Filth is the new single from MUZ and is the first single
from his forthcoming EP Duality. Following the Wakefield emcees recent singles
releases Swords Out, Under His Eye and Quid Game, all of which you can find
reviews of on the blog, I was interested to see what this latest single was all
about. His previous stuff always has this deep look at life around him and so
it was safe to assume that Filth 2000AD would be no different.
So, let’s get into this…
The single comes with a number of mixes from different
producers but, I’m gonna kick off with the mix by Traumkl, which will also
feature in the video. The sonic sound that Traumkl has weaved for this is a
pure assault on the senses. It creates this vibe which shreds every nerve and makes
your head feel like you’re a victim of a scanner from David Cronenberg’s movie.
The link between this and the novel by Irvine Welsh is not lost as MUZ focuses
on the British justice system and those who enforce it in the public domain.
There is a raw brutality to his words as he tears into the police and that far
from being there to protect and serve the citizen’s, all they seem to do is
enforce the wishes of the government. They have been given powers against those
who chose to protest, even in a peaceful manner, such as the BLM protests and
they even label protesters as terrorists and jihadists when they stand up for
the persecution of others like the Palestinian peoples, as we have seen
recently. It makes you wonder they are there to stand up for and protect the
people or if they are there to keep us in line. Muz does such a good job
putting the whole system in his sights and speaking up in a truthful and
unapologetic nature and when you mix that with Traumkl’s sonic sound it creates
something that you almost can’t bear to listen to but, at the same time, is
strangely engaging.
Now, there are three additional remixes of the song that
come with the single release and I’m gonna take a quick look at each and see if
and how these remixes work with the subject matter of the track…
First up is the remix by ChillsMyth, which combines a
laid-back beat with some chilled organ vibes which really calms the delivery of
MUZ’s vocals. It helps bring a more thoughtful air to the track giving more
focus to the lyrics allowing them the stage to really speak to you.
Next up is the remix by Micro Deform, this one brings
another assault on the senses with a heavy industrial sonic sound that rips
your awareness apart and seems, like the original from Traumkl, to reflect the
often-brutal nature of justice and the police. There is this slight change to
the musical vibe as the track plays out, and almost thinks thing are getting
better before ending with a sound that reminds you that’s not the case.
Finally, we have the Pandamonium Remix, which takes a more
boom bap beat and mixes it with harp and electronic sounds that gets you head
nodding while still twisting those already frayed nerves. This mix allows more
focus on the vocals once more and in a way that will appeal to the Hip Hop
headz big time.
Releasing this one on Halloween is a stroke of genius
because the brutal nature of the track which shines a light on the
often-horrific nature of how the police and justice systems treat the people
they are supposed to protect, is pretty much the worst kind of horror movie you
can imagine. When your protectors become the enforcers, it causes to wonder the
true nature of what sort of society we are living in, especially when people
are persecuted for exercising their right to free speech and standing up for injustice
and what they truly believe in. It does seem that these cases of police
brutality and the unfair treatment of the justice system, is on the rise and
MUZ sees this and brings this fairly and squarely into our awareness in an
unflinching manor.
His words seem to be delivered in a brutal way to reflect
the nature of the subject matter. His flow and lyrics still have that slick
nature but, the delivery gives them a suitable edge that is exactly what is
needed when dealing with this kind of subject.
I have to say that this sets up a very interesting and deep
vibe for the coming EP and if you listen to one single this Halloween, make it
this one and see which mix hits you the hardest.
Filth 2000AD is out today.
My thanks to Muz for giving me the opportunity to review
this one.
It was way back in March of 2022 that K-Saulz and production
duo DiffHop dropped The Abstract Arsonist EP, a release that lit a fire under
the floor of the UK scene, making people sit up and take notice of the guys
from South Wales. They also released a single, Stranger, in July that year,
keeping up the hype from the EP.
Now the guys are back, on Bard Picasso Records, and this
time with a full album, The Craft, to treat us to more of their brand of Hip
Hop. With one single, Lost In Space ft BMellow & Harkos, already under
their belt, this release promises a wealth of boom bap beats and slick rap
vocals.
Let’s not hang around here and get straight into it…
Puzzles is the little intro here that gives us this
little soundscape that is rooted in guitar notes while it gives us a little
insight into what is to come as the sampled vocal describes how words form the
basis of rap and how getting deep into how you use words is the foundation of
the emcees craft. Words are like blank jigsaw pieces and the emcee is the one
crafting something special from what is before him. From there we move straight
into the albums title track, The Craft. Opening with a sample from Silence
Of The Lambs, it features Brighty and DJ Jaffa on the cut; the beat drops with
drums, bass and a heavy violin sample, which gives this a deep atmospheric
vibe. The Craft is, of course, the art of emceeing and of taking a jumble of
words, phrases, similes, and metaphors, and then creating something that has
meaning, depth and can be instantly relatable or enjoyed by the listener; and
all done to a beat that helps to solidify the message or that sense of fun that
is being conveyed. With just a brief moment to consider what the craft of
emceeing is and what it means to the emcee, we are catapulted, by words and
music, beyond the confines of the planet, to where we find ourselves Lost In
Space. The one track to have features and where we find BMellow (UK) and
Harkos (US) joining the crew. A heavy beat and strings combine to create the
kind of soundscape that helps you imagine floating in the endless universe or
just closing your eyes and floating within your own mind. How you see it is
your choice as the emcees spin tales that are as at home in the here and now as
they are as the memories of those floating aimlessly among the stars.
An uplifting, chilled out vibe of Keys, drums, and strings,
brings a thoughtful air on Pulverise while the pounding beat keeps you
moving. Clever wordplay sees K-Saulz spin an audible kaleidoscope around what
it is to live our lives. Listening to the words that twist and turn in your
mind really is like the ups and downs of daily life as you do your best to
makes ends meet and get the most from every moment. Ahead of the Game is
another short skit that continues the narrative from Puzzles, further elaborating
on the process of writing and creating as an emcee. Strings and drums are the
main component of the soundscape for Silence is deadly, this creates a
vibe that seems to have you on edge as you listen. This fits perfectly as this
one is all about the anticipation, the pause before something happens; in that
moment anything is possible as the mind awaits what is to come, sometimes
knowing and sometimes unknowing, that brief moment is the place where dreams
can be born and crushed or where a moment of peace seemingly becomes the
opposite what it truly is…
Nightmare On Self Street has this sound of keys,
drums and strings that creates this deep dark vibe. This perfectly fits with
this tale of the dark and confused moments in the mind, where nothing seems to
fit or make sense and we begin to question everything around us; just until
that moment we wake and wonder if that nightmare was all just a dream or if we
did just live it? These moments where we question our sanity can often lead to
moments of clarity, we just need to write it down and try to understand the
true meaning behind it. Synth vibes draw us into Crossbone before the
beat drops and gets your head nodding to this brooding sound that wouldn’t be
out of place in a horror movie. Featuring Dick Dastardly and DW Smith, the
whole track is like an unapologetic, X-Rated brutal assault on your eardrums
and your mind. There are no punches pulled and no fucks given on this one, and
the more you listen the more it sounds like John Carpenter meets Hip Hop, so
enjoy. Crazy Chicks, featuring A Gent Orange, then drops with an easier
going sound that has a bit more a tongue-in-cheek vibe about it. This one is
like an alternative love story that focuses on the kind of women you can’t help
but, love even though they might not be the most trustworthy; there is just
something about them that’s gets you hooked every time.
Let Me Tell You has that summer vibe about it with an
uplifting soulful vibe of drums, guitar, and strings. The vibe here is all
about those days when your parents were away and you were home alone and so you
got a huge party organised, one that goes so well, at least to start with,
before quickly spiralling out of control into a 24-hour session that you
realise has gone so bad when you parents pull up in the driveway. Saxophone and
strings help us float into The Dark Passenger, featuring The Honest
Poet, then the beat drops with a piano heavy sound and bringing a deeper
thoughtful vibe. This is an emotive tale of addiction and broken, fractured
relationships and how they can so deeply affect all those around them. As much
as this shows the pain and suffering that can be caused, especially within the
family unit, it is also a cautionary tale that shows we all have a choice to
make; we can bury our own pain, or we can share it with those around us and let
them help us find a road to recovery. The penultimate and last full track of
the album is You Made Me which has a deep emotive sound created by Keys,
strings, harp, and drums. A beautiful track that explores those who make us who
we are, from our children, our mothers, our wives, these are the ones who can
be so close to us and make us look at who we are, changing us to one of the
truest expressions of our true self. The moments we share with our loved ones
are the moments which can change our lives for the good and for always. The
album ends with the Outro Skit – Doom, wise words on inspiration from MF
DOOM.
The Craft is a rollercoaster ride of sound and
content that explores just how expressive the art of rap and Hip Hop music can
truly be. You can almost sum it up in that one sentence alone, although there
is a lot more to it than that alone.
What K-Saulz and DiffHop (Dave Pearce & Lee Hardy) have
is to explore not just what it is to be an emcee and how they do what they do
but, also what it means to be an emcee, someone whose craft is to play with
words and meanings, and then to create entertaining and expressive music that
connects with the listener. If you truly think about it the emcee has to
connect with the producer, the DJ, the guest artists and the listeners; without
those connections the music will not be all it could be.
K-Saulz and DiffHop have that connection that allows them to
bring out the best in each other and making their sound have that edge that not
only sounds great but, feels great too. That leads to a connection with the
guest artists and a mutual respect that further deepens the sound and feel of
the album. All of that coming together creates the connection to the listener
who can feel the energy created by those connections, and they relate to every
track with a message and just enjoy the vibe of those that are just for fun or
expressing the complex wordplay, and that will make them want to hear more. So,
there is an aspect of the album that is about connection but, it is also about
K-Saulz cleaver, expressive and intricate wordplay; it is about DiffHop and their
slick production which creates a whole audible experience.
Overall, The Craft is a solid album that has one foot
rooted firmly in the roots of Hip Hop music, while the other foot is never
rooted anywhere but, is constantly searching out new avenues to explore and
bring to the music. There are emotive tracks that deal with some tricky
subjects in a sensitive way and there are tracks that also just display the fun
you can have with wordplay. There is a bit of everything here that will make it
highly entertaining but, it’s definitely not for younger ears.
The Craft is out on 28th October on Bard Picasso Records, and I highly
suggest you give this one a listen, you won’t regret it.
Many of you will be familiar with Dweller, Kansul and the
Live from the Groove label. You might also be familiar with the Kansul Culture
EP which dropped back in September of 2022; this album is the follow to that EP
and expands on their creative flow.
Now, the easiest way for me to set up the review is to drop
Dwellers own words on this project:
Kansul Culture is a concept born in lockdown by Dweller
and Kansul. Following the Kansul Culture EP this LP presents a walk through the
mind of Kansul, an anonymous M.C. who keeps his identity hidden behind a mask. Unplugging
from modern society where social media followers are currency and algorithms
impute value to art, Kansul Culture is the antithesis and antihero. As fiercely
individual and unique as it is rebellious and creative, this album refuses to
be pigeonholed. Switching lanes between genres as easily as Kansul switches
from spoken words and rhyming to singing, you should sit back and prepare for a
journey into the souls and minds of these two immense talents. Recorded in
lockdown, Dweller would patiently craft the beats in isolation and await Kansul
to send down vocal files which were slotted into each track as the album came
together. Then DJ Simon C and TMB would record cuts and fire them over to be
layered on top as the collective worked together remotely but connected by the
creative project. When restrictions finally ended and in-person collaboration
was possible, A. Lofthouse visited Dweller’s home studio to play Brass sections
over selected tracks and the project was complete.
All that considered, there is only one way to truly feel
this project, and that is to dive into the album. So, please join me as we look
to Kansul Everything…
The first thing that you get a sense of is the multi-layered
sound and all the elements that come together to on this album. Anymore kicks
things off with a soulful sounding vibe that has drum, guitar, strings, keys,
and cuts, all combined bring that soulful sound but, still with the Hip Hop
roots. The static sound that crackles in the background gives the impression
that you are immersing yourself in a vinyl release. Kansul switches between
slick rap vocals and a sung hook as he introduces us to who he now is, not
question things anymore but, more living in the moment and making that a
statement. Bad D.N.A has this emotive sound that comes from a melodic
beat over which is this organ sound, which has an almost eerie quality, while
this ticking cymbal sound cycles through your awareness, keeping you from
drifting too far.The emotive aspect
works so well as Kansul speaks on misspent youth, where the focus is on power
and money, and the choices made in that pursuit so often take people down the
wrong path. A head nod beat mixed with keys, xylophone, horns, and bass are the
foundation for Lessons, which creates an uplifting vibe. Kansul’s
cleaver lyrics, even switching to a ragga sound on the hook, to deliver a
message, line by line, that relates to each lesson as it is detailed, bringing
each lesson alive in your mind, and making you realise that you never stop
learning on your life’s journey as every person and situation has something to
teach you.
Not Listening brings more xylophone, bass, and horns
that brings this chilled jazzy vibe sound. This is one of those you wanna sit
back, close your eyes, and relax to. Kansul, once more, switches from sharp rap
vocals to a more soulful sung hook. This one is very much a look at those
people who have much to say but have never really listened throughout their
life. To have an opinion on anything, you have to be some level of
understanding and, or be prepared to listen and learn, don’t allow the lessons
that life teaches you to fall on deaf ears; be openminded and ready to take the
message onboard and grow, if you do not you will end up hollow and without a
real voice. Next up is the short Kansul Culture (Interlude), a proper
head nod beat with organ notes that looks at what the Kansul Culture is.
Strings form the background to No Rest before the beat drops in giving
you a laid-back head nod vibe. There is deep message here that really says that
not matter how you seem to that closest to you, if you spend too much time dabbling
in a dark life there will be no rest for you. There also seems to be a deeper
message that asks you to question and look at who you truly are, because only
by doing that can you express and receive positiveness in your live.
Nobody brings a sound that puts you in mind of summer
days and jams, with chilled drums and keys there is a laid-back funk vine to
this one. As you listen to this one you really get the sense that this one
speaks to you on another lever, telling you that we are all equal, no one is
better than anyone else. We might have different skills but, we all do our best
to live our lives the best we can and that is what makes us equals. Heavy drums
and piano vibes give a heavy sound for Lost Soul, making you want to punch
the air as you listen, until the sung hook brings a slight melodic break. Here
Kansul is able to go in full in full lyrical flow; bringing the soul back to
the music where it is so often missing. There is the sense that the commercial
music scene and making money is what really stole the soul and now it’s all
about bringing that soul back. A chilled drum beat, keys and strings bring a
nice mellow sound that puts back into a kick back vibe on Revolving Door.
Kansul once more mixes his sharp rap vocals with a sung hook. Here he looks at
how so many of the experiences we go through seem to have a similar cause and
effect, giving us this feeling like we’ve been through this before but, maybe
not with the sample people, it’s just the way things play out seems so similar,
just like we occasionally get stuck in a revolver door, just for a while before
moving on…
The penultimate track, which begins the process of bringing
the album to a close is All Said And Done, a looped music box melody
alongside soft strings, horns, and sparce beat creates an emotive sound that
seems to touch your heart. Kansul mixes his rap vocals and sung elements to
great effect here, creating a vocal vibe that emulates the music. The message
here comes with this reflective air that speaks on life, how we live it and all
those challenges we experience along the way; how we see our life and the
choices we make is so important too. This track has an almost counselling
effect to it, touching the very depths of your soul and reminding you just who
you truly are and to always be that best expression of yourself. The album ends
with No Place To Go, a jazzy sounding outro of horns, strings, guitar,
and an upbeat drum sound. The sampled vocals hint that this is the end of the
road and there is no place to go now but, it’s only a hint because this is only
the end of the album and not the end of everything; I guess that where you go
from here depends on your experience of what you just heard, you can put more
music on or just sit and muse over what you just heard, It’s all up to you…
An album like Kansul Everything, gives you much to
ponder as you reflect on what you just heard. On one side you have the fact
that this is a journey into the mind of Kansul who brings his experiences and
his own thoughts on life, to bear on this album, taking the listener to many
different places and allowing them to experience many emotions along the way
but, on the other hand, what Kansul does is to give you enough information to
also look inside yourself too so, as much as this is an album about Kansul, it
is also an invitation to look into a mirror that reflects you own life back at
you.
Kansul does not do this alone however, and Dweller crafts
some soulful and emotive soundscapes that, not only provide the perfect
platform for Kansul’s words but, these are musical emotions that help create
that audible mirror for you look into and to feel everything as you progress
from track to track. The fact that this was all put together during the
lockdown period and only finished off later, makes you realise just how amazing
music is and how it can bring out the best in people, during the process of writing
and recording, even though Kansul and Dweller were miles apart, and how they,
by putting their heart and soul into this, are able to have such an effect on
the listener.
Kansul Everything might seem like a jazzy, funky, conscious
Hip Hop album but, it is more than that, it is a genre and vibe breaking album that erases
the borders between genres, time and space; bringing a sound and narrative
created by two that is so easily associated and enjoyed by the many.
My thanks Dweller for allowing me the chance to bring you
this one.
Kansul Everything is out today, digital only, on Live
From The Groove and when you download the album from Bandcamp you will receive
the bonus remixes: Revolving Door (Kista Remix), Anymore and No Rest
(Remixed by Kuartz) and Bad D.N.A (DJ OP1 Remix), so what more of an
incentive do you need to grab a copy…
Tracy Song and its B-Side 4 Meters by David
Chalfant is the debut release from Unsettled Scores Records and before I
get into this release, I think it’s important to give you some background.
Firstly, Unsettled Score records is the brainchild of Dan
Sawkins (aka Deejay Skamrok) and when the chance to review this release came up
I asked him about the new label and how it came about and this is what he had
to say:
The idea for the label came about
around 2015/6, I was into a bunch of the soundtrack labels at the time and had
a list of titles in my head that I wished someone would release, not thinking
for a second it was something I could do as I thought you had to have major
backing to start a label. Then I heard an interview with Kevin Bergeron from
Waxwork Records, he said when starting the label, he was denied a bank loan, so
he sold off his musical equipment to get the money together. Hearing that
interview made me realise I could do it myself too without a loan or any
backing. All the money it took to start my label has been 100% funded by
selling records from my personal collection.
With that in mind, I wondered what the label was
likely to release moving forward:
There’s gonna be a mixed bag of music
coming from Unsettled Scores Records in the coming years, there’s so many
obscure on screen tunes that I want to see on my label but also very well-known
scores and soundtracks to movies that I grew up with, this won’t be a label
dedicated to one style of music, Hip Hop will always be my first love but my
taste in music generally is wide so expect all sorts.
So, lets move on to this debut release, back in 2002 the
classic 1983 documentary about the New York graffiti scene, ‘Style Wars’ saw an
expanded 2-DVD release that included a host of bonus extras. Part of those
bonus extra’s was a section called “Classic Hits” from Tracy 168 (who sadly
passed away recently) which featured some rare super 8 footage of some of the
early writers of the mid-70s. The track playing over that section has never
seen the light of day until now, and that track is Tracey Song, which was
composed especially for this footage by David Chalfant, the son of Henry
Chalfant the photographer and videographer who documented so much of the Hip
Hop culture including ‘Style Wars’ and many books.
Now, if it was not enough that Tracy Song now receives its
long overdue release, but David Chalfant also recorded a brand-new track to
serve as the flip side to this release, 4 Meters. How amazing is that…
So, please join me on my journey into this release…
Tracy Song has this infectious Latin Rock vibe that
makes it hard to anything else but, nod your head move your body to the music.
The drums, bass and guitars create this energetic sound that fuels the
adrenaline and injects every joint of your body with this desire to move to the
groove. However, there is also the connection to ‘Style Wars’ and for those who
know, the more you listen, the more it puts you in mind of the documentary and
the energy in the sound makes you think of what it must have felt like for the
writers, out there after dark in the train yards and subway tunnels or on the
subway trains themselves, expressing who they were and making their mark the
only way they knew how, ‘on society’. Whenever, the writers went out they would
be putting themselves at risk of arrest or even death as they jumped the third
rail or avoided oncoming subway trains; the energy running through their bodies
in those moments is what David Chalfant has captured on this track but, in a
way that brings enjoyment and pays homage to what those writers were doing.
4 Meters has a far more funk infused sound, still
using the drums, bass, keys, and electric guitar but, that 70’s funk vibe
brings a different feel, while still keeping you moving to the groove. For
those of us who still have that Graff connection in mind, David has created a
sound here that seems to move you from the thrill of the previous night to a
whole new thrill; this time it’s a whole new day and it’s all about getting out
there to see your tags, throw-ups and pieces running on the trains as they pass
by, “uptown, downtown, all over”. Writers went from tags on the trains and
walls, to getting their names up bigger and better, with a desire to go
all-city.
What is amazing about this release is that it appeals to
such a wide range of listeners; The Hip Hop heads will love it for its
connection to ‘Style Wars’ and the graffiti scene as part the culture but, it
will also appeal to those who love the Graff scene but, who are not exclusively
Hip Hop, those who love soundtracks will love it as a previously unreleased
piece of music and then it will also appeal to those who love good music or the
Latin vibe or funk vibe, the list is almost endless because, at the end of the
day, if you love the way music makes you feel and uplifts you, then this one
is, most definitely, for you.
Unsettled Scores Records has, for it’s debut release,
brought you a slice of history backed by something new and unheard from a
composer that most will be unfamiliar with but, in doing that they have brought
the name David Chalfant into lives of many and made a very bold and exciting
statement as to what to expect from the label as it moves forward.
For me, I found that overall, Tracy Song and 4
Meters showed just how universal music can be. In one context, it fits with
the Graff scene and its mid-70s roots but, even if you take away that context
and the connection to Hip Hop, you still have two fantastic tracks, with
slightly different styles of inspiration, from David Chalfant that you can
enjoy no matter where you are or what you are doing.
Not only do I highly recommend this one for your collection
but, I suggest that you keep an eye on Unsettled Scores Records in the
future and perhaps look out for the name of David Chalfant as well.
My humble thanks to Dan for allowing me to review this debut
release.
I would like to dedicate this review to the memory of the
late Tracy 168 R.I.P.
There are times when you just want to review something
because the music and the story behind the music speaks to, and touches you so
deeply, and this is one of those times so I would please ask that you bear with
me.
BENZA is a Hip Hop artist/emcee who is originally from
Banbury, Oxfordshire and is now based in Reading, Berkshire. Now I would
normally take someone’s bio and use my own words to elaborate on what I have
read. But this time as I read through BENZA’a words I felt, on a deep level,
that I should let him tell his own story. These might just be a short story
but, its profound and touches you deeply. Also, please be aware of the subject
matter and I also give a Trigger Warning for that subject matter:
From suffering abuse as a child to battling my own
demons with addiction, I'm glad to say that I am now almost one year completely
clean, sober and nicotine free (which is a miracle for someone who couldn't go
without alcohol or substances for just one day).
Whilst struggling with the deaths of my (only other sibling) best friend and my
brother, my ex-partner, my dad, uncles and then grandparents sadly, I had also
managed to escape a burning building and survive a knife attack. The grips of
my heavy addiction unfortunately then led me to some dark places and eventually
homelessness where I was plagued with suicidal thoughts and depression, eventually
leading to my heart failing after an overdose, where I was obviously brought
back with adrenaline.
I am now grateful to be able to tell that story and hopefully one day it can
inspire others through my music and journey.
Within this madness I have still been able to create some music over the past
20 years now. I am an artist who has a real passion for writing, recording,
telling this story and performing my music and have done for many years now.
I now truly believe my music can evoke many emotions because I am a very
versatile, technical lyricist, a unique story teller, a poet , a punchline /
battle rapper, Grime and Drum and Bass MC with various flows , concepts,
wordplay & metaphors. Whether I create 'Conscious' or 'Hardcore Hip Hop' ,
I believe we all have different moods for each moment in life, and as some
people believe 'variety is the spice of life' I believe I do encapsulate that
in my music. I hope one day people can grasp my true passion for this and also
connect with my pain, seeing that there is another way out.
Following on from reading that story you can have some sense of
the content that BENZA is going to express in these following two singles
Emancipation and My Truth. I’ll review these as they were released with My
Truth first followed by Emancipation…
My Truth has production from Temper Beats who brings a
reflective vibe courtesy of keys, which initially tweak your nerves before
fading into the background as the heavy beat drops in, which gets your head
nodding as your mind drifts. Here we find BENZA dropping two verses full of
reflection of events that have shaped who he is, from the events of his youth
to those that have had a huge impact in more recent years, the impact of all
these traumatic events is clear and has the potential to hit you like a tidal
wave but, a tidal wave that matches the emotive content with a solid boom bap
Hip Hop sound.
Emancipation is produced Epik The Dawn and brings an
emotive edge to the sound which seems to envelop your heart, as if cushioning
it, while still having vibe that allows you head to slowly nod in time with the
melodic beat. Here BENZA relates the heart wrenching story that is his life;
all the pain and trauma is laid bare for all to hear. His journey through
addiction, shaking hands with the grim reaper, before seeing the light and
finding the path to recovery. It might have a deep dark sound but, it just goes
to show that we only see the light when recognise the darkness.
I purposefully kept my description of these two tracks short
because the message that is contained within them serves a bigger purpose both
individually and when taken together. These tracks detail one person’s journey
through a life filled with trauma, pain, and grief. That, in itself, would be
enough to touch the deepest parts of anyone’s heart but, there is so much more
here than just one man’s story. These tracks serve as a beacon of hope to all
those out there who struggle with their own mental health challenges,
regardless of the root cause.
Listening to My Truth and Emancipation, not only
allows you to walk a few steps in his shoes but, they cast a light on the
darkest parts of life, showing you that you are never alone in you pain and
suffering and that there is always a way forward. There is always a hand
willing to take yours, a shoulder for you to cry on and someone to hold you
when you most need it, all you have to do is reach out for that hand, rest on
that shoulder and accept than hug.
These two tracks must have been hard to write and recite but, also
cathartic in their final display. There is nothing stronger than the lived
experience of someone who has been there and lived it and the messages here
really do serve as hope to anyone who has been though something like that
experienced by BENZA. When taken together these tracks say “its ok to not be
ok. You are loved, so please stay”.
BENZA displays confident and raw edge to his lyrical content and
execution; you can feel the love and respect he has for his craft and the
message it conveys to those who choose to listen. If you have not yet listened
to BENZA, then this is the moment to stop and take five to give these a listen,
because this guy is one of those unsung heroes of the art, striving to be all
he can be but, still giving something back and being one of those hands to
reach out for when you need it most.
I must also give props to Temper Beats and Erik The Dawn, whose
production brings such depth of feeling to these two tracks. Providing
soundscapes that perfectly convey the emotive content of BENZA’a lyrics.
Just recently a nice little package dropped through the
letter box inviting me to be a part of the Hidden Content Club. With that
package came a nice lathe cut 7” single and digital download by Uber Magnetic,
otherwise known as the duo of Roughneck Jihad and Junior Disprol. This was a
cleaver piece of promo for those who had supported the Plague label in the past
and was in lieu of the upcoming self-titled double album by Uber Magnetic.
The Album dropped recently, 29th September 2023,
the day I was in Stamford for the Hip Hop 50 Park Jam, and so I had to hold the
review over until I had the time, and that time is now…
Alongside Uber Magnetic are Cool Edit Chud on production and
features from SIR Beans OBE, DJ Jaffa and Krash Slaughta. There is also the
very dope cover are from the man himself Junior Disprol, and it’s all released
via Plague.
As this album is a double and some sixteen tracks deep, I’m
not gonna mess around here but get straight into it…
Kicking off with Wake Em Up we are treated to this
Hip Hop rock vibe that seems to invade your whole body, which has the effect of
making you nod your head and move your body. Meanwhile Uber Magnetic reach into
our minds and proceed to scramble our brains with some intricate word play that
pulls you in a multitude of directions, a bit like the scene from Hellrazer
(the original film), now whether we get to return to normal is another thing.
Now we are trapped in dark room in the mind, with our consciousness torn into a
thousand pieces, SIR Beans makes his first appearance alongside the UberMags on
Now in a Minute, where the drums and bass mix with the cuts to produce a
sound that, whilst being having jazzy edge, continues to tug at various
elements of our awareness. With our awareness already stretched, the UberMags come
at us from various angles and, seemingly, moments in time as they, somewhat
calmly, tease us with bars that could be all about the now or perhaps, what
might be happing in a minute. By now you might be thinking your on something,
and you’d be right because the UberMags and DJ Jaffa hit you with the
realisation of a Brain On Drugs. The drums and bass guitar sound has you
floating along, allowing you to forget the fragmentation of you mind, and all
the while the UberMags spin words in lines that have you envisioning a plethora
of mind-bending things beyond this reality. SIR Beans OBE returns with the
UberMags on guitar infused Weirdo, where the beat just about keeps you
anchored in some form of reality, although knowing which reality you’re in now
is questionable. Here the UberMags have you questioning who are the weirdos, is
them or us? But, trying to figure that out just brings back that realisation
that mind is fragmented and you’re losing your grip on reality.
With any sense of reality quickly disappearing, you don’t
even realise that side one is over and you’ve flipped to side two, that all
depends on which reality you began in, the physical vinyl reality or the
digital one. Drums and a nerve straining piano bring you back to music as the
UberMags take you to Upstate Dead; a place that, according to the
UberMags, is populated by the bodies of those they have left behind, where what
is left in the wake of that which went before, is nothing more and nothing less
than the echoes of the past. Now if you’re wondering how all those residents
got upstate then Crush, Stomp & Delete might give you an idea. The
beat and mind numbing guitar notes and keys on the bridge, bring a strangely
enjoyable head nod sound. Krash Slaughta provides cuts here as the UberMags
state exactly what they do to the competition, making you realise that there
more residents in that place upstate, it’s just that some of them have been
deleted from existence. Percussion and a mind-bending electronic sound,
literally push you into Body Everybody where the UberMags spin lines,
words, similes and more, around the word Body, leaving you with this faint
awareness you’ve just had your fragile mind dumped in a lyrical blender. Drums,
percussion, and jazzy horns, get you head nodding along as the UberMags, in
this case just Roughneck Jihad, give us a little ditty that’s all about men and
women. But here when he is talking about how to Hug It, here its about
how to hug something with your mouth. Now in your fractured mind-state I’ll
leave you to get the gist of that, and while you do that, we switch from disc
one to disc two, cos I’m in that vinyl physical type reality…
If you thought things might ease back a little bit, then
you’re mistaken as Foaming At The Mouth hits with heavy beat and this
almost sonic sound that penetrates every part of your fractured mind. The
UberMags now demonstrate what we knew all along that they have the sickest
lyrical delivery you’ve heard in a long time. It rubs off on the listener too,
the more you listen the more you’re likely to be foaming at the mouth too. A
melodic drum beat, and a mixed-up, mind-numbing organ sound brings a sound
scape that suits the Scientist Pt 2 and how they might study the
complexities of the mind and universe. Here the UberMags create the sort of
lyrical content that matches what scientific study is all about, while at the
same time creating something that most scientists would struggle to explain
when putting it under the microscope. It also leaves you wondering what
happened to the Scientist Pt 1? Heavy drums and horns form the basis for the
boom bap, breakin’ style beat of Cognac, featuring DJ Jaffa on the cut
this one has so many elements of classic Hip Hop vibes and delivers a warm
feeling inside when you hear it. There is more devastating lyrical content and
delivery from the Uber Magnetics and finally makes you feel like they are
giving your fragmented mind a way to become whole once more. Drums, horns, and
bells give rise to Cliff Spab, another sound that has a more classic Hip
Hop vibe to it. This one sees Junior Disprol going solo and demonstrating why
he is one of the UKs best emcees, nuff said right…
As we finally begin to regain some hold on reality and
repairing our fragile mind, we are aware that we’re about to head into the
final side of the album. We begin that final part of the journey by Floating
On The Silence, a heavy pounding sound with the faint sound of piano and
vocal samples, which all combine to give this one a sound that really draws
your focus in while keeping your head nodding. As hard as it might be to hear
it, there does appear to be a message here helping to bring you back to earth
from the sheer weight of what has gone before this moment. There is this
feeling that for all the lyrical mastery on show and the life experiences of
both emcees, there is this hint that the important aspect of anything is the
silence in-between, its like the place where I take myself to interpret what I
hear in the music, those quiet moments are what speaks the most so be mindful
of them as they help bring you back to yourself. Drums and bells once more
tweak our minds back to an alternate universe for a few minutes on Pterodac
Feather. The UberMags bring those similes, metaphors and more together to
show just how good they are as a force on the scene. Sometimes you just have to
enjoy a track without the analytics and its better. Up next is Vodka &
Milk featuring Krash Slaughta, a solid had nod, boom bap beat here gets the
pulse racing as the UberMags celebrate what it is that makes them work so well
together even when they seem so different. It’s true that on the face of it
they appear so different as emcees that you would never think of putting them
together but, now they are finally together on one long player it is evident
that they mix far better than you might think. Moving into the final track of
the album there is a brief second when you are wondering how the UberMags are
gonna bring this one to a close, and they do that with Charles Salvador
(aka Charles Bronson, the UKs most notorious prisoner), mixing a funky beat
with some jazzy horns, this one has wicked upbeat vibe to it. This one sees the
UberMags look at the life of the former boxer who has spent most of his life in
jail and most that spent in solitary confinement. It is an interesting take on
his life as most people only know him as a criminal but, he has written many
books and is also an artist and he changed his name to Charles Salvador in
respect to one of his favourite artists, Salvador Dali.
Sometimes it takes a huge amount of mental capacity to delve
deep into the music you hear and this album was one of those moments. The
highly technical and intricate lyrical rawness of Junior Disprol alongside the
more polished technical lyricism of Roughneck Jihad produces an album which is
only matched in lyrical intricacy by the intricate nature of the soundscapes
produced by Cool Edit Chud. I do use the word intricate a lot here because that
is exactly what it is.
This is some wild ride of an album as the first twelve
tracks pull apart your awareness, opening it up to new levels of understanding.
You have to go into this album with no preconceived ideas of knowing what to
expect, because if you think you know what’s to come, then hearing this for the
first time could possibly destroy everything you thought you knew about Hip Hop
and lyricism, in any form. Then, in the last four tracks they bring you’re
shattered awareness back together with some more classic Hip Hop vibes, just to
show where the roots of their craft lie.
What the Uber Magnetic’s do is to take Hip Hop from the UK
and the US, grind it up, mix it what a whole lot of other influences,
incinerate it and then cook up something, you never hear before but, only think
you have. This is one of those new benchmarks in genre of Hip Hop, because you
know where the roots of the sound lie but, when you take the music and the
lyricism together this is something new, something raw and something that you
may never hear the likes of again.
As I sit here, I wonder if I have even been able to
interpret the exact nature of this album, it really is that good. It could be
as ground-breaking as the release of the Ultramagnetic MCs Critical Beatdown,
now that might be a bold statement but, I remember what effect that album had
on me at the time and the effect Uber Magnetic has had in how difficult it was
to really get into it, it’s the only comparison that seams to work for me,
we’ll all see it differently I guess.
Uber Magnetic is out now on Plague, with a stunning limited-Edition
vinyl, CD digital and even good old Cassette versions so, take ya pick…
My humble thanks to Danny Boyes at Plague, Junior Disprol
and Roughneck Jihad.
It was about fourteen months ago that Frisco Boogie dropped
his last album, Sunflowers In September (Check my Review HERE). But, during
that period, he has not been resting on his laurels and 2023 has seen a string
of single releases, all of which feature on this album, and those singles
really get the anticipation levels high for this new release.
As Frisco Boogie has featured on the blog a few times, I’m
just gonna get straight into the album this time around and get you hyped for
the release of ’50 From The Cradle’…
The album kicks off with The Switch Up where synth,
bass and pulse pounding beat creates this deep sound that really makes you
wanna close your eyes and feel every second of what serves as the albums intro.
Frisco sets the scene for what is to come and, in not so many words, implies
that this music, this Hip Hop is in his soul and that it always will be, to the
very last day. Next up is the first single release from the album Timboots
and Hoodies, featuring DJ Glibstylez on the cuts, the boom bap beat, and
the string heavy sound gives the perfect backdrop for Frisco to drop an ode to
that golden age of Hip Hop music. That period between 88 and 96 where things
really blew up worldwide and where you had to wear Timberlands and hoodies. For
me it was the Ultramagnetic MC’s that really made this look and soon it became
the norm, and to a point it still is for many. This is one of those tracks that
spans the years, in one moment taking you back, and in the next moment, you’re
right back here in the now and celebrating Hip Hop in its 50th year,
this one says it all. Still vibing, we drop straight into the second single to
be released, The Boom; this one features Pittsburgh emcee 8ch2Owens and
DJ Glibstylez on the cut. When the beat drops on this one, it’s heavy, and gets
your head nodding, big time. The is this flute kinda sound that brings this
eastern flava to proceedings at times. Frisco Boogie and 8ch2Owens really go in
hard on this one where it’s all about dropping the spinning words into salvos
of unapologetic rap bombs, nuff said…
The albums title track, 50 From The Cradle, is up
next and keeps the boom bap style beat going, mixing it with piano, keys and
strings, giving this a more thoughtful edge to the energy; this really helps
you focus on Frisco’s words which are really all about how we see age. With
things being about Hip Hop 50 this year, 50 seems to be a huge focus and as
Frisco speaks on his life and thoughts for the future, it makes you consider
how we see and celebrate age and those milestones we see as significant. There
is a short instrumental skit here too that serves as an audible pallet
cleanser, helping ease those thoughts from our minds before we move on to IF,
where keys and horns merge alongside the banging beat to give you reason to
stand up and bounce. Frisco mixes his rap style verses with singing the hooks,
this one seems to focus on the choices we make in life, those important choices
that can change the direction were heading in a split second. It’s all about
taking time to think and consider those ‘what if’ moments and remember once a
decision is made, you can’t go back. Your mind is now ringing with thoughts of
age, numbers and decision making as piano and flute note guide you into a more
chilled beat on Then2There. Here we find Frisco reminiscing on his
journey through life, the kinda track we can all associate with; looking back
over the past and how we got from where we were then, to how we got to where we
are can be such a mixed bag, an emotional rollercoaster of pivotal moments and
Frisco shares some of his, giving us a deeper insight into how he is as well as
giving us the inspiration to see just how far we’ve come too…
Now Frisco Boogie is one of those who has been involved in
most aspects of Hip Hop. He produces, is an emcee, and has been a breaker too;
alongside that he has also been a graff writer and TAGS celebrates this
part of Hip Hop culture and features El Da Sensei (Artifacts) and cuts from DJ
Fever. Keys, bass and a sweet drumbeat, are the main elements of the sound
bringing a more upbeat, feel-good vibe. Frisco Boogie and El Da Sensei drop
verses on how important your tag is to the graff writer. Your tag is your graff
signature and writers spend many hours perfecting them in order to display who
they are, be it signing you latest piece or just getting your tag up on a wall,
bus, train or wherever, your tag means everyone recognises your work, uptown,
downtown or all city. Boom Bash is a short skit that sees Frisco
dropping everything that rhymes with those words. This is cleaver and
articulate lyrical fun vibes over a pounding beat. 8ch2Owens and DJ Glibstylez
join Frisco once more for Bullseye; keys and flute notes accompany a
banging beat to bring a sound that fuels your adrenaline. Frisco and 8ch2Owens
school us to what it is to keep your lyrical craft always on point. You always
gotta be focused on hitting dead centre and keeping your wordplay fresh and
original, mixing up the flows and keeping in articulate and relatable…
The penultimate track of the album is a short skit that has
this deep emotive sound of a head nob beat interwoven with these strings which
give it that deep emotive sound. The sampled vocals on I Rise will speak
to you, if you let them; its all about never giving up and always getting back
up when ever something brings you down, you can always rise above anything, you
have the strength to do it. The final track of the album is Pull Da Pin,
is a drum and piano infused banger with some electronic elements that helps end
the album on a high. There is this unapologetic edge to this one as Frisco pulls
no punches, dropping explosive verses for your listening pleasure, hitting out
at all those who deserve to be exposed, lyrical hand grenade style…
50 From The Cradle is another solid release from
Frisco Boogie and just goes to show the quality and consistency of his work.
There are elements to this that are very personal, giving you a deep insight
into the heart and soul of the man. Then there are these lyrical displays where
its all about having fun on the mic or taking shots at some of the negative
elements that are out there in society. But, through it all there is great
balance from top to bottom.
Lyrically we find Frisco Boogie standing tall here and
showing that he has the lyrical dexterity to stand shoulder to shoulder with
the best of them, not just that but, his production here is on point too,
perfectly creating the musical soundscapes that are the platform for each
track. Bringing in El Da Sensei and 8ch2Owens alongside Dj Glibstylez and DJ
Fever, he has created a solid Hip Hop album that skilfully takes the listener
through many styles, flows and intricate wordplay. There is as much here to
take you on a thought-provoking journey, as there is to give you a smile and
the energy to just have some fun.
In what is hailed as Hip Hops 50th year, Frisco
Boogie has created an album which draws on the essence of that real Hip Hop
flavour of banging beats, solid lyricism, and turntable trickery, alongside
content that is both relatable and enjoyable. It all adds up to show that
Frisco Boogie is not only the real deal but, is definitely one of those
underrated UK artists who are Hip Hop to the core and more than happy to bring
that to forefront in a creative way.
This is one not to miss and, I personally, always enjoy what
Frisco Boogie puts out. He has this depth to his lyrical content and always
allows his love of the culture to shine through, regardless of the subject
matter he is focusing on.
