It was back in June of 2021 that I reviewed the debut
release of Unbreakable by Bristol Duo Kali Mist and Krazy on the Word Life
imprint. Since that time the guys at Word Life have not been resting with their
podcast and new music blowing up.
Now one half of the duo, Kali Mist, is back with his brand
new production album YO YO PUNK! (also released via Word Life), which he also features on alongside a
host of guest artists, one of which is a Young KSV who is Kali’s son and
dropped his own single, Five Guys, back in July last year (which I also
reviewed).
So, let’s get straight in and find out what YO YO PUNK!
is all about…
The kicks of with Childhood Dayz which features
Reggie Millionz and DoMc alongside Kali. The vibe of this one is straight up
funk courtesy of guitar, keyboards, and drums. It makes you wanna nod ya head,
big time as the emcees take back to growing up in the 80’s, when Hip Hop was in
its youthfulness and it was all about the Commodores, Atari or spectrums, where
no had a care in the world. Cymbals, drums, and guitar vibes bring in the
slightly more laid-back sound of Circles, where Kali Mist is joined by
Social Conscience and Sadia (who provides stunning soulful chorus). The message
here is all about how so many people are content to stay in their safe zones.
If you are not prepared to make moves and take a chance you will never do
anything but, go round in circles.
Guitars, bass, drums, and another soulful chorus form a
funky backdrop, perfect for Kali to be joined by Reggie Millionz and Dan
Ratchett on Live Your Life. As the title suggests, this one is all about
getting out there and living your life. You gotta make the right decisions to
ensure that you make everything count, to be the one who stands out. The keys
and guitar of See Tomorrow create a chilled vibe while the drums provide
the pace for the vocals, leaving you wondering if you should sit back or get up
and move to this. What you should do is listen as Baileys Brown and Social
Conscience join Kali to speak on the things that help us get through the days.
There is so much that causes us to struggle through the days, testing our
mental health and have so many questioning if they even want to see another day
but, just a little bit of love in our lives from family, friends or a partner
can help us want to see the next day.
How Can I Live switches the pace up a few notches to
mix of bass, drums, and xylophone notes, creating the kinda upbeat feel-good
sound you can’t help but nod your head to. Reggie Millionz and DoMc join Kali
once more for a track that speaks about the motivation that we all find within
us, everyday as question what goes on around us and how we keep going in the
face of such adversity. The penultimate track is the title track Yo Yo Punk!
It features Social Conscience, Reggie Millionz and Young KSV alongside Kali
over another feel-good vibe of drums, bass, guitars, and horns that infuses you
with the energy to move. Is this about Hip Hop and Punk, or about being a punk,
or is it just a bit of everything. Well, it’s definitely a bit of fun and
that’s what we need right now so enjoy this one and have some fun. The album
finishes up with Way Out, which keeps that upbeat vibe going with bass, keys,
and drums. Kali is joined by Social Conscience and Micha B to drop it heavy
about getting out there performing live and just going way out of your way to
do what you do, to enjoy yourself while you’re doing it and most of all bring
enjoyment to others. Let’s face it, it’s all about the feel good…
There is no two ways about it, Yo Yo Punk! Is a
little over twenty minutes of funk fuelled, Hip Hop vibes to make you wanna
bounce as Kali Mist once more shows that Bristol is the home to some of the
UK’s premier Hip Hop.
Kali’s production here is straight up banging Hip Hop that
has a core vibe inspired by the funk sound. What this does is to bring that
underlying energy has you wanting to either nod your head, bounce around or
just move in some way to the beat. There are a few tracks here that would be at
home in the clubs just as much as they would be pounding out the car stereo or
your headphones. When you then add to that sound a stellar line-up of emcees,
bringing that Hip Hop vocal edge, and singers, who bring a tinge of soulful
sounds, it just polishes things off.
If anything, I found myself wanting to hear more. I wanted
another four or five tracks as I was enjoying it that much. For me, Kali Mist
is one of those emcee/producers who, without a doubt, will go far on the UK
underground Hip Hop scene with projects like this. Not only that but, he has
also provided a platform to launch the names of those guest artists. You might
not be familiar with those names before this but, after this you most
definitely want to watch for all those artists featuring alongside Kali Mist.
I don’t think there is much more that I can say about Yo Yo
Punk! Except that is out now and if you have nor heard this one yet then you’re
sleeping on a proper crackin’ slice of home-grown Hip Hop. So, you know what to
do…
On that note, I just wanna thank Kali Mist for asking me to
do this.
Bad Weather
(feat Glad2Mecha, Alecs DeLarge & Tomppa Coates)
By
Ratty The Sly
Bad Weather is the second physical release, on Rushed Rat
Records, of Ratty The Sly (the first being ‘Balling on a Budget’). Ratty The
Sly is a producer, DJ and Emcee from Scarborough UK. With this single Ratty has
put together a good line up of guest artists in US Emcee/producer/engineer
Glad2Mecha, Sheffield beatmaker/Emcee Alecs Delarge and Tomppa Coates.
So, let’s put our coats on and grab our umbrella’s and see
if weather really is that bad…
Ratty The Sly’s production on Bad Weather brings this mix of
horns, keys, drums, and cuts that all merges together with a kind of jazzy
undertone. The drums are sparse but heavy, while the horns fade in and out as
whole vibe carries you along setting up this dreamy chilled out but, still edgy
sound scape.
Once the laid-back vocals kick in there seems to be at least
two ways to look at what you get from the track. On the face of it, it just
appears to be all about being outside caught up in the wind and rain but, the
more you listen there appears to be a metaphoric aspect to the track where it
could be talking of the tough times we all go through day to day or still
further there are moments when you feel it’s all about the state of society we
are all living in right now. The more you listen the more get from the track
and you have to give credit here for Ratty producing a track that allows the emcees
to paint these audible pictures, each in their own style, with each verse seemingly
capturing a different aspect of life, and what you get from each verse really
depends on the perspective you are taking at the time. There is a brooding
atmosphere to the track that is enhanced by the laid-back nature of the vocals
which, to a point, almost clouds your ability to fully decipher the meaning
behind the track.
The thing is that whichever way you take the track, if you take
it at face value or as a view of the current state of society, bad weather and
hard times both bring a heavy vibe whenever you look at the dark clouds,
pouring rain or the cost of living and the pain and suffering in the world
around you, it creates a feeling of little motivation to do anything than just
to sit back and chill. Well, now you have the perfect soundtrack to when those
storm clouds gather and the pressure of life seems too much, you sit back and
put on Bad Weather and just go with the vibe, then soon enough the sun
breaks through and everything feels a damn sight better.
I am sure that, from what I have just written, you can get
that overall, I liked this track, the places it took me and fact it gives you
that vibe of Hip Hop being a single universal family the world over. The jazzy
and raw sound was a fresh change, and the heavy drumbeat was just enough to
keep you rooted in the current reality, which is great work from Ratty. The
laid-back vocals from Glad2Mecha, Alecs, Tomppa and finally Ratty create views
of life from both sides of the pond with the kind of flow that you can sit and
properly listen to or simply just float along with. You really don’t have to
read as much into it as I have, just enjoy it…
Sending some additional recognition to Archie Pheby-McGarvey,
engineer, who helped mix the beat, mixed all the vocals, and mastered the whole
thing. I don’t know much, if anything, about mixing and mastering but, I’m
reliably informed (by Ratty himself) that it is quite a job to do a three-mic
mix, so huge kudos to Archie.
Bad Weather is out now on Rushed Rat Records and available
on limited 7” vinyl, if there are any left that is…
Huge thanks to Ratty The Sly for sending this one over and
it’s now time for me to take of me coat, close the umbrella and be outta here…
Steve
LINKS
Remember to check out Ratty The Sly and Rushed Rat Records on social media and all the usual streaming platforms.
Listen to the Masters is the new album from the duo of DK
(Producer) and Ghettosocks (emcee) both hailing from Canada. The last time
Ghettosocks appeared on the blog was way back in 2019 when I reviewed the album
HOLOS when he teamed up with fellow Canadian Aquakulture as Aquasocks. Check that review for a little more about Ghettosocks. Producer
DK is new to me and so I was excited when he contacted me and asked me to
review the album, based solely on my reviews he had read. Let me add a few
quick facts about DK taken from his official bio.
Born and raised in Newfoundland, DK grew up being audibly
transported by his father’s
eclectic vinyl and CD collections. His grandmother taught him the basics of the
organ, but those
notes couldn’t compete with DMX’s bark and Dr. Dre’s cinematic g-funk. In love
with hip-hop at
first listen, a teenaged DK then discovered A Tribe Called Quest, Pete Rock,
Kanye West,
and more hip-hop artists whose music appealed to his affinity for jazz and
soul. He didn’t know it
then, but these foundational influences would shape his sound as DK.
DK became obsessed with making beats in college. He spent every waking hour
outside
of class on Fruity Loops, learning his craft one sample and drum break at a
time. Chasing a
grittier and more vintage aesthetic, he purchased an MPC and began developing
his meticulous
amalgam of vinyl sampled drums, analog synthesizers, dusty loops, and other
live
instrumentation.
Local producers and MCs applauded DK’s early work, but he made his proper debut
with
2019’s Soul Expressions, a bumping yet mellow 10-track EP that showcased the DK
signature
with a tight roster of Canadian rappers such as Ghettosocks, Aquakultre, and
Timbuktu, as well
as features from New York spitter Justo The MC and Atlanta-based Cam James.
Ghettosocks and DK began working together over two years ago
and so Listen to the Masters has been a long time coming and one that has spanned so much of what has affected us in the last couple of years or so.
The album also features a host of guest artists lining up to
bring us what promises to be a banger of an album. Check this line up Skyzoo,
Rome Streetz, CL Smooth, El Da Sensei, Phoenix Pagliacci, Lxvndr, O.C., Moka
Only, Tachichi, UFO Fev, Ambition, Justo the MC, Kxng Wooz and Timbuktu.
The album is 10 tracks deep and made up of nine full tracks
and one skit splitting the album down the middle. So, with all that said let me
give you the lowdown on what I got from the album as I break it down track by
track.
Right out the gates you get a feeling for what is about to
come as Reflections drops with this piano and drum heavy vibe and with a
dash of flute and looped samples this one has you kind of floating into the
album, which also creates this thoughtful air to proceedings from DK and this
fits perfectly as Ghettosocks proceeds to reflect back on what it takes to get
by and make something successful in life. It’s all about your ethics and your
motivation to reach out there and grab those dreams and to create that reality
for yourself. If you were thinking this one was gonna have a deep laid-back
vibe, the kind that grabs and retains your focus, then What it Seems,
has you thinking you’ve nailed it. DK comes with a chilled vibe of strings,
drums, and keys while the cuts on the chorus slice into your awareness enough
to keep from drifting away far. GhettoSocks, Skyzoo and Rome Streetz hit you
with the kind of intellectual verses that make you realise that everything in
the world today just ain’t what it seems. It’s not a game out there anymore
but, more of a battle between us and the powers that be, where money and profit
rules and we do not play the game, we are just the pawns. Next up is what you
could say is the album’s title track The Masters. Here DK gives us an
audible canvas with a background of slick keys, bass and sax, making you feel
you could really float away to but, then a proper boom bap beat drops and you
head gets to nodding. CL Smooth, Ghettosocks and El Da Sensei speak,
masterfully, on really on what it is to be a master of your chosen craft. When
you are pushing to make something of yourself, you see many masters out there
doing what they do and the best way to become a master yourself, is to simply
listen to the masters and continue to hone your own craft. Nearly halfway into
the album and that boombap vibe continues on Be A Mango. The huge intro
gives way to heavy sound of bass, horns, and drums from DK. It’s one of those
sounds you just gotta nod your head to. But there is a deeper message here as
Phoenix Pagliacci, Ghettosocks and LXVNDR lay it down about toxic masculinity
and old views of gender stereotypes and how men and women are supposed to be is
quickly breaking down and becoming an outdated notion. Now is a time when
people can choose to be who they want to be. They can be their own expression
of themselves and become truly authentic. Next up we have Ghettosocks, O.C. and
Moka Only going All In over a solid heavy drum sound over an almost
soulful mix of horns and keys, from DK and Moka Only, that keeps you bobbing your head. There
is a definite air of uplifting the listener here as each verse reinforces the
last, speaking to your soul and reminding you that life is not about half
measures but, about giving it your all, going all in to reach for the stars.
So, we have reached that little interlude an Industry SHKIT,
here we have Maya Killtron and Chudi Harris taking on the roles of Janice and
Mr Woodsworth, for a comedy skit all about some out of touch record executive
being given a new vinyl record, from DK The Producer, by his slightly more in
touch assistant. Have a chuckle to this one as it cleanses the audible palate
ready for part II of the album…
The second part, or side of the album if you have the vinyl,
kicks off with DK dropping a straight up boom bap beat with some piano notes.
This makes you wanna turn the volume up as Tachichi, Ghettosocks and UFO Fev
drop verses demonstrating their verbal and lyrical skills, dropping bars and
flipping the words for the hell of it on CHKN CHOP. To top it all of we
get DK chopping up some classic Busta Rhymes samples. The vibe now moves to a
far jazzier vibe as DK has us kicking back a chilled beat that is heavy on the
sax alongside some xylophone notes and drums. Ghettosocks, Ambition and Justo
The MC speak on those times when you are down on your luck and times are hard.
This is kind of a reflection of how things are in the current climate with
soaring prices and people being forced to choose where to spend what little
money they might have. There is still this message here that whatever you go
through its about what you do and how you conduct yourself that counts and you
can still be Smoove Regardless. The penultimate track of the album is John
McEnroe, which see’s DK dropping a sax heavy boom bap beat and some razor
sharp, scratched up samples completing the classic Hip Hop sound. McEnroe was
an outspoken person who often questioned the authorities and that is the
metaphor here as Ghettosocks, Kxng Wooz and Timbuktu speak openly on the
struggles that still face black people, particularly in North America. There
has got to come a time when people of all races are treated with equal respect.
Your skin colour should not be looked on as a negative aspect and a reason to
treat you any differently. Until such a time when all peoples of the world are
looked on as one family by everyone, the struggles of people in black
communities and those who commit the crimes against them has to be kept in
focus. The final track of the album sees DK and Ghettosocks going solo once
more. Baggage has DK dropping a jazz fuelled vibe of piano, sax, double
bass, and drums that will have you moving. Ghettosocks gives us a little story
based around a couple, their relationship, experiences, and a few elicit
substances. Just an entertaining little ditty, like someone reading from a
novel, or is there more to this, can you maintain or get out of such a
situation through a haze of a drug induced vision of reality…
So overall, what did I think?
Listen To The Masters is a solid slice of Hip Hop that has a
very polished feel to it. There is an air of time taken to produce something
where any flaws have been removed with a constant process of grinding and
polishing until they achieved their goal. The sound is Hip Hop that flows
between vibes in a way that is perfect for the listener. Boom bap, soulful and
jazzy sounds all combine with lyrical dexterity that covers a lot of ground in
its often-deep messages, such as police brutality, to those times it seems to
give that just for fun display of wordplay. It might have been years in the
making but, everything here is still very relevant now.
Ghettosocks displays an intelligent wordplay with a delivery
that can be hard but, still have a silky-smooth flow that leaves you knowing
that this guy has to be at the top of his game right now. Like any great emcee,
his mastery of telling stories rooted in the now to simply having fun on the mic,
has an often-cerebral edge to way it is delivered, with deft use of flows, wordplay,
and lyrical prowess.
My first experience of listening DK on production leaves me
thinking or should I say knowing that this guy is gonna be carving a huge name
for himself within Hip Hop music. His use of silky-smooth samples and jazzy
soulful sounds all backed up by solid Hip Hop beats is a true pleasure to
behold and cuts are true gold, bringing that authentic Hip Hop sound to the
fore front. DK is definitely one to watch and together with Gettosocks here
they are proving that Canadian Hip Hop is showing how universal the Hip Hop
sound is and bringing us closer around the world.
I also must give mention to the guest artists here who all
fit perfectly into this project. Bringing and using their own unique sound to
good use. Vocally we have the legendary figures such as CL Smooth, El Da Sensei
and Moka Only, to those who might not be so familiar such as Phoenix Pagliacci
(Canadian emcee and activist), LXVNDR, UFO Fev and Kxng Wooz, everyone does a
solid display showing why they deserve to be on a release such as this. Some
additional information I found out from DK was the use of live musicians on the
album. I always rate using live musicians as it always adds an extra depth to
the sound and I can why that has, perhaps, given me additional inspiration.
Featured notable contributions are Keyboards on “Smoove Regardless” performed
by Cas Weinbren and Saxophone on "Baggages" performed by jazz big
band leader James Shaw.
A couple of additional shouts go to Uncle Fester who mixed the project and provided the cuts and scratches. The project was mastered by the awesome Jake Palumbo and artwork comes from Ghettosocks (He is a great Graff artist too, by the way) himself.
So, what more can say? Well, that is easy, just grab this on
whatever is your preferred format and simply enjoy it.
Listen To The Masters by DK and Ghettosocks is out today in association with Black Buffalo Records.
On that note,
I’m out…
Steve
LINKS
Check the links for the release as soon as it drops. All links open in a new window.
Remember to check the guys on all social media, YouTube and all streaming platforms.
Following on form the recent release of Hung Drawn and
Slaughta’d alongside Krash Slaughta, Cardiff Emcee Junior Disprol is back with
the follow-up to 2020’s Def Valley, DEF II.
The new album is released through the Plague Label and
features one hell of a line up stepping up to feature alongside the man
himself, it includes Krash Slaughta, DJ Jaffa, Thirstin Howl III, Kid Acne, SIR
Beans OBE, Roughneck Jihad, and DJ Alkemy. With an international line up like
this you just know this one is gonna be a banger. You can also bet that this
won’t be your average Hip Hop sound either. To get an idea of just how much
this one does bang and to see if it that’s in more ways than one, I get to cast
my mind over it…
So, why not join me as I immerse myself in DEF II…
The album kicks off with the title track DEF II and
what a way to open too. The sound, created by Cool Edit Chud, is this pounding
bass vibe with these nerve shredding horns and chock full of electronic and
sonic sounds, alongside classic samples and featuring the razor-sharp cutting
and scratching of Krash Slaughta to boot. Junior Disprol seems to take us back
to the eighties where his younger self was all about Hip Hop and pretty much
everything that was DEF about an era that many of us, of a certain age, can
associate with and relate to. The video, by Stepasaur, really takes you back to
the eighties and all the things that were a part of growing up in that era. The
heavy sound continues into The Blood God which has this classic sample
running through it, which my head is unable to pinpoint right now, giving this
a definite head nod vibe as DJ Jaffa’s cuts slice wickedly through your
awareness. Sometimes listening to a track, you find yourself musing over what
it’s all about and realising that you’re enjoying it so much nothing else
matters and that is what I’m getting with this track. So, all you other emcee’s
take note, if you want your listeners to enjoy being pleasantly baffled, here’s
how you do it. Next up the sound becomes more, out the box, with a drum element
that has a raw sound, like it has been created on a trash can, alongside bongos
or djembe drum sounds and horns which gives this a two-tone element. Here
Junior Disprol takes us into the world of the Neighbour From Hell, a
nightmarish place where anything could happen but, whatever does happen, it’s
strangely enjoyable…
From one slice of the strangely enjoyable to another as we
are treated to an almost off-key sound full of pounding beats and an eclectic
mix of sounds that grabs hold of your nerve endings and bitch slaps em before
DJ Jaffa cuts those frayed nerve endings with the skill of surgeon. Let’s face
it, Mugshots yeah, we all got one. The way you look day to day or that
face you make after, before or during a nice mug of tea. I suppose you could
have a mug of coffee but, to be honest our mugs were made for mugs of tea
right. Anyway, Junior Disprol and the one Thirstin Howl III drop mind bending
verses on how you look and how you conduct yourself, yeah that’s what this is
all about, I think that’s right anyway? Don't forget to check the video for this one, also by Stepasaur, see if you can me, yourself or anyone else for that matter. A jazzy organ, bass, guitars, and drums
bring a jazzed-up vibe to Mastadon, which also features the turntable athleticism
of Krash Slaughta to polish it off. You can do nothing more, right here, than
enjoy the pure rhyming ability of Junior Disprol who, once more, seems to prove
that he can take any group of random sentences and words and turn them into
something that is a true pleasure to listen to. Kid Acne now joins Junior
Disprol for The Wrath, drum heavy sound seems almost at odds with the
classic sample and other sounds but, it all works coming together in some
random way. The perfect back drop for both emcees to drop verses that make you
feel like your trapped in someone’s weird dream world. Sandwiched between the
two verses is a classic example of transforming on decks, something that
shouldn’t fit here but works perfectly, a bit like my random thoughts on a
given day, anyway…
Ubermagnetic see’s Junior Disprol joined by Roughneck
Jihad and SIR Beans OBE for a true boom bap sound of a pounding beat over
guitars and bass. RD and RJ spit back and forth, bouncing off each other, verse
after verse, this is how it should be done rhyme after rhyme. SIR Beans OBE
drops some rough but highly polished cuts that cap this one off in style. Next
time you want to order an Uber, then make it this one. A heavy beat over what,
at first, is a fractured sound, once more tests your nerves. Basquiatish
is an abstract art style which is perfectly mirrored on this track both
musically and lyrically as JD is not afraid to be unashamedly abstract in his
vocals. DJ Jaffa cuts some more classic samples giving you a vision of the
roots behind the abstract art. That abstract style continues with the sonic
sounding vibe of Brundle. That sonic vibe is given a nerve-jangling edge
with Krash Slaughtas turntable wizardry. JD gets rough, rugged, and raw on the
ups and downs of daily life and the pace you have to live at. The vibe of this
track really fits with the how society seems to be going right now as we live
day to day and minute to minute.
He Talks Flash hits with a bass guitar heavy vibe
which gives this deep funk edge, while the drums are heavy enough to hold you
attention and get your head slowly nodding. Here JD demonstrates how talking
flash can get you anywhere if you just know how to do it, it’s kind of a
British thing to talk flash, or is it? Well, whatever it is it seems to work,
right? Drums and piano combine on IT’S to form this kinda abstract jazz
vibe that infiltrates your mind, opening it up. Now your mind is open JD goes
in on everything that causes a negative impact in our lives, from the
governments and the high level paedos, to the gun runners and those in charge
of religion and the media to the diseases that kill from the inside out. If it
affects us negatively in anyway then IT’s in here. Krash Slaughta’s slick
razor-sharp cuts slice into our awareness accompanied by head nod drums and
sampled horns. This one takes it up a few notches on the Hip Hop tip as JD kicks
the pace up with some deft rapping while Krash scratches the shit outta the
wax. Could it be that Rotund Shogun is a new alias for Mr Disprol? Who
Knows but, this one is certainly as sharp as a katana in every way…
Now, if you have been listening to this on the vinyl then
this is where that portion of your audible experience ends. The following four
track are exclusive to the tape, CD and digital versions But, don’t worry vinyl
lovers as you get these as a digital download too…
King of BS see’s JD joined by DJ Jaffa on a beat
comprised of pounding drums and a mixed-up phone keypad tone electronic tone
which strangely combine with other electronic sounds into something that you
can’t help but, vibe to. Sit back and spend the first minute enjoying JD’s
pathological Bullshit and then spend the second minute doing nothing but
listening to Jaffa on the cut, this is what Hip Hop is all about. Dj Jaffa
remains on turntable duties with JD for Bwana. The musical backdrop is
mix of drums, guitar notes and Xylophone creating this vibe that makes you feel
like you’re in this pit of sound and looking down on you is Bwana, The Boss,
Junior Disprol. You’re left knowing exactly why they call him Bwana and it’s
all rounded off by Jaffa using his cutting expertise to reinforce that point so
you don’t forget. The penultimate track here see’s DJ Alkemy joining JD for
another abstract mix of drums and electronic keyboard notes that merge together
into a sound that will stretch your mind and twist it in new directions. JD
takes an eclectic mix of words spinning them into sentences and taking your
mind into ever decreasing circles as DJ Alkemy slices cuts through your fragile
awareness not allowing you to drift to far away because JD needs you know one
thing, My Pidgeon Weighs a Ton. DEF II is rounded of with When All
Said, a mind-numbing mix of strings, guitar, drums, and sonic sounds that
at first, might stretch your awareness a step to far but, turns out to simply
ground you back in this reality. The final word here is like the final word in
any situation, which is simply that, when all is said and done all you are left
with is your word, your integrity and if that is anything less than rooted,
solidly in a truthful portrayal of your true self, then what are you really?
Here Junior Disprol shows that when all said this is who he is, Nuff Said…
Overall, this has to be one of the most outstanding albums
you will hear this year. It takes the notion of Hip Hop to new experimental
heights and returns to a standing ovation. Yes, it takes some listening to,
that’s for sure but, you come away from this a fresh new perspective and one
that is likely to stay with you, always being rekindled whenever you listen
again. There is not a weak track here, all sixteen solid and will test the
listener to breaking point.
Junior Disprol is a powerhouse in his delivery with a
lyrical content that is as intellectual as it is, at times, unashamedly raw and
uncouth. The more you listen to what he does as an emcee, the more you realise
that this guy is one of the most underrated out there. He has a style all his
own that is complex, raw, and direct. He as easily able to create verses from
what most people would consider an indecipherable collection of words, mixing
in real life aspects and x-rated metaphors that just leaves you wondering how
he does it. He is, without a doubt, once of the most incredible lyricists out
there right now.
Musically, DEF II was produced entirely by Cool Edit Chud
and what a masterpiece he has created here. He has put together this paradigm
shifting expression of what Hip Hop music is all about, using these abstract
musical soundscapes to stunning effect, and something that constantly keeps the
listener guessing, stretching the boundaries of there understanding, opening
them up to new horizons to explore. It all fits so well with Junior Disprol’s
lyrical content and delivery, which demands a sound that steps outside the box,
then turns around and kicks it out the stadium, and that is what Cool Edit Chud
delivers here.
Also outstanding is the line-up of guest artists and DJs who
all bring that extra depth and seasoning to the project. Delivering the kind of
performances that leave you breathless and just adding the icing to what is
already a perfectly baked cake of an album.
Nothing would be complete here if I didn’t give a nod to the
artwork. As we know Junior Disprol aka Matt is also an incredible artist, which
was demonstrated on the cover of Hung Drawn and Slaughta’d. For DEF II he has
collaborated with Chud and Scott Lewis on the artwork and design.
I really don’t know what else to say here except that the
album is out now on Plague in the coloured vinyl, tape and CD formats with
digital release coming on 20th May. This one you really don’t want
to miss and has to be a strong contender for underground Hip Hop album of the
year.
Right now, in this very moment, when you think of jazz and
Hip Hop fusion sounds, two names come immediately to mind, the Jazz Spastiks
(Edinburgh,UK) and the Cut Beetlez (Finland).
Both are beat makers, DJs and producers who bring their own
twist to mixing up classic boom bap Hip Hop with Jazzy vibes. Both are also
duos with the Jazz Spastiks consisting of Coconut Delight and Mr Manyana, while
the Cut Beetlez are DJ J-Man and HP Lovescratch. There is no doubt that they
both have their own distinctive sound which they use to great effect on
instrumental cuts as well as those featuring a whole host of guest artists from
the golden era of Hip Hop right up to some up and coming artists hungry to show
their pedigree.
Jazz Spastiks VS Cut Beetlez is the third release
from Worthing UK based Hip Hop label Deuce Deuce, who are one of the premier up
and coming labels in the UK. Only available on Vinyl and digital this release
is obviously one that is made for vinyl as it consists of two sides, with the A
Side coming from the Jazz Spastiks and the B Side from the Cut Beetlez, each
duo dropping seven tracks showcasing their own brand of experimental,
instrumental, jazzy Hip Hop niceness.
So, let me get into this and break it down for you…
The Jazz Spastiks kick of Side A with The Doctor, a proper feel-good mix with the jazzy sounds
of horns, keys mixed in with a nice funky drumbeat, cuts and some samples that
describe a trip to go see the doctor. There are not many of us who like a trip
to the doctor but, if every trip to your doc was this good, who’d want to
leave? After, regrettably leaving the doctors office we move on to Anka
Banka where the listener is treated to a head nod beat that overlays this
jazzy sound scape of cymbals, keys, bells, and bass which allows your mind to
wander as you listen. I checked a few means of the title and ones which stuck
with me were Merciful (Anka) Brave (Banka), this idea of being compassionate,
whilst still being strong stuck with me as I listened as it fit with the two
parts of the music. From that laid-back thoughtful moment, it’s time to switch
it up a notch with Usin’ and Confusin’, an almost cut n paste style
sound with some classic samples, a solid boom bap beat and razor-sharp cuts,
all of which is backed up by some chilled organ vibes. This one really speaks
on the basics of what the Jazz Spastiks do, in taking the beats and sounds then
working their magic to produce something brand new. From getting that basic
idea of what the Jazz Spastiks do, we are then treated to a basic explanation
of what jazz music is, the Master Fundamentals if you will, all courtesy
of a sampled vocal. The track is relaxed mix of cymbals, drums and electric
organ notes which is enough to carry you along while focusing on the words.
Flipping to Side B, it now the turn of the Cut Beetlez who
open up with their Intro, which is an up-tempo piece of drums, horns,
organ notes which switches mid-way through, and we lose the jazz and hear a
slightly down-tempo voice who directs his request to the Cut Beetlez for some
more boom bap for the Hip Hop headz, you know that sound they are known for…
Horns and drums bring us into Ready For Battle but,
those horns and drums are closely followed by sampled vocals and frantic cuts
and more classic samples with a sound that is almost like using the cross fader
between turntables, giving you the feeling these guys are ready for anything.
More percussion, and organ notes seem to switch the tempo up a notch or two
giving a sound that tweaks your nerves. Some slick cuts give your nerves a
break on a couple of occasions making you wonder just what’s coming next as you
say Gimme A Break. That break is about to come with some laid-back
double bass and classic Hip Hop samples But, soon some organ notes come in
bouncing of our nerves once more as the Cut Beetlez seem to invite us into Channeling
this experimental vibe into our minds and opening up a new understanding of
music. Laid-back horns lead us into You Need To Quit, before sparse
drums and cut up samples allow us to relax for a minute and just simply enjoy
the sounds of horns and keys alongside those chilled drums.
Straight Up Dope Boom Bap does exactly what is says
as some slick turntableism, classic samples and dope cuts serve as the backdrop
while a heavy boom bap beat and some jazzy horns slip in to carry us along as we
can’t help but, nod our heads to this as it embodies what we all love about Hip
Hop. The final track on this side is Last Jazztics, the drums pound, the
horns blow and the keys sound out, all this as cuts slice through your
awareness and you detect more than little turntable trickery along the way as
this one just eases us out of the album in style, Cut Beetlez style that is…
After all that what can you truly say in order to sum this
one up…
I don’t, for one minute, say that I know much about the many
types of jazz sound there are, as I am sure there are many and the roots of
these go back to the late 19th and early 20th centuries
when jazz grew out of the influences of ragtime, blues, gospel, and military
big band music. There has been a huge jazz influence within Hip Hop over the
years with the likes Gang Starr, Digable
Planets, A Tribe Called Quest and the Roots, to name just a few. The Jazz
Spastiks and Cut Beetlez have brought a new spotlight back to the jazz
influence within Hip Hop.
I found that on Jazz Spastiks VS Cut Beetlez there were two
kinda vibes going on. The Jazz Spastiks showed a great balance with a more
classic Hip Hop musical approach to there offerings, creating flowing tracks
that often allowed you to read more into the music that was first apparent. The
Cut Beetlez however, showed a more experimental approach creating a sound that
showed what can be achieved when you think a little bit outside the box when
fusing two genres of music and without that experimental aspect, things would never
move forward.
For me this was far less of a versus battle situation and
more of a stage for each to simply showcase their sounds and what they are
capable of producing, when given the space to do so. The only winner here is
the listener who gets treated to some of the most exciting Hip Hop/Jazz fusion
music out there and from two of the most exciting Hip Hop beat
maker/production/DJ duos out there right now.
I have rated both the Jazz Spastiks and Cut Beetlez for some
time now. The Cut Beetles have featured in my reviews on several occasions but,
not so with the Jazz Spastiks. So, it is a pleasure to be able to review such
an outstanding release by both and huge respect to Deuce Deuce for putting this
one out.
I just want to finish by saying a huge thank you to DJ J-Man
from the Cut Beetles for sending this one my way.
This is definitely one to have in your collection,
especially if there are some vinyl copies still out there.
Links to get the album are below and don't forget to follow Jazz Spastiks, Cut Beetlez and Deuce Deuce Records on all the usual social media.
On that note, it’s time for me to Be Bop outta here,
See ya,
Steve
LINKS
Get your copy from Deuce Deuce Records on Bandcamp:
.jpg)
