Friday 27 May 2022

Album Review: Yo Yo Punk! by Kali Mist



 Produced By

Kali Mist


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.

Now, I’m out,



Check Yo Yo Punk! on YouTube Here:

Kali Mist on Instagram:

Tuesday 24 May 2022

Single Review: Bad Weather by Ratty The Sly


Bad Weather (feat Glad2Mecha, Alecs DeLarge & Tomppa Coates)


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…



Remember to check out Ratty The Sly and Rushed Rat Records on social media and all the usual streaming platforms.

Get your copy of Bad Weather on Bandcamp Here:

Rushed Rat Records Webshop:


Friday 20 May 2022

Album Review: Listen To The Masters by DK and Ghettosocks


Listen to the Masters


DK and Ghettosocks


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
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…



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.

DK on Bandcamp:

Ghettosocks on Bandcamp:

Black Buffalo Records on Bandcamp:

Black Buffalo Records Website:


All In (ft O.C. & Moka Only)

What It Seems (ft Skyzoo & Rome Streetz)

The Masters (ft CL Smooth & El Da Sensei)

Thursday 19 May 2022

Album Review: DEF II by Junior Disprol




Junior Disprol


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.


On That Note,

I’m outta here,



Get DEF II from Junior Disprol on Bandcamp Here:

Get DEF II from Plague on Bandcamp Here:




Friday 13 May 2022

Album Review: Jazz Spastiks Vs Cut Beetlez


Jazz Spastiks VS Cut Beetlez

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.

Static, drums, electronic sounds, and organ notes merge to bring a chilled-out vibe of The Boss. This track brings the atmosphere of listening to old vinyl records to the digital age, even if you’re listening to this on digital. It still keeps you moving your head too, so no matter the mood this has the flow. The now switches once more as cymbals, keys, electronic sounds, and a heavy drumbeat create a more spaced-out vibe. This is perfect for the Spirit Molecule as you feel you are transcending the current dimension and moving to a place where the normal laws of physics don’t apply. Moving to the final piece on this side we are treated to a slick vibe of drums, horns bass and organ notes. There is a sampled conversation taking place and the sounds of the city, making you feel like you are sitting in a booth in a jazz cafĂ© where people are musing over The Good Life and the complexities that come with it, albeit on a deep existential level…

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,



Get your copy from Deuce Deuce Records on Bandcamp:

Jazz Spastiks on Bandcamp:

Cut Beetlez on Bandcamp: