As I continue to rearrange things due to the pressures of
life right now, this week I am bringing you the latest release from the
upcoming label out of Australia, Empty Hand Records.
This latest release is an instrumental EP from UK producer
Cheebo, who hails from Bournemouth. This one promises to bring us some 8 bit
sounds that will take us back to the golden era of the 90’s. 3.1 is an EP that
forms the first of a trilogy of releases from Cheebo on Empty Hand Records too.
So there is much to look forward to.
Now, I do love a good instrumental sound as it allows me to
be a bit more flexible with my interpretation, something that I really enjoy
doing. I have to say that I’m not that familiar with Cheebo as a producer, so
this is gonna be a great introduction for me. So, I think the best thing for me
to do is to drive into this one and see where it takes me.
Let’s do this…
It all kicks off with 369 which is the intro to the
EP and this one has a nice, chilled sound that has a funky jazzy vibe that
seems to create this feeling inside that soon takes over your whole body making
you want to move. The vocal samples here also set the stage for the EP and give
you an insight into Cheebo as a producer and what inspires him to create the
music, he does. So, now everything is set up for us, it’s time to really get
into this with Get The Rolex. Here the drums and bass give us this funky
vibe, but over that is this electronic sound that just tweaks your nerves
enough to keep you focused and not drift off. There are vocal samples and cuts
here to that do take you back to those 90’s era sound where it was all about
the money and the status that items like the Rolex would bring. There is also
this little thought at the back of my mind that is saying to me that this
really feels like a great track to be blasting from your car, not sure why, but
its there all the same.
Next up is Track Thirty Three which has this deep
bass and drum sound that makes your whole body vibrate. There is this faint
backing vibe that has keys and strings giving it a light orchestral feeling
that reminds you of the seventies samples that have been used in Hip Hop over
the years. But, this one will not just get you nodding, but will fire you up,
getting those adrenaline levels pumping too and yes, I have to say it, this one
will definitely sound wicked bumping out of those speakers, in your car or
wherever you choose to turn the levels up. We are already hitting the EP’s
penultimate track now with Kick Hat Snare, a track that has a LoFi Hip
Hop sound that focuses on those particular drum sounds, turning them, with the
help of some other samples, into this chilled out sound that gives you a little
pause to sit back and just enjoy life for a few minutes. It really shows how
simple drum patterns have been the life blood of the Hip Hop sound, and if you
know how to use them correctly, there is little that can’t do with it, creating
any sound and vibe along the way. It already seems way to soon to be coming to
the final track of the EP, yet here we are with What I Do. This one has
this slick drum sound over which is this big sound that mixes organ notes,
vocal samples and more to create is big sound that seems to wrap you in its
energy. Once you are in there, those vocals just seem to be almost subliminal,
giving you uplifting vibes that point you towards looking for a future where
success is main aim and making something of yourself…
I have to say that this one seemed to be over way to
quickly, and yet, in that time it not only took you back to that 90’s era vibes
but, it encompassed a number of different vibes. From feelings of high energy
and bumping sounds loud in your car, to a more chilled element that was
uplifting and fuelled thoughts of personal growth and success. 3.1 did
takes me back thirty some odd years, but it also kept me rooted here in the
present, in way that made me think about those times and how far I have come
since. It had this underlying vibe that seemed to speak to you on different
levels, and without a doubt, it had me thinking what a ride it’s been since the
90’s.
Cheebo is certainly a talented producer who knows how to
translate what speaks to him musically, into something that will engage the
listener in a way so as to give them something to enjoy and will also elicit
deep thoughts about there own experiences. That is what I love about good
instrumental sounds, they take you wherever you need to go in the moment.
Cheebo also does a great job of taking a sound that is
rooted in classic Hip Hop vibes and then dropping these elements of funk, jazz
and even orchestral notes and sound that have that soundtrack energy about
them. He them mixes them all into tracks that take you back, hype you up and
then chill you out, all in the space of about fifteen minutes. Masterful stuff.
3.1 is another solid release from Empty Hand Records
and cracking introduction to the work of Cheebo. This one really sets up the
next two releases of the trilogy as something look forward to. I know I will
definitely be watching for what's coming.
My huge thanks to Speaks at Empty Hand Records for giving me
the chance to give my insights into this one.
It is humbling to be able to bring you my take on an album
by an artist such as Chino XL, who has become one of the most outstanding
lyricists of the modern era.
Born in the Bronx in 1974 he grew up in New Jersey. He
started his musical career as one part of the duo Art of Origin alongside DJ
and Producer Kerri Camar Chandler and go on to release his first solo album
Here To Save You All in 1996. He also broke into acting with appearances in
Reno 911, CSI: Miami and the movies Alex & Emma and The Beat. During is
career Chino XL featured on many tracks alongside some of Hip Hop’s greats such
as the likes of Rakim, RA The Rugged Man, Immortal Technique, and Kool G Rap.
Chino sadly passed away in July 2024 to suicide, and my heart goes out to his
family as this is a pain I know only too well.
I could easily write an entire blog post around Chino XL,
his achievements and the respect he has across the world, but I feel the best
thing to do is to let his art do the talking. Prelude to the Mantis is his
fourth posthumous album and a follow-up to Ascen7ion. The album features a host
of production credits including Nick Wiz, Apathy, VoodooLion, and Johnny Slash.
Plus, some incredible feature artists: KXNG Crooked, Rittz, Statik Selektah,
TechN9ne, Apathy, M-Eighty, Copywrite, Cappadonna, Planet Asia, Canibus, and
HRSMN (Ras Kass, Killah Priest & Kurupt). The album is also executively
produced by Chino’s daughters Lyric & Bella.
With that said please join me for a journey through the
Prelude to the Mantis…
The album is some twenty-two tracks deep, which also
includes one remix. The Mantis kicks things off with a heavy beat backed
by guitar notes, produced by Johnny Slash, that give this a sound that
immediately sets the tone, providing a solid platform for Chino’s vocals. Here
Chino’s technical and cerebral wordplay hits with a power that infiltrates your
mind and gives you but a glimpse into his own mind. With the tone of the album
set and the bar raised, Blue Bird, which is produced by VooDooLion, hits
with a sample from the Blade Runner Soundtrack, which gives this deep
reflective tone, even when the heavy beat kicks in. This one is packed with
intense personal narratives and reflective tones that touch you deeply and
allow you to understand that Chino knew who he was and the depth of his own
struggles, channelling that energy into the music he created. I Know is
produced by Nick Wiz and this sound that is infectious first getting your head
moving before the rest of your body follows. Here Chino asserts a dominance in
the rap game with lyricism that challenges you listen and keep up with every
bar as it drops. There is no question here as to who you are listening to, this
is Chino XL. Steezy has a more modern sound with heavy bass, electronic
sounds and a high paced ticking that tweaks your nerves. The overall sound has
a club vibe while Chino unloads fast paced vocals that seem to mash up brain
cells before a more soulful bridge gives you a brief respite.
Terminally Ill sees Tech N9ne, Rittz, Kxng Crooked
and Statik Selektah step up alongside Chino. The beat is heavy with big bass
notes and that modern sound coming through once more. Here we have top tier
emcees dropping verses that not only showcase their lyricism as they trade
verses that give insights into their personal journeys and battles along the
way. This is a posse cut for the modern era that hits hard with a no fuck’s
given brutality to boot. Next, Apathy joins Chino and both produces and
features on Blood, Sweat and Tears. The beat has a pounding sound that
creates an energy that begins in your ears and explodes from there. The
lyricism is fast paced and intense looking at the sacrifices you often have to
make, but also that by consistent perseverance, the right steps forward can be
made. Guillotine has a more laid-back vibe and sees Chino focusing on
execution as the metaphor. This might only be a short verse but says so much
and makes you realise that in the rap game, there is often no room for mercy. Loving
You features M-Eighty and Chino over a sound that is piano heavy with a
pounding drum beat that gives a big sound that vibrates throughout you. This
one looks at love as a selfless energy between two people. Something that
transcends the struggles and hurdles of life to always keep you together as
one. Shots Through Ya Vehicle is produced by Anno Domini (Germany) and
has a heavy sound where piano and flute note come to the forefront, giving this
one a reflective air. Chino drops heavy rapid-fire lyrics that hit with an
intensity that you might expect from vocal drive-by. With aggressive delivery
and complex bars that leave no room to relax in.
Chi Chops hits with a heavy beat and piano notes
giving this a sound that carries you along with the vocals. Here Chino gives us
a showcase of his technical skill as he builds vocals around chopping down his
competitors with lyrical skill. Acapella is exactly that as Chino gives
us a short verse that hits like a freestyle battle rap that highlights his
wordplay and delivery without the need for a beat. Next up is Basquiat
which hits with a heavy boom bap sound with a big orchestral edge which gets
you moving. Chino gives us a display of abstract artistic metaphorical lyricism
that frames the art of creative destruction in the rap game. The title suggests
that Chino’s creative expression in Hip Hop could mirror that of New York
Neo-Expressionism artist Jean-Michel Basquiat. Triple Seize is produced
by Terminal 3 Productions and sees Chino joined by Kxng Crooked and Copywrite.
The heavy sound brings rock guitar notes to the forefront giving this one a raw
sound that vibrates through your body. Here we have three emcees dropping the
kind of rhymes that threaten to blow your mind from the inside-out as the
wordplay brings intense mental images into clear focus.
Paradigms once more brings piano notes to the
forefront, this gives this one an energy that makes you reflect on what you are
hearing. Chino brings complex and deep lyrical wordplay that seems to focus on
mindset and a visceral lyrical display that pulls no punches what comes to
taking on competitors. The Rapture hits with an eerie sound that has a
Hip Hop horror vibe about it, putting you in mind of the horrorcore sound; and
Chino is joined by Cappadonna, Planet Asia and Kxng Crooked on this one. Here,
each emcee delivers top notch verses that are packed with the kind of wordplay
gets you fired up and bouncing, leaving you wanting more with a huge smile on
your face. Next up is Chemistry which has a more modern sound it with a
more relaxed sound opposed to the rapid vocals from Chino. This one focuses on
free-flowing rhymes which puts you in mind of freestyle rap. No written words
to read from just what comes to mind instinctively in the moment. Lyrical
powerhouse Canibus joins Chino for We Just Spit Bars. The beat is heavy
with guitar notes and cuts giving this one an infectious sound that gets you
moving. Chino and Canibus trade verses delivering the kind of bars that not
only bring a huge smile to your face but also leave you feeling mentally
exhausted by the end.
Cruel World has a sound where keys take the forefront
and the beat is sparse, sitting in the background giving this one an easy
listening sound that brings the vocals to centre stage. This one might have
multiple interpretations, but as I listened to this one there was a lot that
spoke of hardship and negativity, there was also much that spoke on internal
struggles. The complex metaphorical images created as you listen will tease
just what you see in the world around you. The HRSMN (Kurupt, Ras Kass &
Killah Priest) ride in to join Chino for Champion. The sound is gritty
with a ragga edge to it, which is reflected in the bridge lyrics. Here we have
four emcees trading verses that seem to focus on celebrating their individual success
as artists, but also, collectively as four horsemen, utilising clever use of
metaphorical imagery. The penultimate track here is On My Grind, a
single verse where Chino delivers incredible metaphorical imagery that focuses
on Chino doing what he does best. However, the verse is cut, rather abruptly
and the Grand Finale is the final track of the project. The sound is a
heavy beat that is backed by this almost haunting sound. Chino brings rapid
flows and deep wordplay that references spiritual and religious aspects. This
brings a powerful statement to close the project and giving you much to reflect
on.
There is still one track to go though, a remix of a track
that featured on another posthumous album, DJ Fokus Presents… Chino XL – Map Of
Bones. Still Sailing (Vodka Gravas Remix) has a laid-back beat which is
backed by chilled keys which give this one a reflective edge. Chino brings a
symphonic edge to this one which sees him looking back over key moments from
his life, moments which helped define the person he became and the messages he
delivered within his music. This has an inspirational and uplifting vibe that
is a great way to celebrate his memory.
Photo taken from the Official Facebook page of Chino XL.
When trying to think of the overall impact of this album,
there is a lot to consider here. First up is the fact that this is like a
celebration of Chino XL, his music, and the man that he was. It is also has
this element that is like a thank you to the fans, as we are given some verses
that might have been from unfinished tracks and give us the chance to enjoy
those moments; and reflecting on this does bring some deep feelings to the
surface.
Many of you will know that in 2020, I lost my youngest daughter in same way that Chino’s family
lost him, and when I think of the ways that I have celebrated her memory over
the years, I can really feel the energy that runs through something like this album.
Celebrating a person’s memory is not always about the things you do to remember
them, but also about how you can help others to celebrate their memory too, and
in keeping the music of Chino XL alive, his family are celebrating his life and
his music in so many ways.
Prelude to the Mantis showcases the incredible talent that
Chino XL was. The way he used metaphorical imagery to put across his messages
or to just display his writing is almost second to none, and he is, without a
doubt one of the greatest lyrical talents in recent years. To be honest, I
wonder if my words can adequately put across exactly how talented Chino was, as
the way he used his lyrics and cerebral imagery was almost too much for just
words to speak on. You have to listen to his work to get a real sense of the
quality of his work.
This album brings Chino XL to centre stage but, it also
brings together a wealth of Hip Hop artist to stand shoulder to shoulder with
him, putting their own stamp of respect onto this project. The production
values are also top notch here too. I always mention that some of the more
modern sounds are not always my cup of tea, but that is person preference. What
is does show is that Chino XL was the kind of artist who was easily able to
embrace different styles and sounds within Hip Hop music and to show that he
could seamlessly speak to a wide audience with his music.
Prelude to the Mantis is a solid album that not only
showcases the incredible talent that Chino XL brought to the world, but it
encompasses the deep messages that he interwove into his music. He may have
left this world too early in our eyes, but that was his choice, and he left us
with a legacy in music that will be enjoyed and seen as a beacon to so many.
You might not think it, but there is a light he left us with, and we celebrate
him for that.
Rest In Beats Chino XL, Derek Keith Barbosa, 1974-2024 One Love.
My humble thanks to John Dugan (JD Hip Hop Reviews) for
putting this one my way.
Neither Collar Nor Crown is the new album from
Aberdonian producer Vagrant Real Estate. He has been dropping albums since 2017,
is part of the UK Crew It’sLeftField, and with this latest album focuses
on Scottish artisty past and present, drawing on diverse sounds including
Scottish folk, Traditional and Gaelic, alongside Gospel/R&B and live brass
sounds. The album also features lyricism in both English and Gaelic, plus
elements of choir and spoken word.
The album features twenty-five artists all in, with names
such as Jackill, Bemz, and Globally renowned folk singer Iona Fyfe all
featuring on an album that promises to stand as one of the essential Scottish
Hip Hop projects.
This album was originally released back in November 2025, so
there is a reasonable chance that some of you may have heard this already.
However, for those of you that have not, I have just set the scene here and
given you a lot to anticipate.
So, as I’m dying to get into this one, let’s get into it…
It all kicks off with a short little intro, At The Edge
Of The World, a little sample that seems to have been taken from an old
public information film about Scotland, just to draw you in. The first track is
Go With The Flow which features Jackill, Katherine Aly, AiiTee, Florence
Jack and Danny Cliff on vocal duties. The sound on this one mixes a nice head
nod beat with strings, harp elements and a sung chorus that give this one a
sound that you can easily drift off to. As you listen to the rap vocals and sung
elements, there is a very reflective edge to this one. You get the sense that
it’s all about looking back to see how far you’ve come to get to where you are
now. Just going with the flow has made you who you are, but there is also the
hope that continuing with the flow of life will finally help you to know true
freedom from the struggles that life puts before you. HOTB is up next
and features Jackill, Madhat McGore and DJ Fak of Dope Inc. Cuts, a dope beat,
guitar elements and choir sounds, all mesh together to bring a sound that feel
from the inside out. I might be mistaken here but, HOTB appears to stand for
Home Of The Brave. There is a deep aspect to this one that refers to country of
Scotland and what it means to make it your home. You can feel the passion they
have for their home country, its music and so much more. There has been a lot
of negative and racist comments, and such aimed at Scotland and Scottish
artists over the years, and you also get the sense that this is aimed at
setting the record straight, showing that Scottish artist have a lot to offer
on the Hip Hop scene and beyond. Public Health Announcement is a short
instrumental aural pallet cleanser that has a heavy pounding beat with a little
comical aside. It seems to be bridging you into the next part of the album.
Easy Now features Jackill, Paque, Symi Nemesis and
Kid Pro Quo, on the cut, and has a sound that mixes a pounding beat with flute
and horns to give this one a folk edge to the sound. There is this vibe here
that seems to bridge styles in the vocals as well as in the music. Here we have
four artists with different styles, where spoken word and high paced rap are
book ended with more classic rap styles. This is a cracking demonstration of
different wordplay and delivery that shows you can easily mix them together
without losing impact. Feeches features Jackill, Pro Focus, Kryptik (who
has featured on the blog before), Mog and Jinx. Here piano notes take the
forefront with etheric vocal samples, while the beat takes a step back,
creating a sound that gets your head nodding in a different way while allowing
the vocals to stand clear. This one seems to take us on a blistering trip
around Scotland with various stories giving us an insight into life. As you
focus on what’s being said, you find yourself associating with some, while
others give you pause for thought. NMIL features Bemz and Sorley Mackay
of DOSS. Guitar vibes grip us from the get-go, the beat drops in and gets you
bouncing, both elements almost being at odds with each other. There is a very
real uplifting energy to this one, as you listen you get this sense of looking
back at the ups and downs of life and those who helped you along the way. It
makes you think that no matter how hard things get, you make it to where you
want to be. It just takes strength and sometimes that comes from within, while
other times it comes from the outstretched hand of a friend.
In Finzean features appearances from FiDa and Fiona
Soe Paing, the sound has a very folk driven sound that has a very calming vibe
to it with what sounds like more traditional instruments and etheric vocals,
which feel like there is a mix of English and Gaelic. Listening, you can’t help
but, let your mind fly to Finzean, a rural community in Birse, Aberdeenshire.
The former Ecclesiastical parish is known for its historical significance as
the subject of many paintings by Joseph Farquharson, whose family owned the
Finzean estate. It is also an area recognised for its natural beauty as well.
The perfect inspiration for this piece. After that little aside, it’s back to
the Hip Hop with All I want, where guitar notes hit alongside the head
nod beat. Vocals come from Jackill and Chef The Rapper who give us words with a
reflective edge, looking at lived experiences that show the struggles they have
experienced on the path of life. As you listen you realise that these
experiences are not too dissimilar from your own, giving this one and edge that
hits a little too close to home and giving you plenty to think about. Next up
is a track, that in English translates to Elm or Elmwood which a species of
tree common to the region, but in Scottish Gaelic is Leamhain. It
features vocals from Jackill and Chris Greive on trombone, over a sound that
has horns, keys and a heavy beat, giving this one a deeply personal edge. The
vocals reflect that as this feels like Jackill taking stock of life and
detailing the moments that define who he is. What occurs to me here is that if
we think of life, you might feel like you can’t separate the wood from the
trees? But, Jackill selects each tree carefully from the forest of moments he
can choose from, those that stand that little bit taller, are more stout, or
whose roots go a little deeper, those are the ones that stick out bring key
moments to mind, and the same can be said of anyone reflecting on life.
This Is How We Live features Jackill, Mae Diansangu
and Best Girl Athlete. The beat is almost softened into the background as
guitar and choral vocals take the forefront, giving this one a sound that hits
on many levels. This is a track of two halves, separated by a touching
conversation between father and daughter. The first half is a rapped verse,
while the second is a spoken word poem, both of these reflect what is around us
and things that touch us and affect the way we live day to day. This may mean
something different to each person, so listen and just let it take you forward.
The penultimate track here is Brighter Days, which features Jackill, Viv
Latifa and folk singer Iona Fyfe. The sound uses traditional instruments to
great effect to bring a vibe that has a gospel air to it but also has a sound
that puts you in mind of singing around an open fire. This gives you a huge
sense of those silver linings that we often struggle to see, but are there all
the same, and this one helps you bring them into focus in a way lifts you up as
only music can. The album ends with Turn The Sun Blue, featuring CRPNTR,
there is no music here, just the spoken word poetry. This one might well tax
you with vivid mental images that form and disperse as quickly as the words are
heard and then gone…
Neither Collar Nor Crown is more than just a
statement of life in Scotland. It is a celebration of everything that makes
living there, the experience that it is and what makes such an impact on those
who live there. From the Glens to the cites and every step in between, this
album gives you an insight into Scotland the country, its history, its myth,
and what connects the lives of those who make it their home. It takes a special
kind of passion to bring something like this to life, and Vagrant Real Estate and
each of those featured artists who stand alongside him, bring that passion for
their country to life.
The sound is very much rooted and inspired by the Hip Hop
sound but, beyond that is the knowledge aspect of Hip Hop and here that
knowledge aspect is brought alive with knowledge of self and knowledge of the
history of the country in a way that breaths passion and with every word and
beat. VRE brings a sound that merges Hip Hop and traditional sounds, with other
contemporary sounds to bring you soundscapes that move you and bring you some
vivid impressions of beauty and stark reality of Scotland and the lives of
those living there. Not only that but, the sound also allows the listener to
connect with their own experiences, bringing those to mind as you visualise
what the music brings to mind.
Bringing some of Scotland’s top artists, from Hip Hop to
Folk and vocals that speak to you in both English and Gaelic, shows a desire to
draw on the roots of your subject matter in a whole different way. Each of
these artists bring their own talent to bear here from rap to spoken word and
poetry, this does not just bring us another Hip Hop album with traditional
influences; it brings us an album that literally breathes the true essence of
Scotland into the Hip Hop mould. An album that is not just for VRE and the
artists to be proud of, but one the whole country can be proud of.
For me, this is an inspirational album, unlike any other you
are likely to hear for a while and one you have to really hear and allow it to
truly speak to you on all levels. There is nothing not to like here and it will
have you giving it listen after listen, because it has the kind of fresh sound
that only comes along with a blue moon, and also makes you realise that what really binds people together is not a collar or a crown, in fact it is nothing visual or physical, but love. The love for where you are from, to see that place recognised for what it is and the love of your fellow countryman and that recognition that, when it comes down to it, we are all one.
Album artwork comes from Chelsea Frew.
Don’t sleep on this one, it also has a vinyl release too.
My Humble thanks to Vagrant Real Estate for giving me the
chance to bring you my take on this superb album.
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.
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.
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.
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 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 16th 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.
