journey through the cosmos continues but, if you thought that
the link to planet earth was lost, you are mistaken as Solstice brings
that link to bear with a hypnotic sound that has these sampled vocals that seem
to speak to your unconscious, reminding you that no matter how far you travel,
you are always still close to nature and should always remain so. That idea of
remaining close to nature, even when surfing the cosmos leads us into Mushroom
Clouds where the beat is laced with hypnotic piano notes that allow us to
drift off into a different type of cosmos, one where some, possibly, natural
substances help us reach a cosmos of our own making. The organ notes and
guitars on Take You Higher find us inhaling more of those substances to
transcend that induced cosmos, before realising that sound and music also has
the capability to takes up to other places, and that is where we end the first
part of our journey into outer space.
One quick flip, and the needle is back in the groove, and
our journey continues, with just that little pause. Now we get things back on
track with the title track Diggin in Outer Space, which takes us back to
NYC. Here we get the low down on how a vinyl record is produced before breaking
into sampling, the MPC and more. This track is almost like a cut n paste mix in
itself as KISTA mixes in a wealth of vocal samples with switching sound along
the way as the focus of the vocal sample’s changes. It keeps you on your toes
and shows the work that goes into creating that physical product you love to
hold in your hand and then watch, mesmerized, as it spins on the turntable
bringing the sound you love to hear. Crescent Moon takes us into a jazz
infused sound with classic drum break with strings to give it a chilled air.
Then there are the piano and horns that really bring in that jazz sound.
Something that really came into hip hop music in the 90’s, bringing a sound
that was rooted in hip hop but, had this jazzy vibe that you could chill to,
showing that somethings just blended so well with that hip hop sound. Now, Walkman
Blues opens with a little soundbite that I can associate with as I had my
first introduction to Hip Hop by listening to a cassette of the latest tunes.
Here the beat, organ notes, claps and vocal samples all come together to create
this vibe that gets you reminiscing of the days you had a cassette Walkman, and
then a CD Walkman. I remember making my own mix tapes or putting the latest
albums on tape to listen to on my train journey to work. Later, I had the means
to do the same with CD’s. This one really takes me back, and the blues comes in
when you forgot to get back up batteries, or the tape massed up. Those were the
days. Xylophone notes bring us into Moon Rocks, where those notes mix
with organ notes over the beat to give you this upbeat sound that kind of
lightens the mood somewhat. It keeps that jazz vibe going once more but, in
more chilled way, and makes you think of bouncing around on the moon in low
gravity, looking back at the earth, the same way you might look back at music
that has gone before, how it has influenced you and how you might be able to
use it in the future. On the subject of musical influences, the Chrome Face
(Skit) brings in a short funk fuelled guitar sound, alongside a nice drum
beat that switches your focus to the equipment needed to take all of those
musical ideas, that are floating around in your mind, and getting them into a
usable form, recorded and ready for use. Similarly, your idea might be to take
a Stack of 45’s and produce a funky little mix out of them, and if that
is your idea, then you might just come up with something like this little
beauty. No more needed to say here just kick back and enjoy. The penultimate
sound on our little journey right here is Endless Summer, and this one
takes a pounding drum break and mixes in piano, horns and more to bring you a
sound that puts you slap bang in the middle of NYC, in the heat of the summer.
From the busy summer days to the rocking summer nights, this one takes you
there, as a little aside from travelling icy depths f outer space. KISTA rounds
things off here with the Space Cookie (Outro), a spaced out drum and key
infused sound that reminds you this journey is took you out into the depths of
the cosmos for a ride through the foundations of the Hip Hop sound and much
more. Now you are left with a little decision to make. Do you come back to
earth for more or do you stay floating, out there in deep space…
This has been some trip for sure, and it is not always easy
to review a release such as this because you hear so many sound bites, samples,
and more that you recognise that you question, do I list all these that I
recognise? Now, if I was to do that, we’d be here forever. So, what is best to
do is just give you the things that come to mind as I listen.
What this album did do was to take me back to those days of
old, to a time when I first heard Hip Hop, properly, when I knew what it was.
That old Cassette, that I still have, was my first introduction. Yes, I had
heard Rappers Delight on vinyl but, I didn’t know what I was listening too, at
the time and was only eight or nine years old. When I got to thirteen and was
told that this is Hip Hop, things blew up. I loved those times, trying to make
pause button mixes or listening to Double D and Steinski’s The Lesson series or
taping DMC mixes from the John Peel Show on a Monday Night. Now I wasn’t a
skateboarder, so I can’t comment on that but, I know it was a huge within some
in Hip Hop so, it definitely has its part to play. Hip Hop wasn’t just music,
it was Breakin’, it was Graff, and it was knowledge. I learnt so much from
listening to Hip Hop and researching what heard in the lyrics.
So, not only does Diggin In Outer Space take you back
to those early years, it encapsulates everything about that time. From buying
records, tapes and CD’s, to trying to write Graff, trying to be a Breaker, and
trying to Rap or be scratch a record (in the musical scenes). It brings all
that alive once more, putting you in touch with those feelings and reminding
you of what it was about Hip Hop that struck you, the oneness. You were part of
a movement, a culture, something new that was growing, and still alive today,
if you look in the right places.
KISTA proves, right here, and without the shadow of a doubt,
that he is one of the premo Hip Hop producers out there that still embodies the
roots of what Hip Hop is all about. Diggin In Outer Space takes you on a
trip that is seamless from start to finish. It is a rollercoaster ride that is
not just a great listen but, one that takes you to new or old places and
elicits emotions and adrenaline shots with every beat. KISTA has this instinct
that know exactly what beats, breaks and samples to use to convey the message
he is putting across, and that message seems to be that this is Hip Hop music
and this music can break down the walls and take you anywhere you want to go.
So, turn up the volume and feel the love for the music, the culture, and your
fellow brothers and sisters across the world.
For those of us who grew up in the 70’s, 80’s this one is a
nostalgic trip that will take you back and have you grinning from ear to ear,
and if you grew up in the 80’s and 90’s, it will have a similar effect. For
those of you hearing this who grew up in noughties or after, this one is going
to give you an insight into a time when playing with music and bringing fun and
good times was the name of the game and I hope it ignites a new flame inside
you to explore the music and bring that energy back, because we need that fun
energy to back into music and inspire unity beyond borders.
This has to be high on my albums of the year as it is a
stunning slice of Hip Hop that ticks all the boxes and proves, once and for
all, that Hip Hop is in the house, and its alive and kicking.
Diggin In Outer Space was release back in August and the
vinyl has now sold out. It is still available on digital though so, grab a
copy.
My huge thanks to KISTA for allowing me to bring this one to
you.
Epiphanies and Punchlines is the latest offering from the
duo of Ill Sykes and SheikhyGround. Released back in July, it continues on from
their 2022 The Road Less Travelled EP.
Now, I don’t want to say too much myself before I get into
the album So, I’m going to let Ill Sykes give you a little insight into the
theme of the album; “This album acts as a conduit for emotions and
experiences relating to the struggles that come with being human. As a double
edged sword, the album also chronicles the trials of the archetypal suffering
artist trying to find his way in a world that they feel wasn’t built for them,
compelled to express yet burdened by the sensitivity that fuels their art”.
With those thoughts in your head, join me as I take you on a
walk through of Epiphanies & Punchlines…
It all begins with the title track of the album Epiphanies
& Punchlines which serves as the into for the album too. Here the beat
is chill and softened into the background as the mix of soft strings and guitar
takes the fore front giving this one a very relaxed feel. As you listen, you
get the feeling this is setting the scene for what’s to come with a narrative
that is poised in the middle of something. Beginning with this spoken word
element that has a reflective edge to it, then comes this sung chorus part
reaches the present moment before a sharper edge appears to look towards the
future and first tentative steps on a path that has finally been found. The
sounds of rain, piano notesand cuts
from DJ JtL, bring us into It Never Rains (It Only Pours), backed by
more head nod beat and emotive strings. Everyone’s journeys are beset with ups
and downs along the way and here we take a look into those times where things
get too much for us, and those moments of depression threaten to drag us into a
place where we struggle to even see the brighter days. There are any number od
reasons why we might find ourselves in this place, Beit the struggles of
everyday life and losing those we love, or weight felt by an upcoming artist
finding their way, to have that authentic edge that will carry them forward.
Synth vibes and a melodic beat seems to take you back to the Synthpop of the
80’s on Running Away. There is no escaping the fact that facing life of
the spotlights of the stage brings it own hurdles, and as we push ourselves in
any one moment it can test our resolve and mental health, and this track has
that feel that sometimes things can get on top of us and push us to the point
of turning away from what is in front of us. We get caught up in the four walls
of our mind, a place where everything is too much and we just get by but, it is
a thin line between staying and leaving…
Metropolis Armada has more LoFi feel with a chilled
beat and multi-layered sound with guitar and synth elements alongside soft
etheric vocal samples; all coming together to create a dream like sound scape. Here
there seems to be a natural progression from the struggles that have been to an
internal, almost spiritual, voice that directs you not to give up but, to
understand that the stars are only a dream away. Those stars are the light in
the night, a glimpse that there is a brighter place and the more you dream of
them, the more you bring that light toward you. Piano and guitars merge with a
laid-back beat and a splash of cuts (once again from DJ JtL), bringing a
reflective edge on The Observer. Here we find the narrative shifting to
one of the observer, watching the life of others as they pass him by. Finding
out that fact that society is a diverse place where HI’s and Low’s exist at a
dizzying pace and sometimes you have to just take your time and look at things
differently, focus on individual things rather than trying to examine the
entire scene that plays out before you. Looking at things individually allows
you to see the entire spectrum rather than the blurred vision that you usually
see. Guitar notes take the centre stage on Games With No Names, keeping
the reflective edge to the sound. Things from our past do shape who we are and,
at times, how we approach and deal with what is in front of us in the present.
The challenges we faced as children may have seen us disappearing into our own
worlds as a place to escape how we were treated by others; that does not mean
that we will not do similar things as adults. But, as adults our escapes could
be music, a place where we can create what we want or where we can find a place
where we know we are not alone and others have experienced the same, giving us
and escape and hope…
Shapeshifters hits with a sound that has a
soundtrack, orchestral vibe to it. This one deals with the struggles of mental
health. Here there is that struggle between yourself, those inner voices that
are constantly at odds to each other, making you doubt yourself when you were
on the verge of something positive. This is one of those emotive and very
personal tracks that really hits hard, especially for those who have their own
internal struggle, constantly second guessing all you do and how others might
view you and the things you do. This is a struggle so many of us know only too
well and makes this such a hard hitting sound. Gatekeeping Infinity, is
an intense spoken word track that openly examines addiction , reflection and a
desire to move forward into a more positive future. There is a depth to this,
that continues on from the previous track, hitting you with an even more
personal and matter-of-fact expression. The intensity of the words evokes a
pure emotional response that you won’t deny but allow to touch you and bring
forth what it will. The emotive words are backed by an equally deep sound that
I can only describe as sounding like how your deepest thoughts may sound as you
sit with them, thinking over all that has been and might be; a masterful piece
of production work for sure that reflects that it is only you between here and
infinity. Strings take the forefront over a solid head nod beat on Live
Forever, evoking more emotive feelings within. This is one of those tracks
where all the cards are laid on the table and gives you an open-hearted look at
the desire that lays within, a desire to be the best you can be, striving to
push yourself on your life’s path in a way that will see you, your work, and
your memory live on. So many of us take it that what we do will one day be lost
to the sands of time and never really think anymore about it but, what if you
did? What if you were able to create something, anything, that would give you
that chance, would you not put your all into it, a passion for all that you do,
something that would shine through in everything that do. Would you describe
that passion and that desire the same way…
It has been an emotive trip thus far and as we come to the
penultimate track of the album, Deliverance, a multi-layered LoFi sound
carries us along, switching things about, giving more focus to the vocals.
There are times where we all cast our eyes to the skies, speaking to whatever
our idea of a god is, opening our hearts on where we are and what can we do to
go on! This is exactly that, something feels like opening up, from the pit of
despair, and delivering heart-felt words that say, this is who I am, I am now
in this place where I have been through so much but, now I know who I truly am
and now that I have found me, this is who I am going to be from now on, I
accept all that makes me this person, and now it is time to walk forward with
strength and love in my heart. The album ends with The Mountain, where
the sound switches once more to one that has a more prog rock edge to the
sound, putting you in mind of the likes of Floyd and others being mixed in.
This one is also the longest track of the album featuring additional vocals
from Dannielle Moles, Imogen Taper and Robin Taper. There is nothing better
than ending something on a positive note, and here we are given the spectacle
of what it is to overcome the biggest obstacles on our paths. There is the
sense that what we have here is an overview of the entire journey, the mountain
is that final hurdle to overcome but, it can also be representative of where we
have been as well as where we are going, showing all the struggles we have
faced, the times we have faltered, and the times we thought we would never make
it. But now we have those special voices around us that speak to us, encourage
us, giving us renewed hope and the strength to carry on, and so we climb higher
knowing that the summit not that far away…
Sometimes it is so hard to sum up an album when it has given
you so much to talk about as you have listened. However, I have recently been
graced with reviewing music that has a very deep and personal edge to it, and
Epiphanies and Punchlines is one of those too. The deeply personal and emotive
nature of the album is the kind of sound that we all so greatly need to hear
right now. This I sone of those albums that makes you think deeply of your own
struggles and where you are, right now in this moment. It also gives you hope
for a far brighter future if you open up and accept who you truly are. Do that
and there is nothing to hold you back. Once you are at peace with your shadow
self you can accept your true self, and this was the overwhelming aspect of this
album that spoke to me and will hopefully speak to you as well.
Ill Sykes and SheikhyGround have crafted a true masterpiece
where the emotive nature of the lyrics is matched by the production one hundred
percent. Ill Sykes shows an evolving side to his vocal delivery using spoken
word, rap, and sung lyrics to broaden his range and deliver everything this
album sets out to do. He still has that intricate wordplay but, here he shows
that mixing up his flows and styles has taken a huge step forward.
SheikhyGround uses every ounce of his production skills to draw on a range of
musical styles to craft a sound that perfectly reflects the emotive nature of
every one of the words being spoken and what they are saying.
This album explores themes that do not fail to touch you
deeply. There is suffering and grief but also talk of the resilient nature of
the human spirit as well as the strength to aspire to be all you can be and
more. These are themes that each one of us can associate with, allowing us to
draw on our own experiences, and in doing so we realise that we also have the
capabilities to have the same aspirations and resolve to be all we can be.
For me, what this album does so well is to take Hip Hop to
another level, one where you can draw on more emotive sounds to take the idea
of conscious story telling and mix it with deeply personal lived experiences,
and in doing so allow the listener to look within themselves at the same time
as taking on-board the journey of another.
If you have not heard this one yet, then I whole-heartedly
invite you to do so and see where it takes you.
Remember to support independent music. This release is available to stream and buy physical copies too. There is nothing like Holding a copy in your hand...
My humble thanks to Ill Sykes for giving me the chance to
bring this one too you.
I’ll see you next time.
Steve.
LINKS
Check out Ill Sykes LinkTree for all the links to stream or get physical copies:
Shadows is the latest release from Conscious Route
and marks his debut collaboration with producer Supermann on da Beat. The album
was released a few months back now and well overdue having the Infinite Sounds
UK treatment.
If you are a regular visitor to the blog then you will have
seen my previous reviews for Edinburgh based emcee Conscious Route, LostRoutes (with True Note from 2021) and Belterz (2023), if not then
feel free to check those as well. Both of which have received high praise from
the likes of The Scotsman and The Skinny Magazine. His recent releases such as
Trojan and The Sensory EP have received worldwide airplay from the likes of DJ
Shorty, Rapstation 365 Radio, BBC 6 Music and the legendary Chuck D. His music
has also been named among the Herald’s top 100 Scottish tunes in 2020, 2021,
2022, and 2024. On the live stage he has supported the likes of Dead Prez,
Onyx, and Jeru Tha Damaja, to name a very few.
This is the first time that I have heard production from
Supermann on da Beat and so it is only right I introduce you to him. Sanjeev
Mann aka Supermann on da Beat is a Scottish based disabled South Asian
producer. He brings a unique blend of influences to his production that
includes bands like Nirvana to artists such as Kanye West, Nas, and
XXXTentacion, to bring a fresh perspective to the UK scene. He learnt his craft
while studying YouTube videos on music production during the Pandemic. This has
led to a somewhat meteoric rise in Scotland’s Hip Hop scene and seen him
collaborate with artists worldwide such as Chef The Rapper, Genesis Elijah, Mic
Righteous, Krudd The Guru and Rockie Fresh. He has hit some huge milestones
including a BBC Documentary and 6 entries on BBC Introducing, leading to
becoming on the UK’s hottest upcoming producers. 2024 saw him release his debut
solo project, which drew on spoken word and grunge to address issues facing
disabled people. He has performed at events like Wide Days and New School
Rules. His work to highlight the under-representation of disabled artists has
led to a vital campaign to make venues fully accessible, and appearing on BBC
Scotland, STV, Daily Record and BBC Radio 4.
The Shadows album was born, initially, from a loose
promise from Conscious Route to collaborate on a track with Supermann on da
Beat. However, although both were working on other projects, this grew into a
handful of tracks recorded together and now the full ten track album which
reflects their personalities and life experiences, Conscious Route with his
often personal lyricism and Supermann bringing production that brings a
soundscape that encompasses classic Boom-bap, trap, R&B inflected Hip Hop
and more.
They have kept guest appearances light on the album with
Stirling’s Pro Focus, Edinburgh’s Bridget Quinn, Glasgow’s P Caso, Milla, and
Johnny Cypher (Glasgow), featuring on just four tracks between them. There is
also an appearance from Jabbathakut on the album’s title track. This is done to
bring a sense of community to the project while also highlighting both
Conscious Route’s and Supermann on da Beat’s work with both local and
up-and-coming artists, something that is frequently overlooked.
So, with all that said you now have a good introduction in what’s
about to come, and now I invite you to join me for a deep dive into Shadows…
Super Smooth kicks things off on the smooth tip with
chilled out vibe of piano, guitar, and horns over a laid-back beat, giving you
a subtle head nod sound that makes you listen more intently to the lyrics; here
we find Conscious Route opening up by taking a few shots at the music industry.
You get this real sense that this is like friends sat round speaking on their
experiences of the industry and how its set up to properly support the
up-and-coming artists to actually make a living from their craft, but more to
support the platforms that ‘promote’ the music, and I use the term Promote,
loosely. Pro Focus joins us for Fashion as Supermann on da Beat switches
things up with acoustic guitars and a trap beat that brings a vibe that claws
at your nerves a little. The switch up in beat see’s Conscious Route and Pro
Focus trading bars and tweaking their flows to match the sound. That quick-fire
vocal style gives a challenge to feel the message here but, there is this feel
that there is this vibe that looks at the lack of originality out there right
now where there is too much being said that panders to what people want to hear
without really saying anything of significance, there is a distinct lack of
authenticity being shown and that produces a hollow sound with no substance,
just going with the current trend. Plastic Bag opens with a vibe that
seems to envelope your mind, closing in on you but, the production shifts
throughout which never lets you settle long enough, like sitting on a slowly
spinning round-a-bout in a dark room. Conscious Route does a superb job of
switching his flows to the changing sound, the inferred darkness in the sound
also comes through in the lyrics which seem to mirror the tough times we live
in and how struggles of making a living can play with your mind as you
constantly search for ways to survive or perhaps looking for a way out.
Whatever you get from this track there is a deep emotive edge that permeates
everything from the first beat to the last bar. Piano notes open Dubplate
before another trap beat drops in giving this one more pace but, again, the
production shifts across the track testing Conscious Route once more, taking
the opportunity to flex his wordplay skills, giving us a demonstration of his
versatility. There is an energy and perhaps some venom in this one that gives
it a vibe that comes from a higher plane, speaking to you in a way that
impresses the words directly into the subconscious. We move towards the
mid-point of the album with the title track, which features Jabbathakut on the
cut. Shadows has a head nod vibe to it which comes from the beat but,
there is this organ sound which grabs at your awareness, holding your attention
as the lyrics are impressed on you. Here Conscious Route spins some intricate
wordplay that at first might just seem like a slick display of those words but,
the more you listen, the more you realise that this is so much more than that
with deeply personal insights that touch on how your own personal experiences
have an effect how you grow as a person. But more than that it looks at how
lived experience has such a deep impact on how we see the world around us, our
own thoughts and how we cope with everything that comes from outside us but,
also from within.
We move into the second half of the album with Purge,
this sees Johnny Cypher join Conscious Route on vocals. Supermann on da Beat
brings piano and string infused sound which has a classic head nod sound that
is reminiscent of that 90’s Hip Hop vibe. Cypher and Route trade verses and
bars that not only displays the versatility of their wordplay but also gives an
insight into how they see their craft and scene they are a part of. Again,
there is a deeply personal element to this that should not be overlooked but
felt. Next up, Bridget Quinn and P Caso feature on Jazz Unsung. The
piano takes the forefront over the beat, giving this the kind of jazz vibe that
you can’t help but move to. This one is all about speaking on the sound of jazz
music and those who brought and experimented with that sound, and while
Conscious Route and P Caso school us intricacies and depth of Jazz, Bridget
Quinn brings a quintessential soulful vocal that you can’t help but drift away
to. This is definitely one to just sit back and vibe to. Safety brings a
host of live instruments in to compliment Supermann on da Beat’s Production and
something I always feel adds extra depth too. The sound here has a mix of
influences from Hip Hop, RnB, and a sprinkling of trap too. This gives the
whole thing a sound that has a reflective edge with an emotive air. Here
Conscious Route brings one verse which serves as a bridge between the soulful vocals
of Milla. The track which looks at love and relationships and the sad things
that so often are apart of those relationships such as betrayal, heartbreak,
and trust issues. This is one of those tracks that so many of us can easily
relate to, and the emotive edge to the vocals makes it all the more so. We move
into the penultimate tracks of the album, Overstood, where we find
Supermann on da Beat bringing us a nerve jangling sound with a trap edge to it.
The sound has an edge that seems to play havoc with your mind, or is that just
my ADHD head? Here we find Conscious Route taking shots at the fake rappers out
there and those who think that can make money off the back of Eminem, by being
sound-a-likes or simply shouting their lyrics. This might be a short track but,
it says just as much as the others. I mean, there are going to be times when
rappers are ging to sound like others but, the key is to bring something new to
the table, make your sound authentic and relatable, don’t just be like someone
else because it sells. The final track of the album is Squashed, where
Supermann on da Beat creates another beat that mashes up different influences
and mixes them up and that drops a sound that seems to shatter what you thought
was possible, which gives this one a sound that seems to be erratic but, on a
stable base? Conscious Route gives us some more intricate wordplay that serves
to gives us an insight into the fractured mind where everything can appear
stable and sane but, can change in an instant…
Shadows is an album that you cannot label as one genre. Yes,
it has its roots in the Hip Hop sound but, it takes that sound and steps
outside the box with it, then infuses a wealth of other influences with it and
returns with a finished product that encapsulates the definition of the
experimental nature of music. What that does is to bring a diverse range of
fans, a sound that is not going to be out of place in many different circles.
This is a highly listenable album where, even the bits you might not be a fan
of, don’t really seem to be out of place. I myself am not a fan of trap music, I
find that high paced tapping, cymbal sound to take the focus away from what is
underneath. However, here it has been done in a way that makes you feel that it
just seems to work, where it has been placed, there is not feelings that it is
too out of place, and, for me, that is an accomplishment.
I always enjoy the depth and the versatility of what
Conscious Route does with his flows and his wordplay, mixing it up and deftly
following the tone and pace of the tracks. His words have a complexity and
depth of feeling that display a connection with himself and those who might be
listening, in a way that has a deep spiritual side to it, and this is something
that I feel we all need to hear more and more. Music that gives us a deep
introspection and a direction to take that is so valuable for us all as we walk
forward in a world that seeks destroy our oneness.
Having not heard production from Supermann on da Beat before
now, I was suitable impressed with his ability to craft emotive sounds from
such a wide range of influences, and for someone who has not been crafting
beats for that long, in the grand scheme of things, he is to be commended for
that. In fact, it does seem to be that he has a natural ability for bringing
alive the sound that is the perfect platform for whoever is gracing the beats.
I also salute him for bringing a spotlight on to disabled artists/producers.
This is an area where there is not enough diversity in the music business and
Supermann on da Beat is a beacon to those out there, showing just what you can
achieve, no matter your disability.
Shadows takes a diverse range of sounds and focuses them on
an equally diverse range of topics that anyone of us can associate with. It
them delivers something them in one package that seems to go beyond it running
time, making you feel you have been listening so something much longer. You
also come away with a sense that you understand the true passion that went into
making it, and the individual messages that each track holds.
Additional Shouts go out to the following:
Digital Dyer for the Artwork.
Chris Greive (Trombone) & Geoffrey Williams (Guitar) on Safety.
If you have not heard this yet then, it is well worth you
giving your time to.
I give my humble thanks to Conscious Route for the chance to
bring this one too you.
The last time I featured these two together was on 2022’s The
Long Year EP, Which was produced by Panda and saw The Local Healers (Nay Loco
and Ty Healy) alongside Louis Cypher, and even back then they were working an
album together. That album would eventually come to fruition as this album
right here, 2 Heads The LP – Director’s Cut.
Now the reason this has taken a while to reach your ears is
that Panda and Nay wanted to bring you a true audible experience. But, please
let me allow Panda to explain, “the LP has been constructed in a way that
mirrors a feature film. There are twist’s and turn’s, hidden ‘easter eggs’ /
film references, and it is all essentially split into 3 act’s with Opening /
End credit theme’s and interval’s in an effort to keep you gripped from the
moment you press play on the first track right through to the end”.
So, with all that said, the anticipation levels are high and
I’m not gonna keep you hanging around but, just dive head long into the album,
so let’s go…
As you take your seat, the lights dim, and the room darkens.
The curtains of your mind slowly open and music begins with the 2 Heads
Prologue (Opening Credit’s Theme). This short intro has a nice head nod
vibe that gets you into the groove of things as the piano serves to bring this
light-hearted edge that gets you in a feel good mood. Feeling good, but maybe
with a slight air of anticipation about what is to come, Yung, Handsome
& Black kicks in with a beat that keeps the head in motion while the
mix of horns, sees Panda get that pulse rate elevated just enough to get you
focused on the vocals. Nay takes on the role of our protagonist, giving us an
introduction to just who he is, while spinning things just enough that you
wonder is he portraying an anti-hero or something more? While you are pondering
that for just a moment, Veronica Caine joins proceedings for her first
appearance on Cartoon’s.Panda
brings us this very easy going vibe that perfectly emulates the sound that puts
you in mind of watching cartoons on Saturday morning, back in the day. Nay and
Veronica take us on a smile inducing trip through memories of an animated world
where some of the craziest things happened, things that got you laughing. As
you listen to the lyric’s, they get you thinking once more, is life really more
of a cartoon than a movie? Consider it for a second but, but not too long
because 32 Raws sees the horns and a more chilled beat, bringing a jazzy
edge to the sound. Floating away to these easy sounds, you realise that this one
is all about taking more than a few moments away from reality by taking a hit,
or two, or more on one thing that can give you some respite from the daily
grind. It might still be illegal right now but, perhaps times are changing? In
fact, change, of a different kind, is something the end of the previous track
alludes to, in which many couples are choosing to live together for longer,
rather than get married quickly, and this brings us directly into the next
track, Ain’t Married Yet. This features Veronica Caine on her second
appearance alongside Nay. Here, the beat keeps that chilled edge but, with
piano vibes accompanying a more head nod sound. This one looks at how love and
family life can grow deeper and take its time to bloom. Not everyone decides to
jump straight into marriage and that is something that is down to the
individuals, and for some taking that time can forge a strong relationship that
stands the test of time.
Ya Don’t Stop (Act 1 into Act 2) is our first
instrumental interlude from Panda. A heavy but laid-back sound that gives you a
minute to nod your head to and consider where this one might be headed. Act 1
has given us an introduction to things, an overview, if you will, of our
protagonist. What comes next is bound to open things up a little and we wait
with bated breath. Act 2 begins with Saint or Sinner as Panda brings us
a laid-back sound of bass and piano elements with this drum beat that brings a
deeper edge to things giving this one a reflective vibe. Here Nay seems to be
reflecting over his past, which has him caught up in a sense of purgatory,
wrestling with just who he really is? The message here is that your life is
what you make it and you need to choose the right path, one that is an
expression of your true self; allowing you know that you have lived life to the
fullest. Lost Folks changes the mood slightly, there is still a
reflective edge here but, Panda uses the beat and piano vibes to bring a more
personal edge to things. Nay grips that personal sound and takes us on a deep
journey through life, thinking of all those he has lost along the way,
reflecting on the good times and the bad. But the message here is that losing
those close to us can be a hard thing to deal with and leaves us with a sense
of emptiness, but it is important to remember them and to use those memories to
fill our hearts with love and to never loose sight of who we are, walking
forward with their essence still beside us, every day. That reflective edge
continues with Somehow, the mood here is lifted slightly with Panda
almost softening the beat into the background. The bass and guitars take the
forefront here, and this creates a sound that lifts the mood. Nay reflects that
lifting of the mood by speaking to his younger self about how all those
struggles and hard times being worth it. You just have to bide your time and
one day, in some way, and somehow, you will get that break and understand just
what all those moments meant to you and how they prepared you for the place you
are in now. Act 2 draws to a close with Kick A Rhyme 2. The first Kick A
Rhyme appeared on 2023’s Bamboozled EP by Pandamonium and Ty Healy, Nay’s
partner in The Local Healers. Panda brings a funky vibe that mixes bass and
other guitars with a solid beat and more that provides an injection of
adrenaline to the proceedings. This gives Nay the perfect platform to drop bars
and open up his lyrics, kicking it on whatever he wants to, while bigging up
Panda on the mix.
That sets it up perfectly for Me & My DJ (Act 2 into
Act 3) as Panda rounds off Act 2, giving us a moment to reflect. Piano,
heavy guitar riffs and banging drums bring a head nod sound that injects more
adrenaline and gives you the energy to muse on Act 2. Act 2 seemed to show our
protagonist reflecting over the past, wondering who he was as a person and
understanding how his past experiences have brought him to this point and made
him who he is, from a young man who may have been to be headed for self-destruction.
It was the music that gave him the chance to be here now and teaming up with
the right DJ has elevated things. With that thought in mind for Act 3, we find
Nay looking to the future with Where Do We Go from Here. Panda comes
with the Jazz fuelled sound that sees piano takes the forefront, giving us a
chilled sound to kick back to. Just like Dizzy Dustin on his album with Panda,
Nay finds himself stood at a crossroads in life. All the pain and suffering we
see around us, and even that we have lived through gives us food for thought as
the road in front of us finally clears, we wonder how we walk forward carrying
that heaviness. The answer is just to take some time to remember who we are and
find the strength to take that next step forward. As we consider that next
step, Panda ups the pace a little with How We Roll, bringing a more
pulse pounding sound that gives just the right energy for Nay to take that next
step. Nay takes the beat between his teeth here and brings more grit to his
delivery, giving us a look at someone taking his seat at the top of his game.
Channelling all that past energy into a future that he has fought hard to bring
to fruition, carefully honing his craft and polishing every aspect of his game
and taking his rightful place at the top. I Saw Ya, brings a real
laid-back vibe that changes the direction you thought the album might be
taking. Panda switches things perfectly here by creating a platform for Nay to
drop a track that speaks on the love he has for the love of his life. This is
another deeply personal dive into Nay’s life, something that shows how love can
help you change the direction of your life. That notion of change is explored
now with Change, where Panda brings in an upbeat Jazz vibe that has in
infectious sound that you can’t help but, move to. Nay looks at life and how
some can change for the better while others change for the worse, that is just
how life works as it evolves from the choices we make along the way. Some
changes are things that we intend, while sometimes things just change in an
instant but, one thing is for certain, change is always on the cards, it’s just
how we react to that change that sets up where we go from there. Finally, we
find ourselves at the end of the album, closing out with Until Next Time
(End Credit Theme). Here Panda brings the final interlude and signing off of
the album. As the curtains in our mind draw once more and we listen to this
funky little ditty, it sets us up with pondering over the entirety of the
album. Long after Nay & Panda are 5000 G, you are left thinking. We began
with Act 1 giving us snapshots of what was and had been happening, while Act 2
drew us in deeper, reflecting on life before finally coming to a crossroads and
looking to the future…
This album has been some ride, and I have to say that Nay
and Panda did a pretty damn good job in how they created and presented this
album. It takes you deep on many levels and while giving you a deep look at
Nay’s Protagonist, it also gives you enough room to come away thinking about
your own life. While keeping the enjoyment levels high and injecting just
enough to break things up along the way.
Nay shows a wide range of flows, wordplay and that ability
to bring deeply authentic, personal lived experience to the table, something
that allows you to really associate, on a personal level with the themes and focus
of each track. This gives Nay’s delivery a depth that makes you want to listen
intently to his lyrical content and to not want to miss a word of it.
Pandamonium just seems to evolve and mature with every
release he is involved with, be it solo or alongside another artist and here he
once again shows how that evolution as a DJ/Producer allows him to perfectly
emulate the sound that Nay is looking for to take the lyrics to a place where
the musical mood is balanced with that of the lyrics. He also, does all the
cuts, mixing, mastering etc, and that’s something.
It would be amiss of me if I did not give a mention to
Veronica Caine who appears in Act 1. She brings a nice balance to those tracks
with her delivery and wordplay. Something that not only brings that balance
but, also adds a little extra depth, giving you a different angle on things.
Together these guys have taken their time to craft a release
that is exactly what they were trying to deliver. 2 Heads is an album that is
crafted in such a way that I don’t think I have heard it like before. It
balances entertainment value with deep emotive content in a way that, you have
to listen to it in one go, just like if you were watching a movie, and if you
have to stop for snacks or to use the loo, you have those little interludes in
which to do so, once you pause it of course.
I really understand how It took nearly three years to get
this right, you can’t rush something like this, especially if you want to
deliver the depth of meaning that the album brings, and credit where credit is
due, the guys have done a masterful job here.
I don’t think there is much more for me to say except that 2
Heads The LP – Directors Cut, is a pleasure to listen to; and it was also a
pleasure to write to, as it was one of those listens that allows the words to
flow, and I love that. It is also released through Pandamonium's own imprint Label, BAMBOOM Records.
If you have not heard this one yet, then I advise you to
have a listen now. Plus, there are strictly limited cassette tapes available,
and I think there might be more physical versions coming soon too, so watch for
that.
My humble thanks to Pandamonium for letting me bring this
one to you, albeit a little late.
Now this one has been available for release for a couple of
weeks now but, due to me taking some time off in August, this is the earliest I
have been able to get into it.
Now many of you will know Remark from my reviews of his solo
work and that of his work with Immune and the hardcore vibes of Fireball
Flingaz, among others. For this release he teams with producer Murmur from Greenock,
Scotland, for something a little different. I have written about Remarks
background before, so feel free to check those other reviews But, I feel it is
worth mentioning a little about Murmur before we head into the review of Introspection.
Murmur has had a lifelong association with Hip Hop after
growing up in the 80’s and 90’s. As part of a DJ crew, they would put on their
own events in Glasgow and be the warmup for the artists headlining. Those early
years also saw a few occasions running from the cops through fields following
the break-up of so called ‘illegal raves’. After getting into a bit of
production, he began to take that more seriously around 3 to 4 years ago, then
working alongside emcees in the last couple of years. This led to him working
with Dan Brown, Prevmarco, and Peter Sparker. Murmur also produced for Legs MC,
which I have reviewed here too, so feel free to check those too. Murmur’s
inspiration comes from many genres including House, Techno, Jungle and Indie.
He notes that his work with Remark for Introspection “has been a major step
change for me. I stopped thinking about what I thought an MC would want to hear
and just let things happen. Then when it gets to Remark he just elevated
everything and found pockets I didnt hear. It let me move away from straight 16
bar verse and 8 bar chorus structure to just listening to where I thought the
music should go”.
With all this in mind, you can bet that the depth and
passion of remarks lyrics and this new approach to production from Murmur, is
likely to bring something that will get you thinking. So, join me as I take you
on a trip through Introspection.
I originally had the album some time ago but, it has had a
few slight changes along the way so, I’m truly excited to bring you this deep
dive into the album. It all kicks off with The More We Know. Piano,
guitars and horns all feature on this alongside solid head nod beat. All mixed
together this one has a deep thoughtful vibe. Remark draws on his years of
experience to bring us a track that speaks deeply on the process we go through
in life that allows us to continually grow and understand are authentic selves.
We achieve this through gaining knowledge as we walk life’s journey, and as his
sung chorus explains, the more know, the more we grow, the more we get to know
ourselves. Each of us has a different journey, a different set of experiences,
we grow differently but, we do grow and we will all, one day know who we truly
are. With such a thought-provoking start to the album, you sit back and, for
the most fleeting moment, wonder what’s next? The moment that thought enters
your mind, you are greeted by a short, nerve jingling into for Precautious,
this serves to focus your attention before the beat drops in. Keeping the head
in motion, Murmur hits us with a beat that is underpinned by an almost eerie
guitar sound with a bass guitar floating quietly in the background. This one
raises the energy levels a bit more with a sound that almost seems to set you
on edge. Remark speaks on the current state of affairs in the world today, a
place where you need to be careful of any information that comes at you from an
external source. We live in a society where much of the information you see
around you is censored and filtered in a way that allows what you hear to only
partly truth; this allows the information to be massaged and delivered in a
targeted way to control how you react. The answer is to find something you
enjoy, that speaks to you on a deep level, you can then keep yourself grounded
and cautious of every step forward, and as you take that next step, it takes
you directly into Ear For An Ear. This multi-layered sound has an almost
soundtrack vibe to it that seems to transport you into the shady world of
espionage and psyops, but is that really what its all about? This one speaks on
one thing, the truth. This one comes from Remarks own viewpoint as he takes us
deep into his own psyche. He shows us that we need to silence that part of the
mind that grabs the filtered information from the outside world and runs with
it, whispering the untruths causing a conflict with the heart, which knows its
unsafe to believe everything it hears. The thing is that we all go through this
and there are plenty of us that choose to listen to the monkey mind and not the
heart but, to truly hear, you must listen with the true ear, and that is the
ear connected to your heart.
As you let that sink in on an unconscious level its time to Re-Humanise
as Murmur brings a beat that has a feel that mixes a classic head nod beat with
a sound that has an electro / Trip Hop edge to it. This gets you bouncing while
seemingly feeling those electronic sounds throughout your entire body. This
shorter track has deep message that might well escape you if you are
concentrating on that banging beat. But some of the deepest messages are
delivered in such a way, and here Remark is alluding to how the external
struggles can twist the mind into a place that separates us from human self,
the true self that thinks and feels from the heart. We need to breath, feel the
true force of nature and re-connect with our true human self. Side A (if you
happen to be listening to this on vinyl) comes to a close with Here’s To
Hope. This one has a lighter vibe which comes with the flute notes, which
seem to uplift as you listen, and the beat carries you. That uplifting sound is
mirrored by the message in Remarks words which, in truth, is very simple and
that is to invite and live with hope in your heart. Everyday you hear of
struggles, pain, and suffering, the words of positivity and hope are rarely put
forth, and so it is up to us to look past the darkness and to see and feel the
hope that a brighter day is there. Even if you are only able to hold on to the
smallest thread of that hope, it is still there and by doing that you are
bringing that brighter day closer, every day.
So, if you have the vinyl, its time to flip it over, if you
have the digital, then keep on listening…
Next up is Trickery which mixes guitars and piano
notes, with a heavier drumbeat and more to bring a sound that you can’t help
but close your eye and vibe to as seems to give a glimpse of the brighter day.
That uplifting sound seems almost juxtaposed to the lyrics which speak on how
we are kept living in a state of stress or feeling we are living in sin. Let’s
face it be it organised religion, the media or the powers that be, they all
trick us into living this way to keep us in a state of mind that is easily
controlled. The trick that we can pull in return is to not be taken in by this;
thinking that we are all living in original sin or that governments are working
with our best interests at heart. No god would be vengeful, and no living
person should have to suffer without their basic needs being met so that the
rich get richer. There are a lot of ways to look at this but, the truth is we
should not be taken in by the trickery and no one living on this earth should
suffer at the hands of another. Other Realms has an electronic edge to
the sound, and when taken alongside the drumbeat, there is this other worldly
vibe that seems to come through. This sound fits perfectly with the fact that
this one questions reality and what might be real and what might be something
completely different. Remark also mentions how music is a gift for humanity.
Music is something where you can bring your own personal experiences to bare
or, music can transport you to another reality, perhaps that is a place where
you can fully understand that not all of what you see and feel in the world
around you is all it seems. While you are questioning what is real in the world
around you, music can help you take a step away from this reality, and to go
deep inside yourself to find the truth of who you are. Where does your music
take you…
Midnight On The Wind sees Murmur bringing a beat that
seems to have an etheric quality to it. The beat is multi-layered with
different percussion sounds and, I’m not afraid to say, some elements I can’t
quite pin down but, it gives this sound that does seem to encapsulate the very
nature of the title of the track. Here Remark takes us on a journey that
crosses the veil between this world and the next. A place where angels call
your name, ghosts of the past and future are as real as you and me, and where
visitors from beyond may just cross your path. This is where you can recognise
that whatever your art is, it comes from the place where your heart is, and
that is a place where you can close your eyes, dream, and create anything you
desire, and it’s your home that is right here inside you. The dream world is an
amazing place but, right now you are drawn back to reality with the albums
penultimate track Great Outdoors. Flute notes and electronic sounds give
this track a vibe that goes beyond the beat with an uplifting vibe. The flute
has a native American sound, and this gives the whole track a sound that is
rooted in nature. That nature vibe is something that, for me, seems to permeate
the whole track as we need to understand that the digital age is affecting the
younger generation in a way that takes them away from a connection to the
natural world and perhaps that is all that needs to be said? It is important to
take time away from your devices, your TV, and step outside your front door and
ground yourself, connecting with mother nature in the Great Outdoors. Think
about it, we were born of the earth and will return to the earth but, we need
to remain connected to the earth. The album ends with Far Away, where
that ethnic sound underpins the guitars and the drums to create a sound that
seems to have a Floydian edge to it and feels like it touches your heart
directly. This one is a stunning way to end the album and could be the deepest
track too. It gives you this sobering thought that with all you have been
through to date, you might well find yourself at a crossroads in life, and in
that moment all your goals might seem to be so far away from you, but this is a
metaphorical crossroads, where nothing is as it seems and all those goals are
obtainable, you just need to pick one and walk forward with your head down and
headphones on, cancel out the noise as you walk forward as your authentic self…
What is immediately striking about this album is that
Introspection is all about looking at the self and you mental and emotional
processes, and the album really does such a great job emulating that. Every
track in some way invites you to look at yourself in some way be it directly or
by understanding Remarks own narratives. In fact, there is this little voice
that often says to you ‘well, if Remark can do it, then I can do it too’ and I
think this is something a little different that this album has, its that air of
authenticity and that the narrative is coming from someone who has been there
and done the work on themselves, it makes the album deep on a very conscious
and emotive level.
Remark always a very conscious way of writing that can swing
between differing levels of emotive context from straight up anger at the
establishment to deeply emotive story telling and words that show a true
understanding of what is going on in the world around him. He connects to his
subject matter in a very spiritual way that shows a connection to the self and
nature. With Introspection he takes to a very personal level that allows a
connection to the listener, giving them the invitation to perhaps, look at
themselves in this way too.
Remarks emotive words are made even more poignant by the
production of Murmur. The way he has crafted each track by allowing his
production to flow from working directly with Remarks vocals, adds this depth
to the sound that just matches and, in some cases, seems to actually elevate
the vocals to new hights.
What these two have crafted together is this deeply emotive,
conscious Hip Hop masterpiece, if you will. You might want to call it left
field and that is perfectly fine but, I like to keep it simple and for me, this
is an example of emotive Hip Hop music at its very best. This is the type of
music we all need to hear right now for so many reasons.
It is true that what I have intuited from this is what the
music said to me, it might well say something different to you, and that is
perfectly fine because we are all on our own journeys, and what we have
experienced along the way will colour how we interpret what we hear and feel
from the music.
So, if you have not heard this already, then I highly
recommend that you have a listen and see where each tracks take you. You might
just go somewhere a lot different to where I went. But what you will do is
enjoy every minute of the experience.
My humble thanks to Remark for letting me bring this to you
and to Murmur for Bio which helped me give you a little insight into himself.
Introspective is out now on digital and Vinyl from Elastic
Stage.
