This week I welcome Cardiff’s Blaktrix back to the blog who
teams up with Brighton based producer Relense (who has also featured on the blog before) to bring us the Rising Sun EP.
The promo I received for this EP promises that it to be a
dark, reflective, and unapologetically different 3-track EP by two artists
that are clearly in the zone right now. Atmospheric, dark introspective beats
expertly crafted by Relense meet Blaktrix signature rhyme style that as he says
'lets it all out and lays the art' combine to create a 3 track EP you can
listen to as one.
With that on my mind, I’m not gonna mess about here but get
straight into it.
We kick things off with the title track Rising Sun.
Relense gives us a beat which is almost softened into the background by keys
and double bass notes, giving this one a deep vibe that you can’t help but,
subtly nod your head to. With this one, Blaktrix uses his skilful word play to
bounce us between lines that have a more political edge and those where the
vibe has a far more personal feel. There is a depth here that seems to
transport you beyond those political and personal aspects; giving you a vision
in your mind that makes you see that no matter the darkness that you see around
you, there is always a way to bring the light and raise the energies to a more
positive level.
Next up is Say My Name, where Relense brings a beat
where the drums are sparce but, still carries you along while the strings and
bass merge to create this atmospheric air that gives you a laid-back edge
bringing focus to the vocals. Blaktrix gives us words that speak on his love of
the craft and the aplomb with which he delivers every word, line and bar. This
is telling it like it is, without the braggadocio, and who are we to disagree;
at the end of the day, it’s not about the names you can drop the realness in
the words that you do say…
The EP rounds off with Soul Blade and Relense brings
a beat that raises the adrenaline levels with a heavier sound. The drums boom
and the strings and guitars produce a sound that you feel throughout your
entire body. Blaktrix goes in hard on AI and the idea that we could be living
in a simulated reality where nothing is as it appears and most of earth’s
inhabitants are asleep to what is truly happening around them but, it is
looking deep within and finding your own Soul Blade that can help you break
free of this false reality, and see the true reality in which you exist.
What is instantly apparent when listening to this is the
fact that you can really relate to everything that is said here and the deep
vibes created by each track. Be it seeking the light from the darkness and
creating your own light when you unite with another or seeing those who choose
to drop big names instead of being truthful in the words they speak or breaking
free of the false reality that is perpetrated by the media and the powers that
be.
Relense brings some flawless production that instantly
creates the perfect sound scapes for the words of Blaktrix. Each beat is
fundamentally anchored in the Hip Hop sound but, he brings an atmospheric
quality to each that allows to really immerse yourself into what you are
hearing; and this is gives and extra depth to the skilful and intricate
wordplay from Blaktrix.
Blaktrix gives these deep lyrics that seem almost too
complex at times but, are also matter of fact in the message they deliver when
you take the time to truly listen to what is being said. His voice has a
quality and depth to it that makes you feel that what he bringing is personal
view of what he sees around him, daily. But, at the same time, he could be
speaking on the experiences of one of us at the same time.
Overall, the Rising Sun EP delivers deep and
relatable content that is delivered in high quality, both musically and
lyrically. Regardless of whether you are listening to this one as the sun sets,
rises, or as the world passes you by in the car, you won’t be able to escape
the messages within, and it will be one you will come back to time and again.
Big shout also goes out to the one Rola who mixed, mastered, and engineered the whole EP.
The Rising Sun EP is out everywhere from today.
Huge thanks to Blaktrix for giving me the chance to bring
this one to you.
Anyone who is a regular reader of the blog will be familiar
with the Daniels work as I have featured his production on his instrumental
album Carmen Suite (2021) and his work alongside Anyway Tha God on Allow God To
Interject – Daniel Niles Remix (2021) and the single Mind Melt (2024).
This latest offering is limited edition cassette promo that
features six remixes that Daniel has produced. The release is strictly limited
to the cassette, with no plans to release them digitally. So, you might want to
grab one of these while they are still out there…
Reviewing remix projects is always a challenge, especially
if you are not familiar with all the tracks. So, as I want to give you my
honest opinion here, I am going to do my best to check the original prior to
reviewing the remix so that I can give you an idea of how they compare.
So, I’m gonna dive straight in with he first track, which is
Best Stop Ya Crying. Now I do know this track as it featured on Daniels
remix project for Anyway Tha God, Allow God To Interject. Now, I have
not been able to find a copy of the original but, here is what I said about
that 2021 remix from Daniel. The harmonica, piano, and drums on Best
Stop Ya Crying creates a sound that seems to tug at your nerves a
little and this whole track seemed to speak on how people react when things
don’t go their way. It’s like the old saying, don’t cry over spilled milk or in
our current society, don’t start complaining about the actions of a government
that you voted for. Here Daniel brings a far funkier sound, with head nod
drums, tambourine, other percussion sounds and this wickedly funky bass. All
this mashes together to bring a sound that gets you moving; while at the same
time not taking anything away for Anyway Tha God’s vocals which still have the
same impact and as they did several years back.
The second track comes from Billie Splyff (aka Mista Spyce
of The Brotherhood) and is Tek No Nonsense. Daniel produced the original
of this track which featured on 2021’s Sorry For The Wait album. The
original had a solid boom bap style beat alongside these organ notes that gave
the whole thing a quite mind bending sound. For the remix, Daniel has kept the
heavy drumbeat but, kept the mind bending sound with some keys and other sounds
that does mess with your mind, just like the original. Billie Splyff takes no
prisoners here as the track is all about, as the title suggests, taking no nonsense,
whether it is from scene or those who object to smoking a certain plant. The
wordplay reflects what the track is all about and this hot new remix is one
that is likely to be on more that a few playlists, if you can grab a copy that
is.
Up next, is another track that I know well and have
reviewed; High Noon by Montener The Menace featuring Masta Ace, Rah
Digga, Wordsworth and Fatlip, from the album Anyone Home (2021). My
review of the original went like this: Montener the Menace has formed a rag
tag group of Hip-Hop outlaws with Masta Ace, Rah Digga, Wordsworth (outlaws)
and Fatlip (sheriff). Now the line may blur as to which side of the law they
stand on, but they are gonna be letting off from all barrels or chambers on
those who have the nerve to cross them, as they stand for oppressed against the
oppressors. The straight up head nod beat laced with strings comes from Wounded
Buffalo Beats and really is a track that is more than just a posse cut and
could well be ‘The Symphony’ for a new era. For this new remix Daniel has
gone for a solid head nod drumbeat, which this track demands, and has backed
that with a bass note and a vocal sample that seems to have a middle eastern
sound to it. This changes the tone of the track, which at first listen I was
not sure worked but, the more I have listened, it has kinda grown on me. The
vocals still hit as they did on the original but, here the remix almost gives
the track a reflective edge, as if someone is reminiscing over an experience
past.
Clear The Space by Noddegamra is one I am not
familiar with and comes from the 2021 EP of the same name, which was originally
recorded back in 2003 by Slough MC Noddegamra and producer Big Chill. In 2021
Daniel, who is the nephew of Big Chill (R.I.P.), rediscovered the original
acapellas and remixed the eight track EP. That 2021 version is a proper boom
bap track with horns, that gets your head nodding. The track focuses on
Noddegamra bringing a bit of braggadocio on who he is and quality of his rap
game. The wordplay is solid too and it really surprises me that this one seems
to have gone over the heads of so many and deserves for attention, which could
well happen with this remix. For this new remix Daniel gives the track a real
heavy sound with a banger of a beat that ramps up the adrenaline levels and is,
if I dare say it, one of the highlights here. Not only should this one make you
want to seek out the EP and search for more from Noddegamra but, also Daniel
does a cracking job of paying homage to his uncle ‘Big Chil’ who sadly passed
away earlier this year, and I can’t think of a more poignant way for honouring
someone’s memory than this.
The penultimate remix here comes in the form of the track The
Phantasm Pt 2 from the album 7th(2022). Daniel had
originally been asked to do a remix for the 7th Remix Edition
but, when that remix didn’t quite make the final cut, he used the acapella to
produce this new remix. The original was produced by 7th Dan and has
a solid drumbeat that is backed by piano giving the whole thing this sound you
can’t help to vibe to while DSOTM create a track with cleaver lyrics and
wordplay that you the idea you have just become embroiled in a living
nightmare. Daniels new remix keeps that nightmare vibe with a heavy beat over
bass, horns, and electronic sounds that grab your awareness and toy with your
nerves once more.
The final remix here is Nile Flow from the DTN
Collective featuring Who Dat and Billie Splyff. The DTN Collective (Dantian
Collective) is comprised of KG-Chi, Mista-E, Zedi, AnyWay Tha God, and Ayem and
the track Nile Flow comes from their album A.S.K.M. (2024). The original was
produced by Daniel and features cuts from Sub One. That Original has a banging
boom bap beat with keys and strings that all merged to give you a sound that
got you moving while also testing your nerves. This one is a display of the emcee’s
wordplay and lyrical prowess, one to sit back and enjoy, while the focus is on
the words flowing effortlessly like water. For the brand new remix, Daniel
brings a solid and heavy boom bap beat that gets you moving from the get-go.
There is a synth sound here that gives this one a Carpenter style sound that
only adds to the vibe of this one, taking nothing away from the vibe of the
original but elevating it to another level.
What can I say overall about this one?
I have to say that I have always loved the art of the remix.
I grew up in the 80’s when the remix was a huge thing, and you would buy 12”
singles just to get various remixes. The remix can often change the vibe and
sound of a track and there are times when a remix will work and times when it
does not. I have to say I’m not a huge fan of more modern genre’s making
remixes of older tracks, especially when it comes to DnB or EDM etc. However,
what we get with Sound Library 2025 Promo Vol. 1 is a perfect display of
how to do it properly. Here Daniel Niles takes six tracks, some of which he
himself originally produced and some where he is bringing a whole new take on
an original production. He skilfully brings a new sound to each track, either
keeping the overall vibe of the original, or completely giving it a whole new
sound that, while keeping the essence of the original tracks meaning, brings a
new vibe that takes the meaning in a different direction.
Another thing to consider here is that the cassette comes with
the vocal versions on the A-Side and the instrumental versions on the B-Side.
As I have said many times before, having the instrumental version of a track is
something that I always enjoy as a sound scape that is free of vocals can take
you a million different places in your mind, and there is always the chance too
that these instrumentals give you some inspiration for your own creative
abilities. It’s well worth taking the time to check them out, in my humble
opinion.
You can tell that Daniel has a great ear for the Hip Hop
sound and has the production skills to bring new life and direction to tracks
that you might be familiar with and those you might not be. This release is one
of those rare underground gems that won’t be out there for all to own. Rare
promo items can be among some of the most popular and expensive things to track
down and I have no doubt that Sound Library 2025 Promo Vol. 1 has the
potential to be one of those gems, in terms of Hip Hop music.
I suggest that if like collecting those rarities, then this
one should be one you look to get hold of before they disappear and the price
skyrockets.
Update, as I get this post ready to go live, I have just found out that these have sold out. Looks like you may just have take my word for it on the content...
Huge thanks to Daniel Niles for giving me the chance to
bring you my take of this one.
This week we have one of the latest releases from the UK
label Gold On The Mixer and also sees the return of Deeq to the blog who I
first featured way back in 2021 as part of Flooded Hallways alongside Nemrot.
This time we find Deeq partnering with the legendary figure of Farma G (Task
Force) to bring us the album Salamander.
Salamander sees Deeq taking on Vocal duties as well
as recording and artwork, with Farma G providing the production. There are
vocal features from EF Knows, Farma G, Evolucian, and FlowTecs, with the whole
project mixed and mastered by Zatoichi’s Ears.
Released at the end of February this year, the album is ten
tracks deep and has already seen the vinyl version sold out here in the UK. So,
the best thing I can do now is to take you on a trip through the album and give
you my thoughts…
We begin our journey with Porcelain, The intro to
this one has you mind spinning for a few seconds, wondering where its gonna
take you but, soon enough the heavy beat kicks in with these organ notes and
your head gets to nodding. There is a depth to this one too, and as you listen
to Deeq’s words, you realise why it has the title it does, because this one
seems to refer to the fragile nature of things, from everything that you build,
to society around you and the very nature of the planet you live on. From those
thoughts of the fragile nature of things, we move onto English Malady,
and from the title you get an instant feeling as to where this one might be
going. Farma’s beat incorporates strings into a heavy drumbeat, this brings a
vibe that has a weight to it, something seeps into the core of your being. As
you listen you really get the feeling this is a heart felt message that speaks
on the state of this island we live on. A tiny island but, a superpower on the
world stage where the powers that be will do anything to maintain that, even at
a cost to those who live here. In fact, the message is so deep here that you
could talk for hours about the ramifications of what truly ails this country.
With your mind still spinning, it’s time for EF Knows to make his first
appearance on All That Burns in Not Consumed. Here Farma brings Strings
and harpsichord as the main sound over the nice head nod beat. This gives this
one a more relaxed feel which eases the heaviness somewhat and takes the things
a bit more upbeat. Deeq and EF Knows bring vocals that bring an uplifting edge
as you get the feeling this one speaks on the fact that no matter the fire that
burns in any aspect of your life, there is always something left to build on,
to help you rise from the ashes once again. It is a reminder that you are
always stronger that you realise, even if you do hit rock bottom, you are still
here to climb up once more. As those thoughts rise in your mind, it’s time to
more forward as Deeq is joined by Farma G, EF Knows, and Evolucian on Grey-Sky
Thinking. Horns, strings and keys all merge over the beat to create a sound
that has this big, almost soundtrack kinda sound that brings an energy that
seems to form in your heart centre and then fill your entire being. This one
has the posse cut vibe about it and is one of those to sit back and enjoy,
because here its all about the electric wordplay being demonstrated by each
emcee, something that just leaves you buzzing when the time is up. We have
reached the end of side A, for those listening on the vinyl, and we do that
with Pyrrhic Victory, Stings and keys all come together on a pounding
beat, bringing a sound that, once more, has a heavy vibe to it. As you listen
to the lyrics, the deep aspect that is infused in the sound and the words
really hits home and you get this sense that everything feels like a hollow
victory and you research the meaning of the title, and this makes you
understand things more as a Pyrrhic Victory is one where cost to the victor
means it is more like a defeat. This makes you listen more intently, and you
realise that life does seem to go this way, especially in the current state of
society, there always seems to be something that takes away from the happiness
you feel each day. I feel the message here is to not put yourself in that
position and do your best not to allow things to get to you…
So, for the vinyl heads among you, its time to flip to side
B, and for the rest of you; next up is Guilty, where the sound is far
more uplifting, with guitars and keys coming together with the beat to get you
moving and listening intently. Deeq brings us a track that speaks on life, love
and personal experiences that lay open all the things he is guilty of, good or
bad. There is a real sense that this one is something we canal relate to in
some way and fills you with a knowing that we can all change and find our best
way forward. Next up is the albums title track, Salamander, which sees
Deeq joined by EF Knows and FlowTecs. This one has a heavy beat with horns and
electronic sounds that merge to give us a mind bending sound. Listening to this
might take you a while to get a feel for what the track is about and there is a
good chance you might get something different to me. I really felt there was
this aspect that was all about constantly reinventing yourself, shedding your old
skin as you are constantly bombarded by the energy of the world around you.
Never let that negative energy seep to far into you before you shed your skin
and begin to face the world anew. Madame Guillotine has the final
feature from EF Knows, and final feature of the album. Here the beat continues
to uplift us with strings and vocal samples bringing a sound that really lifts
you up. However, the lyrics have you questioning if you should feel up lifted
here as it almost feels like a love song to Guillotine itself. However, my
thoughts drifted to all the moments when you come face-to-face with the outcome
of your own actions, facing up to the choices you made and that you have to
come to terms with that in some way. Its interesting where music takes you
sometimes. As we move into the last couple of tracks, the penultimate track is Alone
With Everybody which has infectious sound of drum beat and piano, which is
one of those sounds that has an emotive quality that just seems to touch you
deeply. Sometimes when you here an emcee talk about how they see themselves,
there is a certain amount of braggadocio involved; and to a certain extent it
appears so here but, as you listen, it almost feels like you are listening to a
story of a legendary emcee who is just trying to do there thing and be at
peace. It made me think of the move John Wick, except here we have an emcee who
others will come for but, id one you really just want to leave alone, because
if pushed they will do what needs to be done. The final track here is Godhead,
the beat is heavy and laced with guitars, strings, and piano notes. The outcome
is another sound that can be felt through every ounce of your body. With the
references to Romeo and Juliet here it took me a little while to understand
what I was feeling on this one. But, one I had listened a few times it felt to
me like there was a lot here about the battle of good and evil, love and hate,
but, also there was something that kept saying to me the battle of constantly
looking outside for validation and the answers when your own validation should
come from within and the answers depend on the questions you ask. It was a
great way to end the album leaving you with so much to think about.
So, overall, this is an extremely good album and one that
you should give the time to and properly listen to. Now, I could end it there
but, aside from what I have already written above, what makes this album that
good?
First up you have Deeq who crafts his lyrics and wordplay
with a deep intellectual ability that makes you want to listen and to
understand and feel what is being said. But it is not just about his crafting
of the words but, also his delivery; and you really get the sense that there is
a lot of heart and emotion put into every word of every verse, and this gives a
depth to every track, regardless of the subject matter. He brings you words
that not only twist and turn in the mind but, also elicit an energetic response
that you feel, showing you the conviction he has in his craft and the message
he seeks to bring with it.
Secondly, you have the quality of production from Farma G,
who just seems to be able to bring this stunning musical depth to everything he
touches, and here it is no exception. Every track displays a sound that mirrors
the emotive aspect of the lyrics, providing the perfect platform for Deeq to
deliver. What this does overall, is create Hip Hop music that has a soul to it
and one that is firmly rooted in a way that allows you to feel it with every
inch of your body and not just in your mind.
So, together these two work so well together and it seems
like this album was meant to happen. It brings both a pleasurable listening
experience and one that is easy to associate with. Plus, if you really take the
time to listen in depth here, you might just find that it touches you in ways
you did not expect.
In my opinion, Salamander is a solid Hip Hop album that
brings an emotive aspect you simply can’t ignore. It might say different things
to you than it did to me but, then that is the pleasure of good music as it
speaks to you in the moment, whenever that moment is you need to hear it.
Salamander by Deeq X Farma G is out now on Gold On The
Mixer.
My huge thanks to Deeq for the chance to bring you this one.
The Wreckage is the hot new album on AE Productions out of
Bristol and is brought to us from Create-A-Mess, otherwise known as the UK’s
own, Jonny Cuba (Dynamic Syncopation, Soundsci).
Jonny’s pedigree as a producer on the Hip Hop scene, knows
almost no bounds and has seen him work with the likes of Mass Influence, Chill
Rob G, Apathy, EV.ON, Juice Aleem, Phi Life Cypher and a great many more
besides. He formed Soundsci in 2009 with Ollie Teeba (Herbaliser) and Audessey
aka Jack Jones (Mass Influence), and over time the crew would expand and see
Oxygen and U-George come onboard for the releases like Soundsational (Ubiquity
Records) and My Boosey Weighs a Ton (Cavendish Library). Emcee Supastition
would also join the crew for their final LP, Walk The Earth (Fresh Pressings).
It was following this final release from Soundsci that Jonny
would go on to help his Soundsci crew mates U-George, Ollie Teeba and Jack
Jones on their solo projects. As time went by it was only right that Jonny
should release his own solo project, and under the moniker of Create-A-Mess he
has done just that. Utilising his bold and intricate production style and
wealth of unheard beats, breaks and samples; plus, a stunning line-up of Emcees
that include, J Scienide, Eddie Meeks, Ghettosocks, Nilla, Emskee, Jesus Mason,
and his Soundsci brothers: Jack Jones, U-George and Oxygen, with all cuts and
sctratches coming from Ollie Teeba.
Now, with all that considered, there is only one thing left
for me to do, and that is to get into this one…
This album is eight tracks deep and kicks off with Clues
which features Jesus Mason and Emskee on vocal duties. This one gets your head
nodding from the get-go as the drum beat mixes with bass and other elements to
give you this sound that you don’t just enjoy as Hip Hop but, it does seem to
have this almost hypnotic edge to it. Jesus and Emskee trade verses and provide
a solid display of wordplay that, as you listen to the metaphors and more, give
you some clue as to their pedigree on the mic. Next, it is the turn of
J.Scienide and Eddie Meeks to step up to the mic for Denmark Hill. Here
we find Create-A-Mess getting funky with a slick mix of bass, keys, and strings
over a nice drum beat that continues that unconscious desire to move to the
sound. As you listen to the vocals on this one, there are plenty of references
to driving, motion and just the passing of everyday life, which does make you
think of the title and how this all works? Denmark Hill is a place in
Camberwell, London, and the lyrics really put in that place, watching the world
go by or being part of that rat race. From being rooted very much in the now,
we wonder what’s next as Planet People, with Oxygen and Emskee, could
keep us rooted here or take us elsewhere? The deep sound that has guitar vibes taking
the forefront over the beat, brings a sound that takes us beyond the confines
of the planet but, leaves us observing from above. Oxygen and Emskee skilfully
spin vocals that conjure up visions in your head of the past and present of the
human race, or should that be the human races? This one makes you think of the
good and the bad humans have perpetrated across its existence as the planet
people. As those thoughts float around your mind, Thaddius III sees
Thaddius Brown (U-George) join us on our journey. This one takes the beat down
a few notches in pace as the beat, bass, keys, and Maracas, create this sound
that takes your awareness down deep, while keeping just enough of your mind in
the now to oak up the vocals. Thaddeus Brown spins metaphors around in your
mind taking you to places you never thought you’d go but, its all rooted in the
streets. Is this just one persons experience or a conglomeration of many, you
decide or maybe Thaddius has already told you, you just need to listen a bit more…
Now, if you are listening to this on a physical copy, this
will be the moment you flip it over to the B-Side, and if you are listening on
digital, well just keep on listening because Fly Humans is up next with
Canadian emcee’s Ghettosocks and Nilla. This one bursts into you ears with cuts
and the kind of beat and sound that immediately gets your head nodding and your
adrenaline and energy levels rising, quickly. It’s good to have Ghettosocks and
Nilla back as they take us off into dark parallel dimension where its hard to
know if this is where monsters dwell, or if this is just a description of your
own mind. What is apparent is that this is Hip Hop of the highest order ya
feel. Its now time for Jack Jones to make his first appearance on Pull Ya
Card. The Beat, bass, cuts, and sonic vibes on this give it this funky
sound that takes you out the atmosphere. While you are bouncing to the sound
Jack Jones schools you to the finer points of wordplay, showing you how it
should be done by a true emcee. So, sit back and enjoy this one, because right
now its not about where you are, its where its at, and this is where it’s at.
As we move into the album’s penultimate track, Emskee returns for Listen
Son! Where the beat is funky, the guitars are funky, and the cuts are razor
sharp. This one keeps the motion in body and the needle to the groove. Emskee
has this voice that just takes you back to the old skool, and here he uses it
to great effect as the Hip Hop elder who is offering up pearls of wisdom to the
younger generation of up-and-coming emcees. The album ends with Grammaticals,
which features Jack Jones and Eddie Meeks on the mic. This one keeps that deep
funk vibe with a deep drum sound, alongside horns and bass. It really helps you
focus on the vocals here with a vibe that puts you in mind of sitting in a
smoky speakeasy, relaxing as the sounds pound and the lyrics infiltrate your
mind. Here its all about how the words flow with all the metaphors and similes
merging and creating the grammaticals.
The first thing that strikes you about this album is just
how much of a pleasure it is to listen to. From top to bottom, every track has
that vibe that just makes you want to move to the music. Not only that, but
when an album has this kind of vibe about it, it just makes the whole reviewing
and writing process a pleasure to as everything you want to say seems to flow,
just as the music and lyrics flow.
Now, I might not have written so much about this but, that’s
the beauty of this one, it is one of those albums where I simply need to set-up
the listening experience for you and the album does the rest. You might say
that about most, if not all albums but, there are those times when more just
works and the times when less is more, and this is the latter of those two.
Every beat that Create-A-Mess has produced here has that
pure Hip Hop sound. Yeah, there are elements of our sounds that come in but,
that has always been the beauty of Hip Hop, in that it can incorporate elements
of many other genres of music and then make it its own sound. It is plain to
see that Jonny Cuba draws on his years of experience to produce something that
has to be one of the stand-out Hip Hop albums of the year so far. Every guest
emcee here are on their A game, dropping some incredible verses that highlight
just how much of an enjoyable experience it must have been to write and record
to these beats.
This gives The Wreckage an overall vibe that is well crafted
and polished, plus takes the bar for 2025 and sets it at a high level and
invites anyone to do better. Now, it might not have been meant that way but, it
simply is just that good.
There is a saying that says, ‘You can never get enough of a
good thing’, and that applies to The Wreckage. Across the eight tracks,
this one clocks in at a little under twenty minutes, a runtime that feels more
like an EP. Having said that, it is the shear quality of this release that
sticks out. All eight tracks come packed with the kind of Hip Hop that makes
you feel every once of the pedigree that comes from Jonny’s experience on the
scene, and the same can e said of all those guest emcees, as everything here
flows with vibe that says everyone worked together in perfect harmony on this
one.
I can honestly say that this one should be on turntables,
tape machines and playlists for a good while to come. It is also worth pointing
out that Jonny Cuba also provided the Photography on the project with the
sleeve design coming from Mr Krum.
The Wreckage was released at the end of January this year on
Limited Vinyl, Cassette and on Digital. So, if you have not already checked
this one, then I suggest you do so now.
My humble thanks to J at ae Productions for giving me the
chance to bring this one to you.
Dead Earth 1.0 is the latest release from Weaponize
Records and comes from the hot new collective known as Dangerous Creatures.
The Dangerous Creatures are an “Open Universe collective
of musical creatives” were founded by the legendary emcee and producer from
the UK King Kashmere, and Essen (Germany) based producer Mimski. It is worth
just dropping a short piece about each of them before I go on.
King Kashmere has been a huge figure on the UK scene
for over twenty years, and during that time it has seen him create some of the
most innovative and boundary-breaking UK Hip Hop with his distinctive wordplay
and descriptive lyricism. Much of his work has been heavily influenced by his
love for Sci-Fi, comic books and Off-beat Culture.
Mimski literally exploded on the scene in 2021 with
her unique Lo-Fi production. This brought her an instant link with UK Hip Hop
and has since seen her work with most of the Uks top emcees. She always seeks
to ‘push the envelope’ of music production utilising ‘experimental techniques’
that bring a somewhat ‘bone-crunching’ production style. Dead Earth 1.0
will be her first produced work to be released on vinyl.
With Dangerous Creatures being a collective, there are some
incredible features on the album in the form of Joker Star, Alecs DeLarge, Dan
Peter Parker, Broomman, Ty Healy, Ramson Badbonez, Jazz T, Cappo, and Bigg Jus.
Dead Earth 1.0 has been on pre-sale but gets released digitally today, 7th
March with physical copies shipping as well. The album
clocks in at around 43 mins and is comprised of 13 original tracks and 3
remixes. Aside from the remixes all production comes from Mimski, and all
features aside, all lyrics come from King Kashmere. Cover art and design is by
the renowned US Graffiti and Poet-Graffiti artist Dalek aka James Marshall.
Now, with all that said, there is just one thing left for me
to do, and that is to take you on my take of what could well be a musical
journey through and beyond what you currently understand as spacetime…
We start our journey with Existence, a sonic masterpiece
that in underpinned by a solid beat. As you listen to this one it seems to mess
with your mind, taking all your thoughts about what existence might mean,
ripping them from the depths of your mind, shaking them up and then casting
them back again like some weird multi-universal game of Yahtzee. Welcome To
The Future brings us more of a head nod beat that backs a wealth of
electronic vibes which merge to easily carry your awareness along to vocals.
King Kashmere brings a bleak dystopian vison of a future that, once on a time,
might have seemed to be taking place in a parallel universe but, now we realise
that it’s not that far away and is only too real for us in the moment. Next, we
find Joker Star and Alecs DeLarge featuring on ZPM. The beat and its
elements hit you in a way that tweaks your nerves with a pulse, like heartbeat,
which is strangely engaging but, at the same time almost has you bringing your
hands to your head to keep your mind from exploding. The wordplay here causes
your perception of reality to implode, sucked into a blackhole, and spit out on
the other side into a reality you struggle to conceptualise. Now, if that
wasn’t enough, Dan Peter Parker joins proceedings for CTHULU. Sonic and
electronic elements combine with cuts and orchestral elements as Mimski takes
us into a space that opens your awareness to a reality that might be inhabited
by Lovecraftian entities. The vocals from Dan Peter Parker and King Kashmere
take you further into this dark reality, filling your awareness with mind
numbing visions of timeless entities that exist in a place you are now open to;
these creatures seek not to take your body but, to invade your mind and stretch
it a point that never quite breaks it, and just leaves you there…
Marduk brings a pounding beat that soon gives way to
a mixture of sonic sounds that surrounds your mind creating a clean slate which
is soon splashed with new visions for your mind to comprehend. Here, we are
opened to Babylonian gods and their voyages among the cosmoses. Could there be
possibilities of these gods being ancient astronauts who came to earth
millennia ago? Who knows but, here we are once more, opened up to new ideas and
visions of a past that impacts the future. Next up is the album’s title track, Dead
Earth which sees Broomman and Ty Healy briefly join us on our journey.
Mimski grabs our attention with another mind twisting sound scape of sonic
sounds that have you closing your eyes and allowing the words to focus your
mind. The wordplay drags you into another bleak view of the future; one where
you can only see though closed eyes and the visions the words paint in your
mind. The Dangerous Creatures Theme is brought to us in the company of
Ramson Badbonez and Jazz T. The bass is heavy as are the keys, the beat is
gritty and gets your head nodding and your adrenaline pumping. Here it’s all
about complex wordplay with similes and metaphors that seem to be born from a
time before the universe existed but, somehow encompass the present moment we
inhabit. Perhaps the Dangerous Creatures exist in the now but, are born of the
energy that birthed the universe in its current and other forms? Depending on
how you are listening to the album, Collapse is either the ending of the
first part of the journey or just a stepping stone on its continuation! This
short sonic interlude is comprised of a multitude of electronic elements that
merge, twist and expand, in a way that pulls you towards flipping from one side
to the next or just puts you into freefall for what’s about to come next…
Our journey continues with Entity which has this
electronic which seems to bring you back to earth in one moment, then in the
next you’re still floating among the stars; which one it is, is down to you the
listener and where you are in the moment, you are the entity. Oblivion 4000
features the legendary Cappo on a beat that has a definite boom bap feel but
with elements that give this a soundtrack vibe too that brings the adrenaline
to the surface once more. There seems to be two parts to this track as King
Kashmere gives us a look at the world around us and how that effects and
impacts our now and our future. The second part sees Cappo focus more on the
individual and how focusing on the self is more important that allowing
yourself to be affected by what come from the world around you. Bigg Jus joins
us on Nekron; the beat here has this boom bap element but, Mimski spins
these streams around it that pull and stretch your understanding of the musical
element you are hearing. We see comic lore deep in this one as Nekron is a DC
super villain who is the personification of death. This one is like putting a
comic book into musical form but, as you listen there are so many elements to
this that could so easily be reflected in situations we see unfolding in
society. Pranging out is another musical interlude that has Mimski
skilfully bringing a banging beat and then almost softening it into the
background as the electronic elements come to the forefront and bring this
sound which could find you travelling the depths of space or traversing the
depths of your dreamscapes…
Dead Earth (O.R.K.O Click Remix) is the first of
three remixes on the album. This remix is a heavy bass vibe that is tinged with
tubular bells, this creates a more oppressive air to the sound. This makes the
whole idea of a dead earth, that you can only get a vision of though the words
you hear, take on a far more desolate feel. The next remix is the Oblivion
4000 (Kashmere Remix ft Jazz T & Cappo) taking nothing away from the
message within the original, the beat here is fused with organ notes and keys
that give it a slightly darker edge; this gives more weight to the impact of
energy from the world around us and cements the idea that looking within is
critical for each of us. The final remix is the Welcome To The Future (Alecs
DeLarge Remix). This brings another edge to the vibe of the track; where
has a more chilled edge to things but, the use of the high paced cymbals and
explosion sounds, gives the whole thing a darker edge with something of Lo-Fi
Grime sound too. The album ends with Dead End, this is less of an outro
and more of a sonic / electronic vibe that seems to echo the very title of the
track. It feels very much like you find yourself at an impasse, wondering if
there is any way forward or if you should, in fact, go back the way you came…
Making your way through this album gives you a very real
sense of traversing different versions of reality that not only make you
question the notion of spacetime but, also give you a glimpse at the real
possibility of how music, words and frequencies could have an effect on your
perception of reality.
Dead Earth 1.0 is, without a doubt, a genre bending
album that takes the notion of Hip Hop to a very different level. Some might
even say it is not Hip Hop at all. However, the influence of Hip Hop is only
too clear to see here. Yes, it is true that Mimski brings a whole new depth of
production value to project, one that merges and fuses many different sounds in
that Lo-Fi way, creating an overall sound that has a dark, heavy edge to it.
Creating a sound like this works so well when it is the backdrop to what King
Kashmere brings in the way of vocals. What King Kashmere does here is to merge
all those eclectic influences and deliver something that seems to be as far
away from reality as it is close to reality by the use of extremely clever
wordplay and the use of similes and metaphors rooted in ancient mysticism,
comic book lore and stories from minds of classic authors. He then merges all
that with a deep knowledge of what is going on in the world around us, twisting
the narratives to take us beyond the now and throughout time.
This is definitely going to be one of the standout albums of
the year, not just because it has that genre bending sound but, also because it
has an experimental vibe that keeps you root in the now while allowing you to
drift off into other versions of reality. This is a very cleaver album that
will undoubtedly stand the test of time.
My advice here is to grab a copy now while you can, and get a
handle on where it might take you. The release comes in classic Black vinyl as well as Yellow vinyl and Ltd Cassette too. So, don't sleep as they won't be around forever.
I give my humble thanks to Guy at Weaponize Records for
bringing this one to my attention.
Now it’s back to reality and I’ll see you next time,
Having been away from the music for a couple of months for
personal reasons, it feels only right to kick off my eighth year of reviewing
by clearing up some projects that I did not get round to doing in 2024, and to kick
of 2025 I am bringing you an emcee from Washington D.C.
Mic Mountain is an Afro-Latino emcee and producer who comes
from Native American decent. From a young age he spent time in local studios in
the Washington area, honing his craft. His inspirations come from the likes of
RUN-DMC, A Tribe Called Quest, and Redman, to name just a few. He blends his
multi-cultural heritage with clever wordplay and striking metaphors that span
Hip Hop’s past and Future. He already has three mixtapes and eight solo albums
to his credit, including the one I will be reviewing here, with another in
production and slated for release later this year. Along his journey he has collaborated
with some of Hip Hop’s greats, including Mellow Man Ace, Psycho Les, Prince Po,
Thirstin Howl The 3rd, Tame One, Pace Won, Shabaam Sahdeeq, and many
more.
Triple Piragua is his seventh solo album and was released
back in August 2024. It boasts a Puerto Rican flavour throughout with a mixture
of Boom Bap, Reggaeton and Latin Trap. The Album features production not only
from himself but a wealth of other top producers including Domingo, Mr Scratch
Hook, Rkitech, Hanzo Bladez, Joey Dynomite, DJ Eldermayne, Yo S Elf for
TrakLite Productions, Starseed Beats, and A.J. Throwback. There are also a
number of notable guest artist appearances including Psycho Les (Beatnuts),
Chilo, 8ch2owens, Muñeca MC, The Microphone Prince, Thirstin Howl The 3rd,
godhead the General, Jigsama Bin Rhymin, Aïda, Shabaam Sahdeeq,
Nujericans, Fantazma, Kalashnikov Red, and Daso AfroCaribeño.
This album is some eighteen tracks deep so, its time for me
to get into this one and bring you my thoughts…
Triple Piragua is the third album in a series from Mic
Mountain (the former being Piragua and Mas Piragua) and gets its title from the
name of the Puerto Rican shaved ice desert. The album kicks off with the Triple
Piragua Intro (La Rhumba), Bringing in elements that celebrate the classic
dance, Mic Mountain drops a mixture of native Puerto Rican tongue alongside the
usual English rap vocals. Domingo provides a banging boom bap beat that, alongside
the vocals, immediately gets the blood and adrenaline pumping, making want to
move in an infectious way. Psycho Les of the legendary Beatnutz joins Mic
Mountain (who also produces) for Mucho Swing. This one brings a horn
heavy vibe over a solid drum beat and cuts which brings a smile and more
movement to your body. This one really gives you a huge party vibe as Psycho
Les and Mic Mountain go all in bringing you that Hispanic vibe, showing that these
guys are as at home swinging in the club, on the mic, and will also get to
swinging should you get out of line. Next up is Pastelones which
features Chilo and 8ch2owens with production from Domingo. Now, if I have got
the translation correct here, then this one translates to Paving Stones. The
beat has a heavy boom bap feel, some solid cuts, with the horns and percussion
than gives it that Puerta Rican edge. The pace of this one fuels the adrenaline
levels once more as the track celebrates life, honing your craft, and making
that money. Walking the path of life means there are a lot of stepping stones
you need to negotiate, and you can do it with a little heart and confidence in
who you are.
Puñetazo sees Muñeca
MC feature with production from Domingo. This one translates to Punch, and you
can feel that vibe in the way Domingo has crafted the beat and the horns, all
of which have a punchy feel to them. This one is all about those who act up,
thinking they are more than they truly are. The message here is that if you
gonna act all macho, then you better be able to back it up because the punches
that follow don’t always come from a fist. Calle Soul is produced by
Domingo and sees Mic Mountain on the first of several solo tracks. This one has
a real infectious vibe fuelled by piano, horns and wealth of percussion, all of
which come together into club infusion. If you look at the translation of Calle,
it means Street, so this one brings you that Street Soul. When you truly listen
you feel that come directly from personal experience, something that adds that
feel of authenticity to things. The soul of the streets means many things from
country to country and this one brings you a glimpse into that life through he
eyes of Mic Mountain. Next, we have the short Prince Po en La Casa
(Interlude) (or Prince Po in The House) which features production from Mic
Mountain. Double Bass, castanets, and a funky beat provide the backdrop for
Prince Po to drop some knowledge on you.
Bacardi (PR Rum) features The Microphone Prince and
Thirstin Howl the 3rd alongside production from Mr Scratch Hook. The
beat takes the forefront here and is heavy, alongside the cuts and horns, as
the other samples seem to be in the background. It gives the beat a laid-back
live sound that you can’t help but nod to. Here you are treated to three emcees
demonstrating their craft in two languages and showing just how accomplished
they are, even if the fuel is that Bacardi rum. No Guantes (or No
Gloves) features godhead The General and Jigsama Bin Rhymin, alongside Domingo
on production. The horns take the forefront here in frantic style, firing up
the adrenaline levels once more, as do the pace of the vocals. Here the gloves
are well and truly off as these three emcees continue the in the vein of the
last track as they display their rhyme styles with aplomb. Just watch out cos
if you duck the jab, you’re gonna get hit with the hook. As we approach the
halfway point of the album it’s time for Aïda and Shabaam Shadeeq to step up
while Rkiteck takes over production duties on El Pasito (The Step). Once
more the horns take the forefront here as the beat has a more relaxed edge to
it. As you listen to this one you realise that its all about the steps you
take, not just on the dancefloor but also those you take through life. Just as
you need to learn and be precise in the steps you take on the dancefloor, you
need to be just as precise with the steps you take in life. Can it be that
simple a message? Listen and see if you agree.
Sickologia features 8ch2owens with production from Hanzo
Bladez. The beat here is heavy but, there is the horns and keys underpinning it
that give this one an almost entirely different vibe from the rest of the album
with a far eastern edge. This departure from the album’s vibe works well here
with the focus taking a look at mental health, a subject that needs to have
more of a light shone on it and the more we see this, the more we are likely to
open up about our own struggles. After that brief departure from things, it’s
back to proceedings with What We Look Like? Where Joey Dynomite provides
production and the Nujericans feature alongside Mic Mountain. This one is more
upbeat boom bap with an almost orchestral edge to the sound of the horns. This
one is all about another solid display of wordplay, similes, and metaphors. For
me, here, its not about what you look like but, what you sound like, and this
sounds fresh all day long. Mountain Time (La Fin De Noche) or, if my
translation is correct, Mountain Time (The End of the Night) features
production from DJ Eldermayne brings in that Latin trap sound, which for me
anyway, gives this one a bit of a nerve tweaking sound. This track focuses on
Mic Mountain noticing a beautiful woman and his feelings and observations about
her and how he sees things going by the end of the night.
Baile Conmigo (Translated as Dance With Me) features Muñeca
MC and is produced by Mic Mountain. This track has far more of the native
tongue rap than other tracks on the album. Now I’m not going to say that I’m in
a place to be able to translate every word but, from the title, I can guess
that this one is all about seeing someone you like and asking them to come
dance with you. It’s an upbeat track that has an infectious vibe and is one of
those times that makes you realise that its all about soaking up the energy of
the music even if you do not understand the lyrics, you can just feel it. Oye
Nena translates to Hey Baby and features production from Yo S Elf for
TrakLite Productions. The beat is heavy on this one and backed by this mix of
flute and guitar, which, at first, seems a little like it does not work, but as
the vocals come in it all just works as one, getting you bouncing and nodding
along. Mic Mountain gives us an insight into what it is to truly love someone
and what you do for the love of that special someone. Que Bonita Bandera,
which translates to What A Beautiful Flag, features Fantasma and Kalashnikov
Red joining Mic Mountain (who also produces the track). The sound of this one
has horns, keys and more that reflects the sound of Puerto Rico. Its very
energetic and upbeat, giving you this feeling you just wanna move to it. Again,
this one has far more native tongue in the vocals but, there is a lot here
about being proud of where you are from as you move through life, doing what
you can to life your best life and be the best expression of who you truly are.
As the we move towards the last few tracks of the album,
next is the albums title track Triple Piragua. Produced by Starseed
Beats and featuring the harmonies of Daso AfroCaribeño, this one has that Latin
trap sound and sees Mic Mountain reflecting the flavour of the Puerto Rican
shaved ice desert in his lyrics. The penultimate track is Traviesa which
has a number of meanings when you look for a translation but, one of those is
Naughty, which does seem to fit here. Produced by A.J. Throwback this one has a
more soulful edge to it and sees Mic Mountain speaking on all the women he sees
around him. There is that playful side to this one, especially as I said the
translation is Naughty, which would kind of relate to the naughty side of those
women. I might not have this totally right here but, it does seem to fit but,
forgive me if I’m wrong here. The final track is the Triple Piragua Outro
Erex Remix (Bonus Track) which is produced by Mr Scratch Hook (aka Erex).
Back to the boom bap feel this one sees Mic Mountain wrap up the album in style
with short little outro with plenty of energy that will either leave you
wanting a rest or wanting more…
Overall, what can I say about this album?
Unless I am mistaken, this is the first time I have come
across Mic Mountain, that I can remember anyway but, after listening through
this album there are times you get a sense of the inspirations of the some of
those great names that I mentioned at the start but, there are also moments
when you a feel that the spirit of Big Pun is also in the house.
Mic Mountain is one of those emcees that has a way with
words, similes, and metaphors. He uses his multi-cultural heritage to get
effect and in such a way as it makes this album a very easy listen, even if you
are not multi-lingual. Apart from the incredible wordplay, there was a lot of
great references to his own personal experiences, something for me that is
invaluable as it allows you to connect to him through his words and gives those
words far more relatability.
Now, there are some musical styles that I’m not a personal
fan of, and I did find the Latin trap to be a little outside my comfort zone.
However, when you are an accomplish emcee and one of you aims is to bridge eras
of Hip Hop, then branching into other styles of rap is something you will do.
It might not be to everyone’s taste but, that’s not to say that the production
or wordplay suffers in anyway, it does not and I am sure that there will be
plenty who find that style to their liking as it does have an energy about it.
With the majority of the album having a boom bap quality to
it there is something in Triple Piragua to appeal to a great many ears. The
energy and sound have an uplifting quality about it from top to bottom with the
energy that is fused with the sound getting you moving throughout. If you are
one of those new to Mic Mountains work, then this one will give a cracking
introduction to the quality of his craft, definitely leaving you hungry for
more of his work and more Piragua.
The other thing about this album is something that I have
said a number of times but, it shows just how multi-cultural Hip Hop is. Not
just that it shows the versatility of the Hip Hop sound, in that you can
incorporate music from many cultures, and it always brings new depth to the
sound. Here Mic Mountain keeps that Puerta Rican Hip Hop fusion alive while
encompassing the newer sounds that keep the music new and fresh for the younger
ear.
My huge thanks to Mic Mountain for reaching out to me and
giving me this chance to review his work. From our conversations, he truly is a
stand-up guy and someone I have respect for off the back of this, and I for one
am looking forward to hearing more from him in the future.
A cracking way to kick off 2025.
Be seeing you all soon,
Peace out,
Steve.
Postscript:
I have decided to add an extra observation here to give you
all a little more depth.
Having had some brief email conversations with Mic Mountain,
it became apparent that some of the translations were not on point. Now, this
did not necessarily change the interpretation of those tracks but, one is worth
noting here just so you can see part of the process I go through and how the
research has something of an impact on my reviews.
For the track Pastelones, Mic Mountain gave me this “Pastelones
translates to Puerto Rican Lasagna made of fried plantains instead of Noodles
or Pasta. It’s a metaphor I made up for stacking Cheese or Cash”. I did
pick up on the metaphor of cash, maybe not in exactly the same way though. Had
I got this prior to the review then it might have changed my interpretation slightly,
but it would not have changed by much.
When I am reviewing music with song titles etc, in another
language, I always do my best to research the meanings of those titles. Because
it is important to get the best understanding of what I am hearing and how I
then interpret that. It does not always mean that I nail the exact meaning of a
track as intended by the artist but, what it does do is allow you to see how
your own interpretations can be influenced by what you are hearing, especially
once you get a better understanding from the artist and their basis for each
track.
