Album Review: Redemption is not Free by Shakezpeare X Dr G

 

Redemption is not Free

By

Shakezpeare X Dr G

Redemption is not Free is the recent release from Coventry lyricist Shakezpeare and producer Dr G. Now this one was released back in March of 2026, so another one I’m playing catch up with. The album comes with a glowing review from my good friend John Dugan (JD Hip Hop Reviews), so that should tell you this is gonna be an album worth a listen.

Shakezpeare draws his inspiration from classic Hip Hop lyricism while remaining grounded in contemporary UK sounds. He brings a lot to the music he makes blending personal struggle, mental resilience, and street level realism with moments of wit and vulnerability. Not only does he bring lived experience to his music but, away from the mic he speaks on issues affecting his community, including identity, inequality, and personal accountability.

There is one line in the promotional material that I want you to consider as we go into the album. The Production consistently gives space for words to land, reinforcing the idea that this album is meant to be listened to, not just consumed casually. So, with those words in mind, join me for a trip into Redemption is not Free.

 

We begin with The March, the intro to the album, which has a dark edge to the sound with piano and strings forming this sound that draws your attention to the sounds of the street and those repeated words which are the title of the album. With the scene set, you mind is open and ready for what comes next, and that is Lick The Plate. Dr G brings a sound that has a heavy beat backed by keys and synth vibes that create this vibe that sits you on the curb with the city streets as your screen. Shakezpeare’s gritty voice brings us straight to a place that seems to look at the inequality among us and how we view others. Now, not everyone has this view but, there are those who chose to look down on others, just because of their social standing, and then treat them with disrespect. Sadly, this kind of attitude is all to apparent in society these days. The world would be a different place if we all viewed each other as equals, regardless of money we have. With the sense that this album is going to say a lot, if we chose to listen, Not Easy brings a sound that is heavy with piano and vocal samples, backed by rain, guitar, and a chilled beat, that all blends together to brings a sound that lightens to tone somewhat. This allows the lyrics more space to speak to you, and the feeling you get from this short one is that everyday might not be easy, as you navigate life, but you still have to be thankful, each day that you wake and open your eye’s on new day.

Elevate brings a sound that has a heavy head nod style beat that is backed with a far eastern sound, giving this a vibe that feels like it is penetrating you mind with sharp points. There is a real sense here that this one speaks on what Shakezpeare is all about, and it’s not about conforming to what others think you should say but, speaking on subjects that matter and providing a narrative that raises people up, particularly the younger generations. With that feeling that real Hip Hop raises people up, It’s All Art brings a heavy beat with a sound that feels like it vibrates your mind. We get a little more of a look at who Shakezpeare is here, but this one is more a look at how he directs his energy at those who chose to see him in a negative light. It’s all about the art and using that platform to redirect that negative energy back at those who perpetrate it. Slewdem hits with a proper heavy sound with a pounding beat and piano notes, merging to bring a vibe that has a darkness to it. This one seems to take you to the heart of the streets, dark alleyways where violence seems to lurk around every corner. There is a deeper aspect to this that speaks on leaving behind that violent past and walking into a better future, even if it is not always easy to avoid the effects of that past behaviour.

Fukau gives us a sound that drops a head nod beat backed with strings and electronic sounds that brings a reflective edge to it. This one seems to build on the vibe of the last track, looking deeply at leaving behind the trauma of the past and building a better future away from a path that was more destructive. Too many feel they can’t escape the past and allow it to dictate their life, but its all about transforming that energy into one that allows you to reach out and bring the light to you. I Should’ve brings a pounding beat backed with keys that give us a sound that puts you on edge. This one takes a deeply personal look at life through the lens of lived experience. It’s all about how life can change based on the outcome of one decision. When faced with a situation like this, what you decide to do does not just affect the other person, but it affects you and the lives of those around you, so think before you act. Dope as Fuk has a heavy sound that will get your head nodding while you listen to the words. This one looks at life on the streets where Shakezpeare grew up and the effect that it had on him. You really get that sense of peer pressure and how you had to act a certain way because that was the life in that area. It paints a bleak picture, but life is like that and we can’t escape the hard parts because they all have a and in shaping who we are and how we seize the moment.

Spiced Rum has this heavy beat mixed with strings, heavy rock guitar, and keys, giving this one a sound that keeps us rooted in the street life. This one takes a deep dive into looking at what you see around you and how finding a purpose changes the way you view things. You still connect with where you are from and the people you grew up with but finding that purpose changes the decisions you make and path you take. Piano and an etheric vocal sample bring a sense of change to the sound of Stone Roads. The beat still kicks but, there is a more upbeat feeling that permeates this one. That uplifting vibe hits hard here, the biblical context is not lost here, but there is another level to this one too. It speaks on the fact that bad decisions can take you down the wrong path but, if you keep walking and learn from what you have done, you can truly understand that a higher power walks with you guiding you, you just have to let that understanding in. For you that higher power might be God, it might be your own higher self, it could even be the spirit of a lost loved one. Just understand that we can all feel that presence, we just have to let it in. As that thought enters your head, it opens your mind a little more, making you wonder what is coming next. Unforgiven brings a sound that has a soundscape of piano, guitar and organ notes, giving this one a far more thoughtful air. This is one that might have different meaning to many. The religious context is very apparent but, you don’t have to have that religious understanding to realise that this one looks at the balance of good and evil and what that means to each and every one of us; and our understanding can tip the balance one way or the other, we just have to look inside and decide which side we stand now, and which side we want to stand as we take our next step. That idea of the balance of good and evil is brought to bear on Wicked World. Dr G gives us a sound that has a head nod beat with guitar aspects and an overall vibe that just seems to make you stop and consider the world around you in the moment. That air of consideration takes hold of you as you hear the words of Shakezpeare. This one is all about looking at your identity within this world we live in. As you look at the world around you, what you see can impact you and shape your views. The real message here is if you allow the darker side of that world to influence you into a way of being that is negative, or one that seeks to stand up and be a beacon of light, a guiding positive light in a wicked world…

Magpie Salute hits with a heavy beat and guitar notes that grab you, bringing a feeling that seems to vibrate from the inside out. This one focuses on the old urban myth of what you do when you see a magpie. Seeing one magpie has always been considered bad luck, while two magpie’s mean’s something positive is coming your way. I grew up with this and when you saw a magpie, in any number, you always gave it a salute and thanked it for its presence. We come to the penultimate track of the album, Purpose which brings a sound that is a big sound, hitting hard and having an element of that high paced ticking, which plays at your nerves as you listen. This is just a short one but says so much. I spoke earlier about finding purpose and this track just reinforces that thought. With all that is going on around you, even if your past is tainted, the future can be a bright one, you just have to find that sense of purpose, with that, anything is possible. The album is rounded off with the title track Redemption Is Not Free, and here the sound has a big sound of piano vibes and strings, alongside more edgy beat, giving this a big orchestral feeling that feels heavy but, also light at the same time. This gives you plenty to think about, lived experience hits hard and makes you realise that redemption is something you pay for everyday as the things you have done constantly live on inside you, but it is what you do with that energy that counts. Use that energy, that redemption to build a better future for you, those around you and for those who follow you. Redemption might not be free but, the rewards can be infinite…

 

There are times, in your life, when you look at what is before you and wonder if it is something you can finish, if you start it. When I began this review, I considered taking my time, and that it might take me longer, but once I got into it, what I was listening to, spoke to me more than I thought and it became a pleasure to hear and intuit.

What you realise immediately here is that Shakezpeare’s lyrics and Dr G’s production go hand-in-hand. They work so well together that you can’t see this album being any different. It is almost like it was meant to be this way and a higher power had a hand in making it happen.

I would normally separate my impressions of the vocals and production but, that does not seem appropriate here as they are so interwoven. Shakezpeare has a gritty raw vocal tone that gives his delivery a weight that makes his description of his lived experience hit that much harder. His wordplay and flows seem to work seamlessly with the flow and impact of Dr G’s production, each complimenting the other in a way that makes you wonder if these guys were both working from the same thought process when creating this project, it works so well. The weight and strength of Dr G’s sound seems to create a world inside your mind from which Shakezpeare builds and delivers a narrative so raw that you can feel it dragging out experiences from your own life as you listen.

Here, the words and the sound work in tandem to bring you a solid experience that not only has its roots in the classic Hip Hop sound, but also delivers energy and vibes that hit with more modern narratives. It works so well as a natural progression of the Hip Hop sound, without bringing in too many elements that separate it too far from the classic sound.

There is also an impact that this album brings with it that will speak to you on many levels. There is an element of religion that comes through clearly here, but it hits in a way that will also speak to you and your own beliefs. Regardless of your thoughts on God, it will not escape you that it will make you think about a higher power in some form, which is something I like, that it can give you a sense of something beyond, even if you are not especially religious in your own beliefs.

Redemption Is Not Free is definitely an album to be heard and not just listened to in passing. It will give you a deeply personal look at life thought one person’s eyes. There are no punches pulled here and it is delivered in a way that is relatable while leaving you with a sense that there is light at the end of the tunnel and anything is possible if you just focus and find your own sense of purpose.

 

Redemption Is Not Free is out now and available to buy on Vinyl too.

 

My huge thanks to John Dugan for dropping this one my way.

I’ll be seeing ya,

Steve.

LINKS

Grab your copy and get all the news here:

https://redemptionisnotfree.com/

https://www.youtube.com/@ShakezpeareOfficial/featured

VIDEOS

Not Easy

Lick The Plate

Wicked World

Redemption is not Free

Unforgiven

Spiced Rum

 

 

Album Review: All or Nothing by Jay-Lee

 

All Or Nothing

By

Jay-Lee

 

This week my listening takes me back to Scotland and the debut release from Jay-Lee, titled All or Nothing.

Jay-Lee Hails from Govan in Glasgow and is an emcee/producer with a rap style that is thought-provoking, harsh, and thoughtful at times. His lyrics reflect the way he lives and the surroundings he was brought up in. Along the way he has played at the Lindisfarne festival alongside Farma G, and supported the likes of Mobb Deep, Onyx, Obie Trice, and Huey Morgan (FLC). He has had plays from Absolute Radio and BBC Introducing and also featured on two albums from Steg G (sadly, not ones that I have reviewed).

All or Nothing is fully produced, recorded, mixed and mastered by Jay-Lee himself (aside from the title track). Which, these days, is impressive for a solo artist.

He also has one other distinction worth noting here. In the two EPK’s that I have for Jay-Lee, the photos used for those bits of promos (and the album cover too) feature photos of him wearing a jacket with a reversable design by artist Keith Haring. The same jacket that I also own and never thought I’d see anyone else wearing. Just a little aside there that made me grin.

Anyway, I digress, and it’s time to get into All or Nothing…

 

The album kicks off with Mirror which has this sound of drum beat backed by keys. The two elements seem at odds with each other as the drums are upbeat while the keys are laid-back. It gives this one a sound that grabs your attention while keeping focused. Jay-Lee pulls no punches with this track that immediately immerses you into the violent and gritty events that has shaped him through his life. It brings to life the enormity of real-life influences that he has experienced. Piano notes bring in Stuck In Time, when the beat drops in, it does not overpower things but, allows the piano to stay in the forefront, giving a reflective edge to this one. That reflective edge is exactly what Jay-Lee brings here as he reminisces on how things have changes so much as time has gone by. Friends who have passed, been jailed, or just lost touch with. These are things so many of us experience in our lives, but here Jay-Lee brings a deep personal edge that hits in a different way. Next up is Canny Forget which has a big electronic edge with high paced elements that test your nerves. Jay-Lee delivers his vocals with pace too, on a track that hits different and focuses on the mental health aspect of life. He delivers vocals that hit hard and show the very real and personal depth of the struggles he has lived through, but more than that it shows how these events have affected him mentally, even now, years later the effects still linger and touch the present…

Nae Hame brings in organ notes, electronic elements and more head nod beat, but all merged together it brings a sound that plays with your nerves and, when the vocals drop, plays with your emotions too. Here Jay-Lee focuses on how it can feel like a lonely place when you are pushing towards your goals. You might not be alone in the physical sense but, when you have a vision, that is yours, and yours alone, it might seem to be a lonely place. This is especially so, when you may be the only one who understands those goals and the road to achieve them. Never Again brings a sound of keys, bass, and a more modern sound with that high paced element. The message in this one really seems to be aimed at never making the same mistakes again. It’s like looking back at all the important moments that have defined your path to this point and looking at those mistakes that were not your best and making a conscious decision never to do that again. It’s all about learning from your mistakes. As those thoughts tumble through your mind, Now A Know takes us to the mid-point of the album with a sound that has piano notes, a heavy beat, and guitar elements that all come together to take you back once more. This one looks at the younger person who didn’t really understand all the things that their journey put before them, but now, and with hindsight, those moments become clearer and the you who stands here in the present moment, now understands what those past moments did for you and prepare you for what was to come.

Late Night Call once more brings that more modern high paced element, alongside synth elements and a beat that, almost unconsciously, has your head nodding. This one is the kind of situation that we might have found ourselves in at some time. When a number you don’t know calls you and you and you question whether you should answer or not? After that, which was almost an audible pallet cleanser, Cold Stare brings a sound that has electronic elements over a hectic drum sound. It brings a vibe that seems to have a John Carpenter inspiration. There is a very relatable focus in this one as Jay-Lee looks at those who bring that look to a situation where they are only seeking to lie and change the situation to fit their own narrative. Many of us will have seen this, even if we were not aware of the persons intentions at the time, but sooner or later we realise and understand exactly what’s happening, and trust is lost. Why? Has a beat that is a little more relaxed and is underpinned by keys that bring a sound that seems to test your nerves with each note. This sound is very appropriate as this one looks at all the things around us that have us questioning exactly why these things are happening. So much, in society, is designed to go in favour of those in a place of power and wealth while the rest of us carry it all on our shoulders, constantly let down and belittled by those who are supposed to have our best interests at heart.

You’ll Never Know has an electronic sound that mixes that high paced element giving this a grimy vibe that gives a focus to the vocals. This one is all about giving advice and having faith in yourself. It’s all about trusting yourself enough to take that step and push yourself in reaching out for your goals. If you don’t take that extra step, you might never know what you are actually capable to doing. Others might be able to see that you have that potential, but only you can have the strength to know you can do it. The penultimate track is the album’s title track, All or Nothing, which is the only track not fully produced by Jay-Lee as it features Jam Harvie. The sound on this one has pounding beat, which is almost softened into the background by the electronic elements, which seems to have this infectious edge to it. Here Jay and Jam go all is about the fact that if you are going to achieve your goals, then you need to go all in, there is no half-hearted attempts. The minute you don’t put you all in, you will struggle to reach those dreams. The album ends with Somewhere, which has synth elements and an overall sound that has an upbeat edge to it, giving you a sense that the sun will make it through the clouds. This one is all about a special someone in your life, someone you feel a special connection to. When a person like this comes into your life, they have a huge impact and when you have finally let that person go, you have a realisation that one day, you will see them again, and it is that realisation that helps as you move forward with your life’s journey.

 

There are times, as a reviewer, that you think to yourself ‘if only every review was this easy to write to’ and this was one of those days. Every track just seemed to speak to me in some way, and in such a way as to give me in immediate impression of what I was listening to and the potential message within; and that is something that I feel will really connect to every listener.

Now, All or Nothing was released back in August 2025, which means that it has taken a while to get to me and so there will be a great many out there who have heard this one; which is especially so as I received it back in February but, life being life has meant that it’s taken me this long to get round to it. So, my apologies to Jay-Lee on that one.

What I feel, overall, on this one is that there is a lot to like here, when you listen to the content production wise and lyrically it does say a lot to you. There is a rawness to the sound that does help the personal nature and the depth of the message hit that little bit harder. Jay-Lee has a great wordplay skill with lyrical content that is not overly complex in nature, which a feel is right for this kind of album as the messages need to be heard in a way that they can be easily understood and received. The production is spot on and really gives the vocals a solid platform. While I am not a fan of those grimy high paced cymbal, ticking elements, this is modern rap and Hip Hop which means it is not always going to sound the way some of us old skool heads like to hear, but there is plenty here for all us heads to get into and enjoy, in fact, as you listen to the words and the messages, some of those elements you might not be a fan of, just seem to soften into the background and you just get immersed into the tracks, as a whole.

This is, without a doubt, an impressive debut, especially since Jay-Lee has done the lion’s share of production and everything else himself. You can’t help but, be impressed in my opinion. So, I would recommend that anyone who has not heard this yet, give it a go because it does a cracking job of marrying the roots of the Hip Hop sound with a more modern vibe that draws inspiration a number of areas. It also has a deep impact from a personal aspect, but also one that hits in a relatable way that touches the listener.

All or Nothing is out now and I give my humble thanks to Jay-Lee for giving me the chance to bring you my thoughts on this one.

I’ll see ya next time.

Steve.

LINKS

Grab you copy here:

https://jayleecctv.bandcamp.com/album/all-or-nothing

Jay-Lee Linktree:

https://linktr.ee/jayleecctv

VIDEOS

Canny Forget

All or Nothing ft Jam Harvie

Cold Stare

 

Album Review: Rabbit Cuts - Vol. 1 by Full Metal Rabid

 

Rabbit Cuts - Volume 1

By

Full Metal Rabid

 

This week I have an awesome debut album to check out that hits straight from the UK underground scene. Rabbit Cuts – Vol. 1 comes from Full Metal Rabbit a new UK supergroup that has been brought together by Producer Keith Hopewell, aka Part 2 of New Flesh For Old, and features an incredible line-up of emcees in Blackitude, Juice Aleem (New Flesh for Old/Gamma) and Bob Eskimo, A Guevara (Scientists of Sound), cuts from DJ Mr Thing, and all that alongside Madhav Sharma’s narration. For those who are not aware, Madhav Sharma is an acclaimed Actor who has featured in East is East, Holby City and Eastenders.

The first single to be released from the album, back in 2025, was Stick-N-Move, a reimagining of the New Flesh track that featured on the 2002 album Understanding (Big Dada Recordings). The album has a number of musical influences with Stick-N-Move being more than a revival; it’s a resurrection, masterfully fusing the raw energy of early grime with the polished sophistication of rare groove while the overall tone of the album is described as one that revisits the love of real Hip hop with those dusty soul and blues 45 samples while drawing direct inspiration from the haunting epic Watership Down.

With all that said, I’m not gonna keep you hanging around, so join me as I bring you my intuitive thoughts of Rabbit Cuts – Vol. 1…

 

We begin with the Intro ‘Loud Enough’ featuring DJ Mr Thing. This one features samples from Watership Down and brings a sound that mixes a classic Hip Hop vibe with soulful sounds and a background edge of a siren like sound and that modern high paced cymbal sound. It sets the scene for what’s to come as, lyrically, there is this sense that there is a merging of new and old flows with a message that infers that there is gonna no messing about here and that everything is gonna hit hard. Just as you are wondering exactly what’s coming next, First Contact hits with a sound that blends a heavy but laid-back beat, with some wicked rare groove vibes, giving you a sound that will get you moving from the get-go. This one gives each emcee the platform to give you a showcase for each of their individual lyrical skills and word play. One to enjoy but, also not to overlook as just a display of skill either, just let the words sink in. But, just as those words are sinking in Rabid Paw hits with guitar vibes, cuts and a beat that is heavy, but also has element that allows you kick back. This one draws you into a world where you are taken into the world of the rabbit, looking up at the humans on horseback, living in a world where it appears to be a constant war with these powers that are looming over them. The question being here, do you run or do face the threat, especially when you watch the cruelty being put upon you and those around you.

That Essence features a guitar drive vibe with a chilled sound and cuts adding that extra element and getting you moving in a more laid-back kinda way. There is a lot to be said for putting a track like this in right here, as it brings an element of love to proceedings, but not in a way that takes your focus away too much, just showing that, wherever we are and whatever troubles and struggles we face, the love between two people, even a whole family, has the power to conquer all in the moment. With that thought in mind, The Machine brings a soulful sound that seems to calm the spirit while keeping the mind open to receive and understand the vocals. The message contained in the spoken word here brings a sobering thought to bear. That being how different elements of society see the world around them and the disharmony that is all to apparent to so many of us, especially those of us who have grown to see the changes in the world, while the younger generations have only known this as their version of normality and so see the world to be a far different place. Next up is Rabbit Joint (Skit) a short piece where the sound has this heavy bass guitar vibe and drum beat that gets you moving while the sampled vocal elements have you questioning exactly what is going on here. Do we need to read between the lines here and ask, is this a representation of the fact that rabbits and humans do not understand how each communicates, or this just a little fun element to cleanse your mind?

My Bredrin brings a soulful funk sound that helps keep you engaged and entertained while the message hits you in a way that you might not immediately be aware of. This one takes a no punches pulled look at police brutality and how young people react and behave in the face of a system that so often evokes fear instead of a sense of community and safety. With such a deep subject lodged in our awareness, Get Free brings a sound that has drums, sound system bass lines and high paced cymbal sounds that all mix together to bring a sound that gives your mind no room to move, as the sound keeps your focus wide open. This on brings a deep message that looks at how we seek to break free of the struggles and pressures of society. People work hard every day and in so many different ways to bring a sense of stability and positivity into their lives and the lives of their family. It’s not an easy thing to do when you are doing your best and keep having things taken away or taxed, but the strength and perseverance of everyone that keeps going is to be celebrated and this brings that to the forefront. Next up is Stick-N-Move (2025 Recipe) which takes that 2001 original and slaps it right in the modern day. The sound is one the has a nice, rare groove edge providing the background to the heavier beat and electronic elements bringing the energy and getting you bouncing with a big club vibe. The message within this one, for me any way, has the feel of always keep yourself moving, never get too comfortable in one situation. Mixing up how you do things always keeps what you do fresh, unpredictable and relevant.

We now move into the final track of the album, Remember Us Not As Lost which has this soulful sound with this vocal sample element that has an edge that almost seems to mirror internal conflict or emotion that you only hear on the inside. The spoken word element has a reflective air to it that it almost takes over your own thoughts, putting you in a place where musing on so much has you questioning you own existence and place in the universe. Ordinarily, this would be an interesting place to end the album, with plenty to muse on and with a sense there was more to the album than you might have grasped already. However, we are not done and there is still one more track to go; one which is not noted on the release and, I guess is a hidden track? Emancipation (Mound Builders) has a deep funk edge with strings, guitars and more, giving you a sound that will get you moving from the start. This one is deep and looks at the likes of Windrush, modern society and the fact that who has really been emancipated; are any of us truly free, it might appear that way as we live our daily lives but, when you consider the control the powers that be hold over us, we have to consider one thing, what would true emancipation look like, for us as individuals and as communities…

 

There are a couple of things that are clear once you have given this one the time it deserves. It takes direct inspiration from Watership Down, and like that story you might well chose to debate exactly what the meaning of this one is. As you listen from track to track, it might appear that this one is dep and that reading between the lines brings up different ideas and meaning behind each track; perhaps that is real thing that sits in the shadows here, which is that you can perhaps over analyse things as many of the meanings here might well change depending on your own outlook on life and your own challenges that have finally brought you to listening to the album. The actual Concept is likely very simple; it is our own thoughts and impressions that change the narrative to suit who we are and what we see in the world around us. But let’s not let that take away the fact that this one does hit hard, and it needs to do so because this is a world where we need a certain awareness to keep us focused.

Keith/Part 2’s production is formidable here and helps brings the emotive content to live as each track evolves. He brings an album rooted in Hip Hop and Rare Groove and drops in hints of other influences that give this one a fresh feel that will easily appeal to young and old alike. There is not one overall sound here that you can easily drop on this one, yes, the roots are undoubtedly in Hip Hop, with that deep funk soul vibe But, there is enough packed into this one that keeps it feeling fresh across multiple listens.

The lyricism and wordplay also play a huge part in how this one is received. Each artist brings their own stamp to this one and there are aspects of straight Hip Hop alongside grime and reggae aspects too. The flows and depth of the wordplay from each is solid here and is one of the reasons that this one has you guessing and second guessing along the way as there are different interpretations to be contended with and one of the reasons, again, that keep this one sounding so fresh.

Overall, Rabbit Cuts – Volume 1 hits with a depth and strength that has this one standing out from the crowd. Production and lyrically it pulls no punches and invites the listener to bring their own experiences to the table, keeping it relevant and impactful across individuals and communities. It just seems to tell a story that speaks to everyone. It also has a sound that will have tracks bumped in clubs as well as keeping the longevity of the album going beyond the foreseeable future. It is also clear that Full Metal Rabid are ones to watch and have made a huge impact with this one.

 

My huge thanks to Keith Hopewell (Part 2) for giving me the chance to bring this one to you.

Rabbit Cuts – Vol. 1 is out now and available on vinyl.

 

I’ll be seeing ya.

Steve.

LINKS

Grab your copy Here:

https://fullmetalrabid1.bandcamp.com/album/rabbit-cuts-volume-1

Stick-N-Move

Emancipation (Mound Builders)

 

 

Album Review: Lost A Letter From The Alphabet by AMOS

 

Lost A Letter From The Alphabet

By

Amos

 

It is always a pleasure to review anything on the Plague label, and I expect this one to be no exception. Lost A Letter From The Alphabet is the new offering from Amos. Now I have not had a lot of time recently to grab the lowdown on the man himself, so that will have to come another day.

This one has been hinted at for a little while with Plague sending out a cryptic postcard to get things flowing. If that wasn’t enough, the promo that came later via email really set things up big time and, I’m gonna share a few bits from that, which you might have seen if you have preordered this one on Bandcamp.

So, Amos gives us this:

Lost a letter from the alphabet is more than an album to me.

It’s a big hello like Trigger Happy. It’s a zipline shortened in the Chiang Mai rainforest.

It’s a splash of rusty lemonade. It’s a night on the town then back to the crown plaza.

It’s a 6-year hollibob on the Hoole drag. It’s a boiled sheep's head in Istanbul.

It’s a double shot with a celery stick. It’s a secret field full of little hills.

It’s a measurement too small. It’s a knotted stomach about to burst.

It’s a copperhead snake rushing past me. It’s a portion of Eton mess and elderflower gin.

It’s a chocolate éclair in a miniature hero's box. It's a false sling for the fling.

It’s a cables length from Granary Wharf. It’s a broken nose on a drinking binge.

It’s a game of charades in the pharmacy. It's a rushed drink in a neutral bar

He also says this about the whole process of recording the album:

LALFTA was recorded in a pretty unconventional, chaotic manner. Eldritch sent me bare-bones drum patterns - essentially click tracks - and I laid verses over the skeletal framework. He then warped them after I spat, creating this wild, backwards-in-time feel. Dark, moody, and packed with the trademark travel-laced imagery I’ve always been drawn to. I almost didn’t release it. There was a real question of whether it should stay buried under brochures, but Plague Records is the perfect home for this misadventure.

For everyone that listens to the album, he gives us these words of wisdom:

I do hope you fall madly, inconveniently, desperately in love with the multifaceted flavours and audio-tangents alive through this peculiar piece of me. It took well over a decade to summon the right spirit to my sofa - and longer still to blag it into writing. Given the subject matter and the surrounding fuckups, I fluff the pillow to perfection and pray I never need to make such a true-to-life recording like this again. It's a one-off game of hide and seek with the soft toys that had to become hard nuts overnight. Singular. Sulky. Sometimes cursed. And when I look back on my pungent shelf of durian in years to go, I imagine this one will hum the loudest - buzzing with tiger-stripe hoverflies, too stubborn to stay.

Now, this is a lot more promo stuff than I usually put into my reviews but, I just felt that all this perfectly sets up the album and giving it to you here will help set up the review for you all to enjoy.

The album is produced by Palmer Eldrich and features design and layout from Rich Brown (Bee Graphics). The cover artwork is a detail taken from the painting ‘Hotel Linda’ by Jake Clarke (b. 1966).

So, now we are all set up, join me as we hop on for a new ride to who knows where, but I’ll do my best to give you some thing to visualise along the way.

We begin our journey with Kaput/Neutral which has a sound that has a jazzy edge to it and flips from the drum and vocal sample heavy sound on the intro to a far jazzier, organ heavy sound. The opening to this one might make you think its over before it even starts but, after that transition Amos takes us on something akin to a worldwide journey in just a few minutes. Using complex wordplay that elicits visuals in your head that hit like you accidentally hit fast forward on the TV, which takes you through nature, travel and personal insights at a dizzying speed. After such a whirlwind trip we land back on our feet to find ourselves Infront Of Enemies. The beat here has a far more soulful vibe to it with strings seeming to come forth, giving this a more laid-back vibe, like sitting by the pool and musing over your travels. There is a feel that this one is like the experiences you might have in a hotel while holidaying or just passing through. There also seems to be something teasing you from in-between the lines that has you leaning toward different personal experience whether you’re traveling or just walking out the front door each day. Hoodies/ZaaZaa drops in with strings and piano merging together over a chilled beat. The piano puts you in mind of the pouring rain which works well with the title as ZaaZaa is a Japanese onomatomania used to describe the sound of heavy pouring rain or water. The beat switches midway through allowing the beat to come forth and the piano to ceased, replaced by horns. Amos takes us to Japan, allowing us to experience the tourist culture before giving us visions of certain situations you might find yourself in, finding yourself getting close to someone before realising that it can be nothing more than a phase of pure joy.

Vanish/Jai Yen (Jai Yen meaning Cool Heart in Thai culture) comes in with a big synth sound that puts you in mind of a sound backed in dance tracks. When the sound switches this time, it brings the tone down with flute and guitar notes giving this a sound that teases the far east. Here we find Amos looking at whether people really understand the nature of true love in a world where so many spend more time telling the world of their love through digital platforms and less time actually expressing love in its true form. Amos then gives us a more personal expression of his own lived experience from a time when phones were far less important and used just for connecting one-to-one. Sorry/Unforget begins with a more funk fuelled sound where the guitar takes the forefront. This is followed by a transition into a sound that has a jazzier vibe as horns are the standout sound, bringing a more chilled aspect. This one seems to look more at connecting with someone in a deep way, from a first meeting to a realisation of what that connection might mean. That feeling of what that deeper connection is explored in the second part of the track in a simple way that makes you connect with the true meaning of love and the emotions you feel when meeting or leaving them. Tired Ruins hits with a sound that just tugs at your nerves making you feel emotions you’re not sure you want to feel. This one explores the situations that can lead to loss of a loved one and is the kind of story that you can easily associate with if you can follow the narrative. Not much more to say but, there are many of us who understand what it is like to make poor decisions and lose someone we never meant to hurt.

Mistake/Dessert brings us to the mid-point of the album with a sound that begins with a piano heavy sound over a nice drum beat that will get your head nodding. Following that the sound switches to a sound that is multi-layered with bass, guitar, and keys all coming through, bringing a more chilled edge. Amos sets the scene for what is to come as he asks if you have ever made a mistake? He goes on to detail a story that might just lead to one of those mistakes. From there, Cross-Country Lost gives us a sound with a space beat, mixed with synth and guitar notes, giving us a sound that carries us long as the vocals speak. This one seems to merge experiences from a multitude of journeys that span at least one country, if not more. We are immersed into aspects of different stories that all become one, blurring the line between reality and dreams. Just as you are trying to clear up what the reality of this is Again & Again brings a guitar heavy sound that has a deep funk vibe. The story in this one is hard to unpack but, there is a real sense that it looks at some of the challenges we face in life. Those challenges and boundaries are similar to those that can arise during a journey. The unpredictable nature of anything we do, or places we go can be littered with detours and more that have us tired and questioning which way we should go and if indeed the destination we choose is the right one.

Weeping features laid-back guitars and drums that give this one a reflective edge, but also one that has an infectious vibe that will get you moving. As you listen to this one you realise that this one looks not just at crying, but at the power of tears as a physical expression of love in its purest form. When you truly love a person and you lose that person or know you are having to leave them, tears can be such a powerful way to show just how deeply that love was. Gazump has a sound that mixes guitars and synth sound to create a sound that seems to just open your mind allowing the words to sink in that bit further. The meaning of Gazump is either to swindle someone or, in the property world, to come in with a higher offer on a property. As you keep those meanings in mind Amos brings aspects of both of those into this track. The love aspect also comes in to, and you might need to over this a few times, but even then you might find yourself questioning exactly what Amos is saying and so, I’ll leave this one to you to decide as it had me going round in circles, never quite grasping exactly which way to go. So, perhaps Amos has Gazumped me here?

Xanadu brings a refreshing sound of guitars and organ notes, before rounding off with a brief, but heavy, drum beat. This is another one where we take the meaning of the word and see how it works with the track. Xanadu means a place of beauty, basically, and here you get this real feeling that what Amos is referring to is the fact that so many of us spend all of our time focusing on the details that we miss the broader picture. It is better to look at the beauty you want to create before looking at the finer details. We move to the penultimate track Final Paradee which comes with a sound that has a nice head nod beat that is paired with strings that give this one a sound that sounds like it comes from the far east, giving this one an emotive edge. Paradee is of French origin and means to show off or display, and you get the feeling that this one is giving Amos the platform to do just that, to display his wordplay. There is this incredible mix of mind-bending metaphors and similes, mixed with visions of food and more from around the world that almost puts your head in a spin. The album rounds off with Quafftide, where a Piano sound carries us along as we listen to Amos. There is also a moment where Eldrich mixes up the vocal sound which seems to vibrate your very being for a few seconds. Quafftide is an outdated 16^th century word that would refer to ‘drinking time’ or rounding off a hard day with a drink, and you get the feeling that this is exactly what Amos is doing. He is rounding off the album in a way that that let’s you know he works hard at what he does, but he also has the capability to love what he does and to breath that love into the core of this project.

There is little more that I can say about this album except, WOW, that was some ride. It took all of my interpretive strength to even get the vibe of what I was listening to, which is no mean feat when you have a whole lot of stuff going on away from the music. But this one draw me in and taxed me in a way that was both enjoyable and exhausting.

Amos has an incredible way of working with his subject matter, no t only mixing in travel aspects but, delivering his messages in a way that has you hooked and wanting to back over them to see what you have missed, and you will miss bits for sure. It is rare that I find myself taxed by what I am hearing because the wordplay is so complex, in fact, the only other emcee who usually does that is the one and only Junior Disprol. So, know I add Amos to that list, because he might not deliver his vocals at speed, but what he does do is make them so complex in nature that you come away thinking that might have been hard work but, damn it was an truly stunning piece of work.

You also have to give a huge amount of credit to Palmer Eldrich too who has crafted some top-notch soundscapes that are rooted in Hip Hop but, also embody aspects of sounds from around the world and other genres too. Sometimes those sounds seem completely at odds with what you expect, but everything just seems to work so well and the sound he has created just bring a depth and essence to the album that would not be there with any other sound.

So, I think I will leave it there because the only way you are going to get the best experience of this album is to give it a listen, and I can’t recommend it enough that you do that. This is definitely an album not to miss in 2026 and is going to be high on everyone’s lists of top albums of the year.

Lost A Letter From The Alphabet is released through Plague today and is available as Digital and physical release with Limited Edition Vinyl and Cassette versions, so don't sleep.

My huge thank to Dan at Plague for giving me the chance to bring you my take on this superb album.

So, enjoy and I’ll see ya next time.

Steve.

LINKS

Grab you copy Here:

https://plague.co/album/lost-a-letter-from-the-alphabet

AMOS Socials:

https://www.instagram.com/ramthology/

https://www.facebook.com/ryan.amos.549

Plague Socials:

https://www.instagram.com/plague_11/

https://www.facebook.com/plague11

VIDEOS

Kaput/Neutral Official Video:

Album Review: Jacket Fulla Medalz by Timbo King x Ras Ceylon Prod. by Dawit Justice

 

Jacket Fulla Medalz

By

Timbo King x Ras Ceylon

Prod. By Dawit Justice

 

Now, this album only came to my attention recently and courtesy of John Dugan aka JD Hip Hop Reviews. It was originally released way back in 2025 with a digital release and then later in May of 2025 with a physical release and a digital re-release.

Jacket Fulla Medalz comes from Brooklyn emcee Timbo King (Royal Fam) and Sri Lankan born emcee Ras Ceylon. The project is produced by Dawit Justice, for Medal Gear, and features cuts from Selecta Kram. The album also brings together lyricists from both coasts of the US with guest appearances from Buckshot, LA the Darkman, Prodigal Sunn and Tragedy Khadafi. 

Just before I get into my deep dive of the album, there is a line I’d like to quote from the promotional material that sets this one up nicely, With its raw delivery and timeless production, Jacket Fulla Medalz stands as a decorated testament to lyrical warfare and conscious resistance—designed for those who still believe in message-driven hip-hop. For me that says such a lot about the approach this album takes.

Let’s get into Jacket Fulla Medalz…

We begin with the big orchestral sound of Enter which mixes strings and a heavy drum beat that kicks your adrenaline levels into high gear from the get-go. This into sets the overall tone of the album with a sampled vocal, which I am not going to pretend I know the source of, that really speaks volumes about the militant stand this album is going to take, know where your from, your history, and stand up for what is right, regardless of how some mat look at you for the strength of your convictions. With the expectation built, Stolen Legacy brings a sound that has cuts, piano and vocal samples underpinning the pounding beat, giving this one a sound that has this Italian vibe to it brought by the piano notes. With cleaver wordplay Timbo and Ras give us a look in their understanding of how African culture has been overlooked, obscured, or even erased by scholars and historians. This is not just look at past events but, more recent events too and the rise of artists like themselves raising awareness. It is also worth noting that there is a book with the same title as this track by George G.M. James that explores these concepts in more detailed format and is likely a read worth seeking out if you want to know more. Next up. Is the albums title track Jacket Fulla Medalz. Bass and horns feature but are softened into the background by a heavy drum loop that gets you head nodding; there are also some slick cuts to round things off. Here Timbo and Ras give us a display of their individual lyricism in a way that shows you the power and the strength of their resolve. The complex nature and power of their words hits hard and idea that failure is not an option, goes to prove that outcome and lasting impression of the album is their focus.

Wylin sees the first guest appearance as Buckshot steps up to the mic. Dawit Justice brings a beat that guitar vibes as the base sound with the head nod beat getting your body moving; the horns on the bridge just adds an extra level to raise you up. Wylin is a slang term and one that has a few meanings. A couple that seem to fit here are unpredictable and extreme, the reason I say that is that the militant focus here gives you pause to understand both the unpredictable and extreme nature of both how the wordplay is delivered and, how you need to act, to be able to bring awareness to the subject matter that is being suppressed by the establishments. Three The Godway sees LA The Darkman and Prodigal Sunn feature alongside Timbo and Ras. Dawit brings a heavy sound that mixes piano notes taking to the forefront from the pounding drums. This gives you a backdrop sound that brings the vocals as the focus when they drop. This one has that posse cut vibe as each emcee drops a solid delivery of intellectual lyricism. There is still that deep aspect that brings a focus to raising your fist, standing up for justice and leading the charge in bringing a greater awareness to just what that justice means. We get to the mid-point of the album with Brownstonez where the sound switches to a jazz infused sound, one that immediately outs you in mind of smoky speakeasies, places where it was free to speak openly. This one takes you back to that time but also brings the present day into focus too. There is talk of the actions of the police and of fascism too. Subject matter that makes you think as you listen, making you wonder just how much has changed in the last seventy or eighty years or so. This is all still apparent in modern times; it is just how it is delivered that has changed.

The Coolest brings a beat with strings and guitar vibes that has a sound that puts you more in mind of those Wu-Tang beats. This one is look at the situations and mind state that shape you as you grow.  There is a lot here that also focuses on the types of foods that feed your body and mind rather than just the flavours you crave. Being the coolest has changed a lot, whereas once it was all about peer pressure and looking good to others, now it is all about feeding you body what it really needs but also feeding the mind. It’s On In hits with a heavy beat that has this piano vibe that tweaks your nerves, just a little, giving you a sound that sparks your focus, seemingly bringing a clarity, like wiping mist from a window. That idea of clarity works well here as this one is all about taking some time away from all the heavy stuff and having a night out just enjoy yourself in whatever way that transpires. Tragedy Khadafi features on Frontline Generalz where the beat pounds and organ sounds carry you along, giving this one and overall sound that will work wherever you are listening at. This one sees the emcees standing as the frontline against the system, a system that is flawed and corrupt, and something that so many of us can associate with no matter where we come from. People the world over know how the system can fail them and leave them in a place where every day struggles are commonplace and system only works for those who run it or who profit from it. Here the generalz lead the way in the fight to hold these people to account and raise up the rest of us.

Go On mixes heavy drums with an electronic sound that puts you in mind of old eight-bit computer game sounds. This gives us a vibe that seems to keep you rooted in reality, never letting the drumbeat take you away from the moment. What I take from this one is a message that says invites you to focus on where you are headed in life. Never allowing anything to let you stray from that path you are forging. Realising your goals is a huge part of life and while our goals might change, subtly, from time to time, it is important to always stay focused and never lose sight of what is most important. We come to the albums penultimate track Curtainz, which sees Dawit give us a heavy pounding sound with piano notes that have an almost eerie quality, giving this one a sound that keeps you rooted in the hear and now, giving attention to what is being said. It’s all about the gritty reality of living in NYC and the impact that street life has. There are no punches pulled here as everything is laid bare for all to see. There are no rose-tinted glasses here to help you put a positive spin on things, this is the grim reality that truly exists. The album closes with Exit, the outro that has that same sound from Enter and rounds things off in a way that leaves you in no doubt about life is like beyond the front door, especially for certain ethnicities and peoples within society. Who you are and what you stand for can make you a target and that is one of the very real aspects of today’s society.

Lets get real with this one, there is a lot to like about this album, the production, the wordplay, the delivery, all is top notch and gives this album a side that is a pleasure to listen to, but when you move on from that aspect and begin to really listen to the lyrics, you realise that there is a darkness to the album. The darkness that comes through here is from the fact that there is still a fight going on between minorities and ruling bodies. Here, the focus is on the ethnic minorities but, it can also apply to other minorities in class and more because the system looks down on everyone, some more than others, there is little doubt there but, what is key here is that even if you are not classed as an ethnic minority, there is a lot to this album that speaks to you about the struggles of everyday life and what we experienced to get to where we are now. This album hits differently here in the UK because its focus is on American society where so many ethnic communities are looked down on and their roots and histories are changed and removed from what is taught. No community should have to suffer that and be required to dig for the truth.

Timbo King and Ras Ceylon have laid the facts bare here in a way that shows we still seem to be no further along in correcting these things, than we were thirty or forty years ago. Growing up with Hip Hop has shown me a lot about how people are treated by the system, and it seems astounding that we still see those same things now, that people are held back and judged due to the colour of their skin. That is one of the all-consuming messages that comes from this album, and one that you can’t avoid as you listen.

Like I said, there is also a lot to celebrate here too. The passion and fortitude that is shown by Timbo, Ras and the guest artists is second to none as they deliver their messages in a way that shows a dedication to showing the truth of society and raising people up by installing in them a power to stand up and be heard, and that brings with it a deep almost spiritual aspect with it. You can’t see the darkness you do not know the light too, for one does not exist without the other, and while there might not be a lot of talk about the light here, it does shine through in a way you might not realise until the album is over.

The wordplay has a depth and a strength that shows this was not written just to sell a few records. This is an album that was written to educate and make you think. That means you have to truly listen to those complex lyrics and see how they impact you. The production from Dawit Justice draws from and celebrates the golden age of Hip Hop and also pays homage to that Wu-Tang sound too, giving you a sound that is packed full of a passion for the sound and a raw power that hits with every beat.

This is one of those albums that you just have to give time to and see what it says to you, and I can see why it made so many waves when it had its original release.

My huge thanks to John Dugan for sending this one my way.

I’ll see ya next time.

Steve.

LINKS

Grab your copy or stream here:

https://royalfam.bandcamp.com/album/jacket-fulla-medalz

https://rootsnculture.shop/product/timbo-king-x-ras-ceylon-x-dawit-justice-jacket-fulla-medalz/

https://music.apple.com/us/album/timbo-king-presents-jacket-fulla-medalz/1811599685

Follow on Socials here:

https://www.instagram.com/originaltimboking/

https://www.facebook.com/timbo.king.3

https://www.instagram.com/rasceylon/

https://linktr.ee/rasceylon

https://www.instagram.com/dawitjustice/

https://linktr.ee/DawitJustice

https://www.instagram.com/jacketfullamedalz/

VIDEOS

Brownstonez

Album Review: Rose Hill by Deeq X Mankub

 

Rose Hill

By

DEEQ x Mankub

 

Rose Hill is a recent release from Deeq, who has featured on the blog before, and comes with production from Mankub and is released through awesome Gold On The Mixer label, where both are label mates.

I have always found that Deeq always brings a deep intellectual wordplay to his releases, as I have noted on my previous reviews, Kuru by Flooded Hallways (Deeq and Nemrot) and Salamander (2025) which featured production from Farma G, so expect this one to be no different. There are also appearances from Raz Ghoul, EF Knows, Jaroo and Amos, just to put the icing on the cake.

Rose Hill is an ode to Deeq's childhood, Rose Hill brims with brooding intent. Where the listener is transported to a low-income council estate, in one of the most deprived areas of Oxford, circa '88. With those thoughts running through your mind, it makes you think that this album is likely to be deeply personal, bringing some dark imagery that might well touch some of you in different ways. Especially those of us who grew up in the eighties or who might have experienced a similar upbringing in different, or even the same areas.

Bearing that in mind, lets see what happens when Deeq and Mankub transport us to Rose Hill…

 

Over and Out (Intro) takes us into the album with a nerve shredding sound that has a dark edge and sets the tone for the album. It has this vibe that seems to drag you away from the reality you are living in, giving you a blank screen to project the imagery on to, that you are about to be given. Ashhurst Way hits with a heavy sound that is backed by guitars and keys that give you this Italian air to things. Here the scene is set for us as we get an introduction and a look at how Deeq dressed and presented himself during those times. How you meet the world says a lot about you and the way you dress, the labels on the clothes and even down to how you cut your hair gives you that recognisable street look, which many of us can remember from those times, it was about making the statement that, this is me and this is who I’m down with.

Fool’s Errand brings a multi-layered sound that softens the beat into the background, bringing this nerve-jangling sound to the forefront, kind of putting you on edge. There is definitely an edge to this one, something that put me in mind of the foolish things we all did as youngsters, getting involved in altercations and pushing back at all the things that we didn’t want to vibe with, even though, most of the time, our efforts would amount to little of nothing. But we did what we did because we thought we knew best. From images of the rougher side of things, we move to Talisman, which features Ras Ghoul. The sound here returns the beat to the forefront, backed by this organ sound that tweaks your nerves in a different way, almost giving you this floating feeling. That feeling is what a talisman brings to you, a feeling of calm in the midst of a storm. You get the feeling that the storm here is the altercations and peer pressure of living on a housing estate, where just stepping outside your front door was a test of your resolve.

Toulouse-Lautrec has a far more relaxed feel to it as the xylophone, keys and double-bass notes mix with the laid-back beat to give you a bit of a breather from the heavy feel of the album thus far. This is Deeq’s ode to the French painter, his works and legacy. As much as this is a breather for the listener, you also feel that it mark’s an important part of Deeq’s youth, studying the life and work of the painter was probably a welcome aside from pressures of life growing up on the estate in Oxford. Black Summerz brings a funk fuelled sound that does not rely on a heavy drumbeat but has this sound that has an air of sharpness to it, rather that a heaviness. Listening to this one gives you a sense of what it was like to live back then during the summer break when you were left to your own devices and had to find ways to fill your days. Sometimes your days were filled with writing and sometimes with running and hiding. While the break from school was great, it also left you more open to stresses and strains of live beyond the front door, which could mean a whole host of unknown situations to navigate on any given day.

We move to the albums penultimate track Precision, which features EF Knows, Jaroo and Amos, alongside Deeq. Mankub brings a thumping sound that, once again, has that sharp sound to it, giving this one a sound that seems to tweak your focus. This one seems to take our focus away from that estate in 88 and show us what a glimpse of what Deeq has become since then. With back up from the other emcees, we get a display of precise wordplay right here. It gives you a feeling that no matter your beginnings and the hardships you may have faced, if you follow the right path in life, then anything is possible and a posse style cut like this shows that better days do happen. The album rounds off with the album’s title track Rose Hill. This has a heavy sound with piano sounds and more that give this one an air that puts you in an almost twilight world, looking back with dark clouds casting shadows across the land. You get the feeling here that Deeq is summing up those years spent in Rose Hill. Three minutes and some change seems like a mammoth task to sum up those years but, he does a great job of dropping an overview of those times. Showing that, while its time to turn his back on it now, that time still shaped him and helped him to become stronger.

 

There is a lot I could say about this album as, for me, it did bring some of my own memories to bear on things. I lived on the edge of an estate in the Sholing area of Southampton where one side of the road was the main housing area but, my own front door opened onto a green area where we all hung out. Our challenges came from other estates that bordered ours. But I digress here. Rose Hill most definitely takes you a place where you can draw on your own memories to help you visualise what it must have been like, the challenges of a built up area like this and peer pressure that comes with that, doing your best to fit in and be a part of something, even if that something drew you into situations that tested every nerve in your body.

Deeq does a superb job of drawing you in with intricate wordplay that teases you to listen and listen again to see if you can grasp what he is saying between the lines. The outcome of this is that you find yourself in the darkly brooding world where rowing up was a delicate balance between your own feelings and fitting in. All this hits you in a little over twenty minutes, which is a lot to take in with such detailed vocals, and you find yourself going back over a track or wanting to listen to the whole thing once again, just get the vibe.

Mankub does a superb job of matching the vibe of Deeq’s words with moody production that easily carries you into Deeq’s world. Crafting soundscapes that vary in intensity and switch between heavy brooding sounds, to those that have a sharper sound to them. None of the impact of the sound or mood being lost along the way. This has to be the mark of a good producer that they are able to, almost instinctively feel the aura of the words given them, or to produce a sound that exactly matches what the emcee needs to write those words to.

The features from Raz Ghoul, EF Knows, Jaroo, and Amos all bring that subtle edge that defines who they are, while also complimenting Deeq and instinctively the sound of Mankub. All-in-all bringing that extra layer of depth that rounds everything off perfectly.

 

Overall, Rose Hill is one of those deeply personal albums that encapsulates solid wordplay and emotive production, bringing you an album that not only gives you a window into the life of the artist, but also invites the listener to realise that by looking back, it is possible to understand just how far you’ve come.

My huge thanks to Mankub for giving me the chance to bring you my take on the album.

Rose Hill (GOTM079) is out now.

I’ll see ya next time.

Steve.

LINKS

Grab your copy of the album here:

https://goldonthemixer.bandcamp.com/album/rose-hill-gotm079

Social Links:

Deeq:

https://linktr.ee/deeq_darkimagery

Mankub:

https://www.instagram.com/manku8/

https://www.facebook.com/profile.php?id=100064003532012

Gold On The Mixer:

 https://flow.page/gotm

VIDEOS

Fools Errand