Album Review: Thy Flesh Consumed by ESKAR

 

Thy Flesh Consumed

By

ESKAR

Thy Flesh Consumed is the upcoming release from Eskar on his own imprint Nuke Fam Records. I have previously featured Eskar and Nuke Fam Records when I reviewed the release of Happy Headz, Beat Tripping album back in May last year (2023), and so it was a no brainer to get Eskar on here with his solo album.

I have had this one a while, waiting on a release date due to the lead time from the record pressing plant etc, but now the pre-orders are going live, it’s time to get busy on this one. There are a host of features on this one including ToneDeff (Queens, NYC), Belinda Hards, Micky Swags, Lomax, Bane, Teej and Celph Titled (Tampa Florida, The Demigodz), DJ Musicarl and DJ Bnutz. Production comes from DJ Illas, Chills Myth, Ile Flottante, ExP, Megamouth, Illinformed, Jack Danz, Hops, JND, Seek The Northener, DJ Blend, IRN Mnky and Eskar himself, plus some stunning artwork from Junior Disprol, this one really looks the part.

So, now its time to see if it sounds the part too…

The Album kicks off with Thirst Track which is a remake of the first track Eskar ever made, called music. Produced by DJ Illas, it uses the original beat that Eskar purchased back in 2009. The drums have that classic head nod vibe while the piano gives it this vibe that is full of retrospective energy and casting your mind back to what came before. The cuts just add the icing on the cake of what is simply speaking, that Hip Hop sound. This is very much a track that see’s Eskar revisiting that first ever track, looking at the knockbacks that would give him the motivation to keep pushing but, those years of honing his craft, still see him at a place where, even now, he still sees himself as not quite good enough, another catalyst to keep him striving to reach those dreams of his younger self. Next up is Kaiju which is produced by Chills Myth and features the legendary Queens emcee/producer ToneDeff. Musically, this more complex with sparse drums and the bass guitar taking the forefront, which seems to vibrate through to the very core of your being. This track is as big as the title suggests and represents the art of rap in its purest form. The flows are at a high pace, delivering punchline after punchline, this one is a demonstration of just what accomplished rappers are capable of. So, just sit back and enjoy this one as the words impact every one of your brain cells, as you slowly realise that this one continues on from the previous track in displaying the evolution of an artist to the point of working with one of his biggest inspirations. Produced by Ile Flottante, Reality Check drops with this huge bass sound, where the drums and horns almost fade into the background, creating this air that is almost melancholy. On the face of it, this track feels a diss track but, when Eskar mentions this is a therapy track, you realise that he is not speaking to anyone in particular but, aiming his sights at those artists who let fame go to their heads and allow their ego’s to take over. There is more to life than rapping and drug use and Eskar hints at those he has met over the years but, more than that, he is not ashamed to say that he knows these people because he was once one of them. By opening up in this way it shows that he speaks from the heart when he says it is time for artists to be humbler and to bring more humanity and relatability back into the music and culture.

Vocal Warming is produced by ExP and features Belinda Hards; the piano and sparce beat creates a deep sound that keeps you focused on the vocals and the message they bring. Eskar focuses on ineptitude of global governments to protect the environment in which we all live. As he speaks with passion on this subject, Belindas soulful vocals take that sentiment and grip you heart centre to let the point hit home. Another relatable subject here and one I personally understand; I have lived in more rural areas for years and I see the way people treat these beautiful spaces, scattering litter every where and giving no respect to the land or ancient structures that have survived for thousands of years. As much as the powers that be do nothing, it is just as much our responsibility to respect and protect the land. A head nod beat backed by emotive strings, produced by Megamouth, is the backdrop for Welcome Home. With the beat creating this darker aspect to things, Eskar opens up on retuning home to Huddersfield. The stark reality of how places change over time hit hard as memories of a beautiful countryside location were scarred by what now appeared to be some post-apocalyptic wasteland, populated by people who only wish to cause you harm. His frustrations are vented at the local Kirklees council, who it appears have much to answer for in allowing the demise of a once stunning location. I can relate to this too, as every time I return to my home city of Southampton, it seems more and more oppressive and not what I remember. Hicks is produced by Illinformed and remixed by DJ Blend, featuring Micky Swags, Lomax, and Bane, it has that posse cut vibe about it as Eskar teams up some of his favourite rappers from ‘up north’. Musically it has a proper head nod beat with funky vibe from bass and guitars getting you moving and the corners of your mouth curling into a broad grin.  This one sees the guys embracing the unpleasant terms that people from ‘up north’ are so often labelled with, and then spinning them with rhyme and reason to show exactly why they deserve more respect, and display just how the Noth can rock it with the best of them. Side-A is rounded off with some Shenanigans which is produced by Jack Danz, giving us a beat of piano notes, bass and fractured drums that has vibe that is almost grime based. While you are trying to figure out what the beat is doing to your head, Eskar is spitting all kinds of shenanigans and having a great time doing it. This one is just for fun and why not, it reminds that the reason we so often do things is simply just for the fun of it.

 

Side-B jumps into your awareness with the Hops produced Floppy Disk, which also features DJ Musicarl on the cut. Using a beat that was taken straight off of a floppy disc from an MPC2000, it has that raw feel to it that takes you back to early days of Hip Hop music. It’s a celebration of the early days of Hip Hop and into the 90’s and early 2000’s, the days that really inspired Eskar. There is so much here to enjoy and get you thinking back to those days, especially the inclusion of the old sound of loading computer files from a cassette tape, that one really took me back to the 8-bit days. If you still grinning after that one, things are about to get serious once more with Letby In The Sky With Diamonds, produced by JND with an additional hook from Mury P, hits with a sound that has a big string into before the beat drops in with sparce drums and a mind numbing mix of keys that leaves your awareness open to anything. Eskar flips and juxtaposes things here as he looks at how he uses his music to escape the true horrors of what he sees around him every day. The title may seem to be somewhat controversial, by taking the Beatles beloved title and mixing it with the name of British serial killer Lucy Letby but, the comedic and horror themes, alongside notions of falling out of love with music and life in general, all twist together to show that life is so much more horrific that you can ever put into your music, which is the real message here, you can make your music as shocking and controversial as you want but, in the end it is still an escape from what goes on outside your front door. After the controversial nature of the previous title, could it be that Eskar is close to being cancelled? Well, Cancelled is the next track, produced by Seek The Northener and featuring Teej, it hits with a solid boom bap beat over strings, keys, and with a flute taking the forefront. With the sound getting you moving, Eskar takes a look at the cancel culture of todays society. He shows that not all aspects of cancel culture are negative when used to tackle the likes of Racism and bigotry. However, it does look at how it pressures us to mind what we say and second guess ourselves but, the very real message here is that everyone deserves the right to freedom of speech and that no one should be suppressed or judged for making art in any form.

It is not often that I do this but, I will just add a trigger warning here as I will be talking about suicide as I review the following track. I do this because I myself go into this part of the review with my own sense of trepidation as I lost my youngest daughter to suicide in 2020, and I both know and live the pain it causes every day.

116 123, is the phone number for The Samaritans in the UK and it is the title of this track as they are a good place to reach out when you are struggling. The track is produced by DJ Blend who brings a deep vibe with head nod beat underpinned by bass and with organ notes that carry everything along as you listen intently to what’s being said. The track focuses on the loss of Eskar’s friend James Carson-Lee (R.I.P), who sadly took his own life recently, and whose voice notes to Eskar feature on the hook. It was also James’s love of Eskar’s album ‘Knee Deep In The Dead’ that inspired this track. As someone who knows mental health struggles and the loss of a loved one to suicide, I can associate to this track and I’m not ashamed to say it touched me deeply; a tear fell as I listened to his words, agreeing with how I do not see suicide as a selfish or cowardly act, it is also not a crime that someone has committed. So many people are touched, in one way or another, by suicide it affects you in ways that words can not easily describe but, Eskar does a truly touching thing here by describing the loss of his friend and including his friends voice in this track. It is the most important track on the album, and I echo Eskar’s words to anyone out there struggling, call that number and talk, because talking honestly about your feelings is not just the bravest thing you can do but, it is also the first step to healing yourself too…

After such an emotional journey you need to lighten the mood a little and that comes here in the form of Celph Centred, featuring the legendary Celph Titled and produced by IRN MNKY, with cuts from DJ Bnutz, this one hits from the get go with a pulse pounding beat that has you bouncing along to the heavy double bass sound. This one sees Eskar and Celph Titled giving us Hip Hop in it’s purest form, dropping more punchlines than you can shake a stick at, this one is there to lift your mood and get the adrenaline flowing once more so, enjoy this one by turning it up a few notches. The album ends with Eternal, a track which was produced/stolen by Eskar. The sound is heavy, probably the heaviest on the album with pounding drums, keys, bass, and guitars, ripping apart your concept of reality. Eskar’s words here give the album it’s title as he drops one of the fastest raps I’ve heard in a hot minute. The shear strength of the lyricism on this one is so intense, with it’s battle rap vibe, that its impact is beyond what I could suitably interpret here, in all honesty. This is a ferocious explosion lyrical explosion that has the power to leave an indelible mark on the world of Hip Hop, that’s all I can really say…

What can I say about this album that I’ve not already said above? Well, that’s a tough one but, I’ll try…

It is rare that I come away from listening to an album feeling like I’ve just been battered from pillar to post but, that is how I feel after listening to Thy Flesh Consumed. There is a rawness and a strength here that I have not felt from many albums. Eskar mixes a wealth of relatable lived experience with a nice balance of rap for the hell of it and what you end up with is less of a rollercoaster album but, more of a passenger flight under extreme turbulence, leaving you knowing you have just had an experience like never before. I guess you could describe Thy Flesh Consumed as like comparable to the process of making the finest of swords, it pounds and heats up, time after time, before cooling and finally sharpening into a thing of devastating beauty…

Once you look at the finished article, you get this sense that there is this personal story running through the album, something that represents the passage of time for Eskar and his journey with Hip Hop music and life in general. He expertly crafts each track with lyrical dexterity, adding just the right essence of lived experiences or just rapping for the fun of it, showing just what an emcee is all about. This is someone who has put his heart and soul into something, which has produced a finished article that can easily slip into the mists of time, to be spoken of in hushed tones by only the true believers. Plus, working with legendary figures of the culture who have inspired you is one thing but, keeping the memory of a friend alive in your music takes both courage and a true heart and Eskar displays both with a passion.

It is truly very difficult to use to describe just how stunning this album is but, it has defining moment written all over it. Everyone Eskar has brought together on this one adds something special to the mix, which Eskar then crafts into what you see before you. Thy Flesh Consumed will have you punching the air, bouncing around and perhaps even shedding a tear, it really is something very, very special and I’m honoured to be able to bring you my take on it.

I will leave it there for now and just leave you with this, many things can make an album of the year but, there are times when an album doesn’t need to be considered in that light because it has something that just sets it apart from that, and this is one of those moments for me. This is not an album of the year; this album simply just is…

My humble thank you to Eskar for letting me bring this album to you and for notes he gave me that helped me to solidify my interpretations. I would also like to thank him for including my blog in the thank you notes, I'm proper humbled to a part of that with so many great names. 

Thy Flesh Consumed is out on Nuke Fam Records and is available to pre-order from today and the physical copies are awesome too.

 

Till next time,

See ya.

Steve.

LINKS

All links for purchase and the video for Kaiju go live at 6pm UK Time today, 31st May

Grab you copy from Bandcamp Here:

https://nukefamrecords.bandcamp.com/

Nuke Fam Records Socials:

https://www.facebook.com/NukeFamRecords

https://www.instagram.com/nukefamrecords/

https://www.youtube.com/@nukefamrecords

VIDEO

Kaiju ft ToneDeff Prod. Chills Myth

 

 

Exclusive Single Review: Definition of Ill / I Ain't Playin' With Y'all by Phill Most Chill and Krash Slaughta

 

Definition Of Ill / I Ain’t Playin With Y’all

By

Phill Most Chill & Krash Slaughta

 

I think that it's fair to say that when you think of legendary names in the Hip Hop scene, you can’t go much wrong with Phill Most Chill (Devastating Two, JORUN PMC, The Fabreeze Brothers, The Analog Mutants) and Krash Slaughta (II Tone Committee, Monkey Mafia, All Time High).

These two represent some of the best there is with that live breath and bleed Hip Hop. Phill Most Chill grew up in Connecticut, USA in the late 1970’s where he first began his journey with what would become Hip Hop. Over the year he has been an emcee, DeeJay, producer, writer, and even an artist. His aliases include Baritone Triplove, Soulman and Lovemoney, and he has recorded with the likes of DJ Format on The Foremost, Paul Nice (R.I.P) on The Fabreeze Brothers and DJ Snafu & DJ Grazzhoppa as the Analog Mutants. PMC literally has Hip Hop running through his veins and I simply don’t have the room here to fully list all his achievements over the course of the last fifty years. Krash Slaughta, from Livingstone Scotland, is a world-renowned DeeJay, Turntablist, Scratch DeeJay and Producer. He was one of the pioneers of the UK Hip Hop scene and part of some of the legendary UK crews including II Tone Committee and the Big Beat legends Monkey Mafia.

Now I have reviewed work by both these legendary figures and their talents never cease to amaze and blow me away every time they play through my speakers. So, it is truly something special to finally have both these two together on this single. But, beyond that they are also working on an album together which promises to be one of the highlights of the year. But, before that album graces our ears, we get to be treated to this initial single offering.

So, let's get into it right now, no messing…

The A-Side is Definition of Ill and, right out the gate, this one hits with this energetic, pulse pounding, speaker busting sound of heavy drums and horns. This is the sort of boom bap sound that has your ears and everything in-between, vibrating. Here we find that Phill Most Chill has a thing or two to say about what defines being Ill within Hip Hop; the first two verses see him demonstrate what it is to be an ill emcee, with intricate, slick rhymes and devastating flows, PMC hits you with the kind of rap skills which can only come with a few decades worth of continually practicing and honing your skills. He follows this with one final verse that is all about Krash Slaughta and why he is one of the best at what he does. But, once PMC has laid it all out and told you all you need to know, it’s time for Krash to give you the Definition of Slaughta, with an outstanding display of styles as he cuts and scratches on two turntables with just two slices of premium quality wax.

Flipping to the B-Side its time for I Ain’t Playin with Y’all; where a classic head nod beat is the foundation which is over laid with guitar vibes and Krash Slaughta on the cut, so as you bounce and groove to the sound, the cuts slice through your awareness, allowing the essence of Hip Hop to permeate every cell of your body. Now that PMC has defined exactly what it is to be Ill, its time for him to show that being one of the most ill means that there is no time to playing. PMC gives us another three verses that go full on with a masterclass in just how to put words to their best use, which is exactly what Hip Hop is all about. There is also a warning here too, if you’re one of those rappers what thinks they can play the rap game, then PMC is here to take you out and diss you to your face if that’s what it takes because, he ain’t playing here, this is serious business, and PMC has the skills to pay the bills and much more. But this one ain’t over just yet because there is still time for Krash Slaughta to get on the decks once more and show that he ain’t playing either; if you’re not serious, then you’re likely to come away cut down to size and not half the person you used to be.

 

Overall, there is one thing that you can say unequivocally about this single, which is this: across two tracks and a little under seven minutes, Phill Most Chill and Krash Slaughta, show you that you need not spend any more time wondering if Hip Hop is dead or not; not only is Hip Hop not dead but, this display of real Hip Hop vibes has the power to jumpstart the heart of anyone who might have given up on the scene.

Let’s just be real here for a second; Phill Most Chill puts on the kind of display of rap lyricism that is the heart of what Hip Hop music is, and I could spend ages talking about his vocals, rap style and so on but, there is no need for me to do that because it’s all right here for you to hear; and talking about hearing things, Krash Slaughta doesn’t only show why he is one of the best turntablists but, he brings the sound and the cuts which are the very soul of Hip Hop music. So, between them, these two incredible talented individuals, come together, almost merging into one, to bring you the very heart and soul of Hip Hop music in one 7-inch record.

In fact, you can sum up this record in these few words “This is what Hip Hop is about”, it’s really that simple.

This release also has one surprise left in store for you all. Beyond the banging Hip Hop sound and incredible lyricism, the guys have two cover variants. First there is the dope graff cover from Glasgow writer Mak One, which you can see above, and has that classic Hip Hop/B-Boy inspired cover. But there is also an incredible Limited Edition cover artwork, courtesy of Daddy Bones, that is inspired by Andy Warhol's famed Banana cover art for the self titled album by The Velvet Underground & Nico from 1966, which featured a peelable banana that, when removed, revealed a pink coloured fruit with obvious sexual connotations, which was perfect for the kind of avant-garde movements around at that time. However, the Limited Edition Definition of Ill cover features a yellow microphone, which is also peelable, with a full colour back cover. So, what does peeling off the microphone reveal? Well, for the answer to that, you'll just have to grab yourself a copy and see. It is also worth noting that both cover variants also have different designs for the vinyl labels as well; you can have a sneak peek at the artwork for the Limited Edition below for an idea of what to expect...

This one goes live for sale at 9pm (UK Time) tomorrow 31st May.

Huge thanks from me to Krash Slaughta for letting me bring this exclusive to you.

I’m Out,

See Ya.

Steve.

LINKS

Check out sound bites from both tracks here:

https://soundcloud.com/krashslaughta/definition-of-ill-soundbite

https://soundcloud.com/krashslaughta/i-aint-playin-with-yall-soundbite

Grab your copy from one of the following links:

https://krashslaughta.bigcartel.com/

https://krashslaughta.bandcamp.com/

Phill Most Chill Socials and more:

https://phillmostchill.bandcamp.com/music

https://www.instagram.com/phillmostchill/

https://www.facebook.com/profile.php?id=100035434826258

https://www.youtube.com/@thatrealschitt/videos

Krash Slaughta Socials and more:

https://www.facebook.com/krashslaughta/

https://www.instagram.com/paulkrashslaughtasmith

https://www.mixcloud.com/krashslaughta/

https://www.youtube.com/@krashslaughta1

 

 

 

Album Review: Off Planet by Chrome Plus

 

Off Planet

By

Chrome Plus

 

I have always had a bit of thing when it comes to Hip Hop backed by live instruments, something that goes all the way back to Stetsasonic and when I first heard that Norwich emcee/producer/DJ Chrome was doing just that, it’s fair to say I was a little excited. Then in November of 2021 it was my pleasure to review the debut single by Chrome Plus, Popcorn b/w Pieces Will Align.

Now fast forward to today and, with the imminent release of the debut album from Chrome Plus, I get to sink my ears into that album, Off Planet. If you missed the original review of the single, let me just let you know who Chrome Plus is, Michael (Chrome) Walkeden, Phil Critten, Tom Hanna and Justin Bennitt, and what these guys do is mix up live bass and guitars with additional production elements and, of course, a dose of cuts from Chrome and JB.

Off Planet features some addition production from Mr Fantastic (ae Productions) and Rockid Sound Machine, plus some additional cuts and scratches from Technical J and Mr Wonderful. Mixed and mastered by JB, the album is released through AE Productions and features cover art from Lucy Alice Winter and design by Ian C Taylor.

Now, with all that said and with a sizeable seventeen tracks (including three remixes and an alternate version) to get through, join me as I go Off Planet with Chrome Plus…

Note: I am working from the mix for the cassette version of the album so, this is mainly mixed together, with few breaks between the tracks on each side so, I will write accordingly with no breaks until I flip sides. It is also worth me noting here that the two Remixes of Gone Is The Day, that round off the album, are exclusive to the limited cassette version and not the vinyl, which is a great reason to grab both…

The album opens with the first single to be released, Gone Is The Day and this is the album version as the single featured two remixes of the track, which you will get to hear rounding off the album. Drums, guitars and bass all merge to bring you a thumping vibe that feels like a Rock and Hip Hop mash-up which moves the very essence of who you are. Chrome’s lyrics here describe someone of the older generation, looking back over life while sat in the present moment but, that present moment is a place where the good times seem to have past and the now is a confusing place where everything is confusing, and the sun has abandoned life to be replaced by grey clouds and rain. However, the dark times are just a figment of the imagination of someone who is not quite grasping the way the world around them has progressed, the good times are still there, you just have to be open minded. With that thought in mind we move directly into Off Planet Radio, which kind of serves as the albums intro. We get tuned across a few random stations featuring a host of different sounds and vibes before settling on Chrome’s Off Planet Radio intro but, there is not time to even think about what might be next is it’s straight into Fantastic, co-produced by Mr Fantastic, a wicked boom bap beat is backed by heavy rock guitar, deep bass, and plenty of cuts, to create a sound that will get you bouncing around without abandon. Chrome ups the pace on the vocals here as he drops the kind of party banger that will have your head in the clouds and your energy levels pushed beyond the limits of what this planet can contain. From here we move into Popcorn (JB’s Remix), this remix of the first single from Chrome Plus sees JB bring jazzy vibe of bass and drums, alongside some furious cuts, to the track. This sound elevates the track and energy into the atmosphere as Chrome spits his classic rapid-fire vocals which uplift you even more as he breaks it down about just what Chrome Plus is all about and what they are bringing to the party. Next up is Hole In My Pocket and we are eased into this one but, as the sound begins to come in, there is this feeling of an electro vibe mixed with Jean Michel-Jarre but, before we know it a funky sound kicks in and we are getting down to the sound, which mixes those live instruments with some electronic vibes. Here we find Chrome looking at some aspects of life where the bigger the hole, the less we can actually see. It might be frustrations with the music industry or money but, the deeper into the hole w get, the harder it is to see a way forward or a way out of the situation. The best way we can progress is to keep moving and find our own needle and thread to seal up that hole and make a more positive way forward the main vision. Formulate is a short musical interlude where all those elements of Chrome Plus come together for a short, almost meditative, expression of those live instruments. You can close your eyes for a few seconds and feel that musical energy in its purest form. Next up we have the B-side from the debut single, Pieces Will Align. The mix of organ notes and drums, alongside the live guitar and bass brings the kinda sound you want to nod your head to but, there is also this vibe that grabs your attention and makes you want to listen. Chrome slows his pace, ever so slightly, as he delivers a deeper message, one that seems to focus on the fractured nature of reality and life around us. In nearly every aspect of life, entertainment and music, there are many facets that don’t appear to fit. It is like for every piece of perfection there is an equal or opposite imperfection. But what if we could turn back the hands of time, find those imperfections and align all those pieces, what then? Reverberate comes with a mix of cuts, bass, drums and more that vibrates through your mind as Chrome continues the focus on aspects of time but, here its all about how changing things has the potential to reverberate a lot further that you can imagine. It’s like the theory that changing elements of the past could affect the future, the same can be said of many things like, if you change how, you make your music, it has the potential to change not just your thoughts but, also those of anyone who listens to your music. The final track of this first part of the journey culminates with Land of the Lost, this is a DJ track that sees Chrome and JB joined by Technical J and Mr Wonderful for a track that has a wicked drum beat over which we are treated to a truly stunning example of turntablism from all involved, with a little appearance from Chrome just reminding us that this is a little bit of scratch therapy, and one that is sorely needed, in my humble opinion…

Time to flip to part two of what is already something truly special, who knows what’s to come in the next twenty-five minutes or so. Well, if I’m honest, I have an idea as I’ve immersed myself in this a few times already but, you get what I’m sayin.’

Gamma Ray begins this next part of our trip with Chrome Plus and this guitar driven instrumental has you feeling like you are floating in zero gravity, with not a care in the world, just floating and letting time ease by but, there is no need to chill for too long because the bass and drums, with a little guitar, heralds the start of Be There, a funky vibe with the kind of drum beat that gets you bouncing once more. Chrome delivers what is a perfect expression of what it is to be in a relationship with someone you truly love. All those ups and downs you go through and how you support each other. I have not heard a better way of explaining how you feel and see a relationship from your own point of view. With those thoughts seeping into your awareness, the sound switches to another musical interlude. Is There Anybody Out There? has a more industrial vibe about it and almost acts as an audible pallet cleanser before the sound of Soap Box explodes into your awareness with this huge bass sound. The drums hit hard while the bass is eases back and the electric guitars take more to the forefront, combining to make a sound which has a Hip Hop/Punk kinda vibe about it, and rightly so, as Chrome steps up to sound off on all the things he sees around him that serve to grate on his nerves. He simply says what so many of us are feeling about society as we go about our days, and he uses his music as a way to express those feelings and stop the pressure building too far. We are then straight into what is probably the final original track of the album, Outpost 96 which begins with an electronic spacey kinda vibe with rapid drums, bass, and much more besides. This instrumental track takes you beyond the confines of the solar system and into deep space, leaving your minds to conjure up just what you might encounter along the way. Soon, electronic guitar notes bring you back to the here and now for a reworking of Chromes 2020 track GO! The GO! (Chrome Plus vs Rockid Sound Machine) has a cracking sound like mariachi vibe alongside a head nod drum beat that is just sublime. Chrome’s rapid-fire vocals see him speak on how he approaches his music, constantly experimenting and evolving his approach while enjoying what he does and maintaining a balance and connection to his audience. This is such a great reworking of the original that takes it to a whole new level while maintaining the message of the original. Next up we have two remixes of Gone is the day, these were the two that were recently released as the first single release from the album. First up is Gone Is The Day (Lieu’s Future Proof Remix ft Sleeps’s Cousin), this remix has a more guitar heavy rock vibe, which takes nothing away from the original but, adds a little more vibrancy and a verse from Sleep’s Cousin. That additional verse adds a little extra dimension with Sleep’s Cousin adding his own take on the frustration of life around him, fitting perfectly with the vibe of the track. The final track is Gone Is The Day (JB’s Transformer Remix), This takes the original and sees JB give it a transformer scratch rework. This creates this sound that at times seems industrial and then, gives it a far heavier pounding Hip Hop sound, mixing things up and giving you an assault on your senses, keeping you bouncing and breathless by the end…

 

I can’t sum this up right now with saying, Damn! That was something. Now, I have been fortunate to review some stunning albums this year and I’ve said it more than once already, I Think, But this has to be another strong contender for album of the year. It just takes all your conceptions of what a Hip Hop album is, blows them out the water and them puts them back together in a way that should not fit but, it does, and it does it with aplomb.

While I was writing this there was this little thought that occurred to me about this album, I’m not sure if it was intended or not but, indulge me for a minute or two.

So, the album begins with this guy who appears in a pretty dark place, confused, and possibly depressed by what he sees around him. Then, suddenly, he lets the music in and is transported off on this wild journey through space and time, totally changing his own awareness and understanding of what he sees around him. His choice to let the energy of the music in, creates a new openness within him, to such an extent that he is able to look at where he was at the beginning, reframing his initial thoughts from two different stand points and seeing how it now changes how he sees life’s progression, just by changing his energy, and even when there was the addition of another voice that was almost juxtaposed to his own views, the positive energy allowed him to see things in a different light…

Like I say, I’m not sure if I’m just seeing that or it was intentional but, this is what it said to me as I thought of the overall vibe of the album.

Off Planet is truly a stunning release that perfectly merges Hip Hop with live instruments and inspirational input from other genres, while creating a sound that is unique to Chrome Plus. They really seem to have cracked it, in terms of what they were intending on creating as a group. Chrome and JB’s experience within Hip Hop, mixed with the live interments of Phil and Tom come together in a way that just works so well. The Hip Hop vibe merging with the vibrant energy of the live instruments allows to feel the sound on many levels, it just seems to electrify your entire being with positive energy. That energy is apparent throughout the album, even when Chrome is touching on the more negative aspects of the world around us, that energy keeps raising you up and keeps you there.

Mixing up the album with instrumental tracks and those with Chrome’s distinctive voice, flows and wordplay, just gave it that added dimension that meant that everything flowed and worked so well together. Yes, you do need to go into this album without an expectation for what you’re about to hear but, do that and I can pretty much guarantee that you are going to be blown away by this because it gives you a dose of everything you want. In fact, all I need now is to experience Chrome Plus live on stage, as the live music experience is likely to be the cherry on the cake.

If you sleep on this one, you might as well stay asleep…

 

Off Planet is available later today, 24th May, on the always awesome ae Productions label, with digital, vinyl and cassette options available too.

My huge thanks to Chrome and Mr Fantastic for the giving me the chance to bring you my take on this stunning slice UK dopeness…

I’ll see you when I’m next on planet earth.

Steve.

LINKS

Order from ae Productions website here:

https://www.ae-productions.co.uk/shop

Grab from Chrome Plus Bandcamp here:

https://chromeplus.bandcamp.com/album/off-planet

ChromePlus on Instagram:

https://www.instagram.com/chromeplusmusic/

ae Productions on Instagram:

https://www.instagram.com/ae_productions_uk/

VIDEOS

Gone is the Day (Lieu's Future-Proof Remix ft Sleeps Cousin)

 

 

 

 

Album Review: Who We Are by Peter Sparker and STS

 

Who We Are

By

Peter Sparker & STS

 

Released today is the debut album from Peter Sparker and STS which is being released through Hidden Hobby Records. Now, before we go any further, it seems only appropriate here that I give you a little more info on the duo.

Peter Sparker is an emcee out of Atlanta in the U.S. who has been in the game since the eighties and, aside from his own material, has also worked with the likes of Mr Roka (Can’t Be Copied), Prevmarco, Masta Conga, Twisted Pete, Threepeeoh and more. Producer STS (aka Skyrock 72) hails from Paisley, Scotland and also produces his own material while working alongside the likes of Remark, One OZ and Prevmarco, he also likes dabbling in a bit of remixing along the way.

I actually first got my ears round this album just prior to it being picked up by Montener The Menace and Hidden Hobby Records. I was enjoying what I heard and so was toying with the idea of reviewing it when I saw the post from Hidden Hobby and that kind of decided things for me. The album is sixteen tracks deep with features from Hellz Yeah, DJ TAG and Prevmarco.

The best thing to do here is let the guy’s music speak for itself, so join me on a trip through Who We Are…

What better way is there to kick things off, than with a greeting and HI kicks things off with a horn and guitar heavy sound which has an infectious beat that serves as the perfect intro for the album and setting the stage for what’s about come and that is simply dope Hip Hop with boom bap beats and slick lyricism, no mumble rap here. Now you have an idea of what to expect, it’s time to Stop & Look as the bass and guitars, mixed with some funky percussion, grabs your attention fully. Once the music of STS has you hooked and Peter Sparker (PS) begins to drop his bars, you realise that this one is about attention and not just paying attention to the music but, paying attention to everything that goes on around you; don’t let life pass you by but, focus on yourself and your dreams, cultivate your strengths and be who you are. Don’t try to be someone else or what you think other might want, just stop, and look at who you truly are and be that person. The sound of dripping water mixes with drums and a heavy electronic vibe that vibrates through your entire awareness on Speak To Me. Here the influences of Hip Hop pioneers shine through here as PS gives us the lowdown on how rhyme, the tool of the street poet, runs in his veins. It’s not just about where it comes from and where its at but, its about what you do what that talent once you realise it. PS is the poet and his commitment to that is what he shows here. Drums and double bass form the basis of the sound for Mister Winter giving this one a heavy feel that sends a shiver up your spine.  Everyone knows that Hip Hop has always had a way of flipping the meaning of words and here we get the definition of that as PS give us a display of lyricism that’s so damn good its cold as ice, and when you constantly hone your craft, the one thing it does is speak to people…

Sharks features HellzYeah alongide PS and STS, there is a proper funky vibe to this one which will have your head bobbin’ from start to finish. Here we get a crackin’ display of lyricism as the guys go all in with a delivery that is as sharp as a sharks tooth, and these guys will circle and attack with the force of a megalodon and a bite to match. Heavy strings, keys, flute and a wicked drum beat form the boom bap background of Bars Over Bullshit. PS impresses the importance of the quality of bars on this one. Everything you say has to be on point and delivered with laser like precision, not only that, but it has to be entertaining or be relatable and have purpose. You might have the flows but, if you’re not saying anything and people can’t relate, it’s just bullshit. DJ TAG rounds off the track by slicing up the competition with razor-sharp cuts. Next up, jazzy horns and a funky beat bring an energy infused, up lifting sound that will get you moving. PS becomes the Bone Collector, in this case collecting the bones of those who mumble along the way. Funk bass and drums merge to create the perfect stage for PS to play with words, moulding them into form that suits his needs. There is dash of fun and a sprinkling of braggadocio here too, but when the rhymes are this good does it always matter what they say? Maybe not but, what does matter is that there are some that are gonna get hit by the Shapnel…

Pathological Rhymer hits with an almost soundtrack like vibe coming from guitars, horns, and a solid beat but, before we know it the beat switches to a more chilled sound of strings of a heavy drumbeat. In a second you flip from bouncing to a lyric focused vibe as PS switches up his flows and demonstrates the kind of rap braggadocio that Hip Hop music is based on, something that takes me back to the days when rappers would show how ‘bad’ they were just by bigging themselves up with cleaver lines of intricate verbal mastery. Time Bandits finds Prevmarco joining PS, with STS providing a beat that pounds every part of your awareness, making every cell in your body vibrate with those heavy drums. Here PS and Prev spin tales around the very concept of time and what it means to us as we navigate life journey. Not just that you also get a sense that its not all just the concept of time but, what you can do with the time you have. Both of these concepts can give you much to think over but, don’t spend to much time on that right now as its time to move on. Something We Do is up next and finds STS hitting us with an intro of horns before dropping a solid boom bap beat with keys in the background. This sounds gets you bouncing around like you were at a block party in the eighties. PS drops the kind of words that resonate so deeply, especially with us older heads who grew up with this sound. He gives us his take on what it is to live that in the real Hip Hop vibe and noting what the teacha said, that rap is something you do. As I sit here with my mind cast back to the 1980’s, STS drops the beat for Backspin which has that authentic breakin’ vibe; PS also drops in with a few lines dedicated to all the B-Boys and B-Girls worldwide. It reinforces those memories taking you back but also makes you think of the more recent conversations around Breakin’ and the Olympics, and made me think of one thing, as hard as they might try; they will never take the Hip Hop out of Breakin’ or the Breakin’ out of Hip Hop…

Moving into the final quarter of the album STS gets funky for The Brakes, another phrase that keeps my mind back in the days, the drums and funky guitars get your head nodding along. Not to be confused with the Breaks, which is something completely different in Hip Hop, no here it’s not about putting the brakes on, far from it in fact, PS keeps it going because there isn’t the time right here to stop, this is Hip Hop music and its gotta keep going, and the guys do that with This Is The Way, where the drumbeat takes the forefront with some faint guitar vibes floating in the periphery. It’s the RUN DMC sample on this one that gives you the focus for this one, PS literally expands on the notion of what it is to be an emcee and what they do, which is to just ‘rock the house.’ There is not much more you can say except that alongside the emcee, rocking the house is always completed with the DeeJay, nuff said. Into the album’s penultimate track and it’s time for a Revolution. This is really the albums outro of sorts as STS provides a chilled beat with guitars and keys. PS reminds us he can also drop lyrics that speak the truth and educate so, listen to what he has to say here, in just a few words, which is no less poignant than a verse or two. The album ends with a remix of the track Cotton Ball that PS and Prevmarco originally did with Mr Roka back last year. The Cotton Balls Remix finds STS providing a pounding beat backed by bass and sounds that could a Guzheng harp and even a chavichord, which mixes together giving this one a deep mafioso gangster feel. This one is aimed fairly and squarely at those who make themselves out as something they are not. When you think about it, it’s not just those kinda wanna be gangsters or those talking the talk when they are not walking the walk, this could be aimed at anyone who choses to be fake or a fraud.

 

I sum up so many albums, EP’s and the like by going deeply into the messages behind them and the effects the music can have on people but, it was nice to have an album where there was not so much of that. Who We Are is one of those Hip Hop albums that sounds so great today but, has its heart back in the dawn of Hip Hop.

Together Peter Sparker and STS have crafted an album that encapsulates the feel and energy of the 1980’s Hip Hop and Rap sound, and they have planted it in the now, and in doing that they are opening up a whole new era to that real Hip Hop vibe but, they are also speaking to those of us who grew up with Hip Hop and enjoyed those early days of Hip Hop, electro and rap braggadocio, it truly takes you back and sends shivers up your spine. Peter Sparker has a great voice and his flows and wordplay really grab you and hold you throughout every track and from top to bottom of the album. There is no dipping into more modern rap flows and styles as he uses straight up rap bars for the real Hip Hop heads. The production from STS just pounds boom bap into your mind all the way but, with little nods to some other genres along the way but, he gives us a sound that is rooted in that real Hip Hop vibe.

I could spend hours and more paragraphs on just how much I loved this album and go into far more detail about the vocals and the production and the solid guest appearances, but, the best way for you get that feeling is not from me writing page after page, it’s by getting this on your speakers and really enjoying everything it is. The features from HellzYeah, Prevmarco and DJ TAG all complement this album by adding just the right added essence to each track of what is an essential party vibe Hip Hop album. This in one you simply just have to enjoy and feel to the fullest. It is a statement that real Hip Hop music is far from dead, it might have retreated to the underground but, there it is free to be what it is supposed to be, and that is a sound for the people by the people.

 

Who We Are is out today on Hidden Hobby Records and keep watch for a possible limited-edition vinyl run…

My huge thanks to STS for the initial contact and bringing this to my attention. An additional shout out to Montener The Menace for giving me the chance to review this for his label too.

Time for me to be out,

See ya,

Steve.

LINKS

Get your copy of the album here:

https://hiddenhobbyrecords.bandcamp.com/album/peter-sparker-sts-who-we-are

Peter Sparker on Instagram:

https://www.instagram.com/therealpetersparker/

STS on Instagram:

https://www.instagram.com/skyrock_sts_/

Hidden Hobby Records on Instagram:

https://www.instagram.com/hidden_hobby_records/

 

Album Review: Overview Effect by FR4NKIE

 

Overview Effect

By

FR4NKIE

 

Overview Effect is the latest release from Manchester, UK Grime artist FR4NKIE. This album is his sophomore release and will mark the first time I have reviewed a full album from the grime genre. The album includes features from underground artists including LPNoID, Illy From Da NW Side, Cosmo Laurie, Trapson, Dizmack, Masovelli, and Manchester Hypes. Production comes from Trolley Snatcha and promises to blend Road Rap and Grime influences with such elements as Folk and Guitar music as a backdrop to showcase FR4NKIE’s versatility.

Now before I get into the album it seems only right that I detail some background on FR4NKIE for you. The Manchester based artist was formerly know by the name XP Burstgang, and over the years he has achieved international recognition for his contributions to the Grime scene. Alongside collaborations with the likes of Mike Skinner and President T, his career has also seen victories in Lord of the Mics and Red Bull’s Grime-A-Side. Although his roots are in the Grime scene, he has also built a diverse discography that spans the likes of Trap, Drill, and some genre-defying ballads. This latest release draws on the experience gained throughout his career to bring a release that has a well-rounded and mature approach to street music.

So, with that said, let’s get into Overview Effect…

The album kicks off with To Be Frank, featuring LPNoID, the organ notes ease you into this one but, soon the heavy bass hits, ramping up the energy but, retaining those organ notes which bring an eerie and almost dark quality. This one see’s FR4NKIE taking us into the realities of street life in the UK, hence the dark tone of the track, because there are so many aspects of the street life in the UK cites that bring pain and violence, all in the name of making money. With those visions of the stark reality imprinted on your awareness, Brick In The Wall brings a sound that merges that street beat mixed with the folk guitar vibe that has a reflective edge to it. There is a touching element to this track which looks deeply at the struggles of living in a society that is set-up to keep most of us down. In our desire to be all we can be and to rebel against those who judge us, we often lose friends and loved ones along the way but, it is their memories that often keep us striving for more, rather than giving in and choosing to take that one step that will make us fall. Next up is Simon Says which features Illy from da NWside. Here the sound is back to that more classic grime sound with heavy bass, but with a mix of guitar and electronic vibes that tweak your nerves, just a little. The lyrics are delivered with more than a drop of venom and seem to be a demonstration of lyrical prowess of both artists. There is also a heavy dose of that street mentality and vibe here reflecting the reality of what many refuse to see.

Another Day In Britain keeps that grime vibe but, there are elements to the sound that really give this one a reflective air to it. It’s the kind of focused sound that helps you pay attention to what is being said, and here FR4NKIE has a lot to say; it’s a track that really mirrors the voice of so many of us these days. It might just seem like this is just a shot across the bow of the establishment but, more than that, it is the voice of the youth, the voice of those who are unheard in society. This is the voice that needs to be heard by those who refuse and chose not to listen. Janis Joplin merges the heavy bass grime sound with some melodic organ notes, which has the strange effect of making you almost just want to sit back, close your eyes, and listen. There are elements here that make this one seem like a homage to the late great blues singer. However, as you listen there is much about FR4NKIE’s own musical journey here too and that could well link to the inspiration of Janis. Guitars take the forefront on Benzema producing this melodic and atmospheric sound that you can easily lose yourself in. This one seems to flip the idea of the classic ballad as FR4NKIE brings us a track which is seemingly focused on being the best, which is mirrored, metaphorically speaking, by Real Madrid’s Karim Banzema and his achievement of winning the Ballon D’or in football.

Walk Through Fire features Cosmo Laurie and Trapson alongside FR4NKIE over a beat that has a more LoFi Hip Hop vibe with head nod drums, bass guitar and a multi-layered sound that has a chilled quality. This one really seems to take a look at the key experiences we have in growing up, the kind of situations that shape and mould us into who we are, these situations are not always easy but, we remember them and the strength they gave us to get to where we are. With that retrospective vibe still present the sound of rain enters our awareness with easy going keys, when the drum beat hits, the sound still retains a chilled element for One Of Them. This one has that ballad feel to it as FR4NKIE take us on a self-reflective journey that looks at mental health and how we can be too hard on ourselves, which is very much a result of our life experiences in growing up. The message here is really to lighten up and be easy on ourselves, this way we can be more our true selves. Is That You Yeah features Dizmack and Masovelli and has a more heavy bass sound to it which is underpinned by synth and strings to provide a more energetic vibe. This one was far more difficult to read as there was a lot of reflective thoughts and visions of how people are treated but, there is also a lot about striving to be better and believing in yourself.

We move into the final two tracks of the album with the penultimate track Mess, featuring Manchester Hypes, this one has a heavy bassline backed by electronic notes that play with your awareness, which works well with the titles of the track. Living in an urban environment seems to be getting worse and this track speaks on that by noting you see around you or experience day-to-day in the cities. There is violence on the rise, rubbish, pain and suffering all around, it’s a mess but, there is a yin and yang to everything and its not doom and gloom but, it us that has the power to change it. Moving into the final track, On My Own has guitar that takes the to the forefront alongside the drumbeat. Once more there is a reflective vibe to this one, which fits perfectly here with the deeply personal nature of the track. FR4NKIE looks back over some of his toughest struggles and shows how he work through these on his own by drawing on his internal strength to get him through.

 

Firstly, I have to backtrack a bit here. Earlier, in my intro, I noted this was the first grime album I would have reviewed But, after listening to the full album it is clear that this is not just a grime album, there are influences here from many genres including grime, Hip Hop, drill, trap and even EDM, making this a cross-genre album that may very well appeal to many different ears.

This was also a great challenge for me and was definitely not the easiest album I have ever reviewed. There are some musical influences here that are not genres that I ordinarily listen to, and I have never really gelled with the likes of EDM, for example, it was just a challenge to immerse myself in something different and find my own way to interpret what I was hearing. It is clear from the many influences that FR4NKIE is an accomplished artist who is more than able to mix up his rap styles and flows, using his chosen wordplay style to great effect to convey his messages. The use of his own personal experiences, some of which are deeply personal, gives this one an authentic and relatable edge, something that will appeal to many people even if the sound is not immediately to their liking.

There are some great features here and although none of the names are familiar to me, everyone of them works well on the individual tracks and alongside FR4NKIE. There are no points where anyone feels out of place, and they all display their own individual and unique rap talent.

The production is solid and provides the perfect musical backdrop. The wealth of influences really comes through here and shows an adept quality by Trolley Snatcha that reflects someone who has collaborated with the likes of Chase & Status and Flux Pavillion but, is willing to go beyond the type of music that he would normally be associated with and produce some more experimental work.

The title of the album, Overview Effect, comes from an experience that is described by astronauts, while in space and looking back at earth. Described as “a cognitive shift” and “a state of awe with self-transcendent qualities”, you can see why this was chosen as the title as FR4NKIE has put his experiences across life and the challenges of the working class in the UK today into and musical trip that touches on such themes as drug abuse and falling into a life of crime, alongside his musical journey and the cross genre sounds; something which, to me, is as much a cognitive shift as you can get in the underground music scene.

I definitely recommend you give this a listen, because I know there are people who are gonna love this but, also, as much as it was a challenge to me to step outside my normal box and listen to something completely different, I would say give it a listen before you judge it based solely on you own musical tastes, because you might be surprised.

The Overview Effect is released independently and is out now on all streaming platforms.

My thanks to William from the BH.WAV brand for bringing this one to my attention.

 

I’ll see ya next time,

Steve

LINKS

Grab the album on Bandcamp Here:

https://fr4nkie.bandcamp.com/album/the-overview-effect

Link for streaming sites, socials and more:

https://linktr.ee/fr4nkie365

VIDEOS

Another Day In Britain