Album Review: All or Nothing by Jay-Lee

 

All Or Nothing

By

Jay-Lee

 

This week my listening takes me back to Scotland and the debut release from Jay-Lee, titled All or Nothing.

Jay-Lee Hails from Govan in Glasgow and is an emcee/producer with a rap style that is thought-provoking, harsh, and thoughtful at times. His lyrics reflect the way he lives and the surroundings he was brought up in. Along the way he has played at the Lindisfarne festival alongside Farma G, and supported the likes of Mobb Deep, Onyx, Obie Trice, and Huey Morgan (FLC). He has had plays from Absolute Radio and BBC Introducing and also featured on two albums from Steg G (sadly, not ones that I have reviewed).

All or Nothing is fully produced, recorded, mixed and mastered by Jay-Lee himself (aside from the title track). Which, these days, is impressive for a solo artist.

He also has one other distinction worth noting here. In the two EPK’s that I have for Jay-Lee, the photos used for those bits of promos (and the album cover too) feature photos of him wearing a jacket with a reversable design by artist Keith Haring. The same jacket that I also own and never thought I’d see anyone else wearing. Just a little aside there that made me grin.

Anyway, I digress, and it’s time to get into All or Nothing…

 

The album kicks off with Mirror which has this sound of drum beat backed by keys. The two elements seem at odds with each other as the drums are upbeat while the keys are laid-back. It gives this one a sound that grabs your attention while keeping focused. Jay-Lee pulls no punches with this track that immediately immerses you into the violent and gritty events that has shaped him through his life. It brings to life the enormity of real-life influences that he has experienced. Piano notes bring in Stuck In Time, when the beat drops in, it does not overpower things but, allows the piano to stay in the forefront, giving a reflective edge to this one. That reflective edge is exactly what Jay-Lee brings here as he reminisces on how things have changes so much as time has gone by. Friends who have passed, been jailed, or just lost touch with. These are things so many of us experience in our lives, but here Jay-Lee brings a deep personal edge that hits in a different way. Next up is Canny Forget which has a big electronic edge with high paced elements that test your nerves. Jay-Lee delivers his vocals with pace too, on a track that hits different and focuses on the mental health aspect of life. He delivers vocals that hit hard and show the very real and personal depth of the struggles he has lived through, but more than that it shows how these events have affected him mentally, even now, years later the effects still linger and touch the present…

Nae Hame brings in organ notes, electronic elements and more head nod beat, but all merged together it brings a sound that plays with your nerves and, when the vocals drop, plays with your emotions too. Here Jay-Lee focuses on how it can feel like a lonely place when you are pushing towards your goals. You might not be alone in the physical sense but, when you have a vision, that is yours, and yours alone, it might seem to be a lonely place. This is especially so, when you may be the only one who understands those goals and the road to achieve them. Never Again brings a sound of keys, bass, and a more modern sound with that high paced element. The message in this one really seems to be aimed at never making the same mistakes again. It’s like looking back at all the important moments that have defined your path to this point and looking at those mistakes that were not your best and making a conscious decision never to do that again. It’s all about learning from your mistakes. As those thoughts tumble through your mind, Now A Know takes us to the mid-point of the album with a sound that has piano notes, a heavy beat, and guitar elements that all come together to take you back once more. This one looks at the younger person who didn’t really understand all the things that their journey put before them, but now, and with hindsight, those moments become clearer and the you who stands here in the present moment, now understands what those past moments did for you and prepare you for what was to come.

Late Night Call once more brings that more modern high paced element, alongside synth elements and a beat that, almost unconsciously, has your head nodding. This one is the kind of situation that we might have found ourselves in at some time. When a number you don’t know calls you and you and you question whether you should answer or not? After that, which was almost an audible pallet cleanser, Cold Stare brings a sound that has electronic elements over a hectic drum sound. It brings a vibe that seems to have a John Carpenter inspiration. There is a very relatable focus in this one as Jay-Lee looks at those who bring that look to a situation where they are only seeking to lie and change the situation to fit their own narrative. Many of us will have seen this, even if we were not aware of the persons intentions at the time, but sooner or later we realise and understand exactly what’s happening, and trust is lost. Why? Has a beat that is a little more relaxed and is underpinned by keys that bring a sound that seems to test your nerves with each note. This sound is very appropriate as this one looks at all the things around us that have us questioning exactly why these things are happening. So much, in society, is designed to go in favour of those in a place of power and wealth while the rest of us carry it all on our shoulders, constantly let down and belittled by those who are supposed to have our best interests at heart.

You’ll Never Know has an electronic sound that mixes that high paced element giving this a grimy vibe that gives a focus to the vocals. This one is all about giving advice and having faith in yourself. It’s all about trusting yourself enough to take that step and push yourself in reaching out for your goals. If you don’t take that extra step, you might never know what you are actually capable to doing. Others might be able to see that you have that potential, but only you can have the strength to know you can do it. The penultimate track is the album’s title track, All or Nothing, which is the only track not fully produced by Jay-Lee as it features Jam Harvie. The sound on this one has pounding beat, which is almost softened into the background by the electronic elements, which seems to have this infectious edge to it. Here Jay and Jam go all is about the fact that if you are going to achieve your goals, then you need to go all in, there is no half-hearted attempts. The minute you don’t put you all in, you will struggle to reach those dreams. The album ends with Somewhere, which has synth elements and an overall sound that has an upbeat edge to it, giving you a sense that the sun will make it through the clouds. This one is all about a special someone in your life, someone you feel a special connection to. When a person like this comes into your life, they have a huge impact and when you have finally let that person go, you have a realisation that one day, you will see them again, and it is that realisation that helps as you move forward with your life’s journey.

 

There are times, as a reviewer, that you think to yourself ‘if only every review was this easy to write to’ and this was one of those days. Every track just seemed to speak to me in some way, and in such a way as to give me in immediate impression of what I was listening to and the potential message within; and that is something that I feel will really connect to every listener.

Now, All or Nothing was released back in August 2025, which means that it has taken a while to get to me and so there will be a great many out there who have heard this one; which is especially so as I received it back in February but, life being life has meant that it’s taken me this long to get round to it. So, my apologies to Jay-Lee on that one.

What I feel, overall, on this one is that there is a lot to like here, when you listen to the content production wise and lyrically it does say a lot to you. There is a rawness to the sound that does help the personal nature and the depth of the message hit that little bit harder. Jay-Lee has a great wordplay skill with lyrical content that is not overly complex in nature, which a feel is right for this kind of album as the messages need to be heard in a way that they can be easily understood and received. The production is spot on and really gives the vocals a solid platform. While I am not a fan of those grimy high paced cymbal, ticking elements, this is modern rap and Hip Hop which means it is not always going to sound the way some of us old skool heads like to hear, but there is plenty here for all us heads to get into and enjoy, in fact, as you listen to the words and the messages, some of those elements you might not be a fan of, just seem to soften into the background and you just get immersed into the tracks, as a whole.

This is, without a doubt, an impressive debut, especially since Jay-Lee has done the lion’s share of production and everything else himself. You can’t help but, be impressed in my opinion. So, I would recommend that anyone who has not heard this yet, give it a go because it does a cracking job of marrying the roots of the Hip Hop sound with a more modern vibe that draws inspiration a number of areas. It also has a deep impact from a personal aspect, but also one that hits in a relatable way that touches the listener.

All or Nothing is out now and I give my humble thanks to Jay-Lee for giving me the chance to bring you my thoughts on this one.

I’ll see ya next time.

Steve.

LINKS

Grab you copy here:

https://jayleecctv.bandcamp.com/album/all-or-nothing

Jay-Lee Linktree:

https://linktr.ee/jayleecctv

VIDEOS

Canny Forget

All or Nothing ft Jam Harvie

Cold Stare

 

Album Review: Rabbit Cuts - Vol. 1 by Full Metal Rabid

 

Rabbit Cuts - Volume 1

By

Full Metal Rabid

 

This week I have an awesome debut album to check out that hits straight from the UK underground scene. Rabbit Cuts – Vol. 1 comes from Full Metal Rabbit a new UK supergroup that has been brought together by Producer Keith Hopewell, aka Part 2 of New Flesh For Old, and features an incredible line-up of emcees in Blackitude, Juice Aleem (New Flesh for Old/Gamma) and Bob Eskimo, A Guevara (Scientists of Sound), cuts from DJ Mr Thing, and all that alongside Madhav Sharma’s narration. For those who are not aware, Madhav Sharma is an acclaimed Actor who has featured in East is East, Holby City and Eastenders.

The first single to be released from the album, back in 2025, was Stick-N-Move, a reimagining of the New Flesh track that featured on the 2002 album Understanding (Big Dada Recordings). The album has a number of musical influences with Stick-N-Move being more than a revival; it’s a resurrection, masterfully fusing the raw energy of early grime with the polished sophistication of rare groove while the overall tone of the album is described as one that revisits the love of real Hip hop with those dusty soul and blues 45 samples while drawing direct inspiration from the haunting epic Watership Down.

With all that said, I’m not gonna keep you hanging around, so join me as I bring you my intuitive thoughts of Rabbit Cuts – Vol. 1…

 

We begin with the Intro ‘Loud Enough’ featuring DJ Mr Thing. This one features samples from Watership Down and brings a sound that mixes a classic Hip Hop vibe with soulful sounds and a background edge of a siren like sound and that modern high paced cymbal sound. It sets the scene for what’s to come as, lyrically, there is this sense that there is a merging of new and old flows with a message that infers that there is gonna no messing about here and that everything is gonna hit hard. Just as you are wondering exactly what’s coming next, First Contact hits with a sound that blends a heavy but laid-back beat, with some wicked rare groove vibes, giving you a sound that will get you moving from the get-go. This one gives each emcee the platform to give you a showcase for each of their individual lyrical skills and word play. One to enjoy but, also not to overlook as just a display of skill either, just let the words sink in. But, just as those words are sinking in Rabid Paw hits with guitar vibes, cuts and a beat that is heavy, but also has element that allows you kick back. This one draws you into a world where you are taken into the world of the rabbit, looking up at the humans on horseback, living in a world where it appears to be a constant war with these powers that are looming over them. The question being here, do you run or do face the threat, especially when you watch the cruelty being put upon you and those around you.

That Essence features a guitar drive vibe with a chilled sound and cuts adding that extra element and getting you moving in a more laid-back kinda way. There is a lot to be said for putting a track like this in right here, as it brings an element of love to proceedings, but not in a way that takes your focus away too much, just showing that, wherever we are and whatever troubles and struggles we face, the love between two people, even a whole family, has the power to conquer all in the moment. With that thought in mind, The Machine brings a soulful sound that seems to calm the spirit while keeping the mind open to receive and understand the vocals. The message contained in the spoken word here brings a sobering thought to bear. That being how different elements of society see the world around them and the disharmony that is all to apparent to so many of us, especially those of us who have grown to see the changes in the world, while the younger generations have only known this as their version of normality and so see the world to be a far different place. Next up is Rabbit Joint (Skit) a short piece where the sound has this heavy bass guitar vibe and drum beat that gets you moving while the sampled vocal elements have you questioning exactly what is going on here. Do we need to read between the lines here and ask, is this a representation of the fact that rabbits and humans do not understand how each communicates, or this just a little fun element to cleanse your mind?

My Bredrin brings a soulful funk sound that helps keep you engaged and entertained while the message hits you in a way that you might not immediately be aware of. This one takes a no punches pulled look at police brutality and how young people react and behave in the face of a system that so often evokes fear instead of a sense of community and safety. With such a deep subject lodged in our awareness, Get Free brings a sound that has drums, sound system bass lines and high paced cymbal sounds that all mix together to bring a sound that gives your mind no room to move, as the sound keeps your focus wide open. This on brings a deep message that looks at how we seek to break free of the struggles and pressures of society. People work hard every day and in so many different ways to bring a sense of stability and positivity into their lives and the lives of their family. It’s not an easy thing to do when you are doing your best and keep having things taken away or taxed, but the strength and perseverance of everyone that keeps going is to be celebrated and this brings that to the forefront. Next up is Stick-N-Move (2025 Recipe) which takes that 2001 original and slaps it right in the modern day. The sound is one the has a nice, rare groove edge providing the background to the heavier beat and electronic elements bringing the energy and getting you bouncing with a big club vibe. The message within this one, for me any way, has the feel of always keep yourself moving, never get too comfortable in one situation. Mixing up how you do things always keeps what you do fresh, unpredictable and relevant.

We now move into the final track of the album, Remember Us Not As Lost which has this soulful sound with this vocal sample element that has an edge that almost seems to mirror internal conflict or emotion that you only hear on the inside. The spoken word element has a reflective air to it that it almost takes over your own thoughts, putting you in a place where musing on so much has you questioning you own existence and place in the universe. Ordinarily, this would be an interesting place to end the album, with plenty to muse on and with a sense there was more to the album than you might have grasped already. However, we are not done and there is still one more track to go; one which is not noted on the release and, I guess is a hidden track? Emancipation (Mound Builders) has a deep funk edge with strings, guitars and more, giving you a sound that will get you moving from the start. This one is deep and looks at the likes of Windrush, modern society and the fact that who has really been emancipated; are any of us truly free, it might appear that way as we live our daily lives but, when you consider the control the powers that be hold over us, we have to consider one thing, what would true emancipation look like, for us as individuals and as communities…

 

There are a couple of things that are clear once you have given this one the time it deserves. It takes direct inspiration from Watership Down, and like that story you might well chose to debate exactly what the meaning of this one is. As you listen from track to track, it might appear that this one is dep and that reading between the lines brings up different ideas and meaning behind each track; perhaps that is real thing that sits in the shadows here, which is that you can perhaps over analyse things as many of the meanings here might well change depending on your own outlook on life and your own challenges that have finally brought you to listening to the album. The actual Concept is likely very simple; it is our own thoughts and impressions that change the narrative to suit who we are and what we see in the world around us. But let’s not let that take away the fact that this one does hit hard, and it needs to do so because this is a world where we need a certain awareness to keep us focused.

Keith/Part 2’s production is formidable here and helps brings the emotive content to live as each track evolves. He brings an album rooted in Hip Hop and Rare Groove and drops in hints of other influences that give this one a fresh feel that will easily appeal to young and old alike. There is not one overall sound here that you can easily drop on this one, yes, the roots are undoubtedly in Hip Hop, with that deep funk soul vibe But, there is enough packed into this one that keeps it feeling fresh across multiple listens.

The lyricism and wordplay also play a huge part in how this one is received. Each artist brings their own stamp to this one and there are aspects of straight Hip Hop alongside grime and reggae aspects too. The flows and depth of the wordplay from each is solid here and is one of the reasons that this one has you guessing and second guessing along the way as there are different interpretations to be contended with and one of the reasons, again, that keep this one sounding so fresh.

Overall, Rabbit Cuts – Volume 1 hits with a depth and strength that has this one standing out from the crowd. Production and lyrically it pulls no punches and invites the listener to bring their own experiences to the table, keeping it relevant and impactful across individuals and communities. It just seems to tell a story that speaks to everyone. It also has a sound that will have tracks bumped in clubs as well as keeping the longevity of the album going beyond the foreseeable future. It is also clear that Full Metal Rabid are ones to watch and have made a huge impact with this one.

 

My huge thanks to Keith Hopewell (Part 2) for giving me the chance to bring this one to you.

Rabbit Cuts – Vol. 1 is out now and available on vinyl.

 

I’ll be seeing ya.

Steve.

LINKS

Grab your copy Here:

https://fullmetalrabid1.bandcamp.com/album/rabbit-cuts-volume-1

Stick-N-Move

Emancipation (Mound Builders)

 

 

Album Review: Lost A Letter From The Alphabet by AMOS

 

Lost A Letter From The Alphabet

By

Amos

 

It is always a pleasure to review anything on the Plague label, and I expect this one to be no exception. Lost A Letter From The Alphabet is the new offering from Amos. Now I have not had a lot of time recently to grab the lowdown on the man himself, so that will have to come another day.

This one has been hinted at for a little while with Plague sending out a cryptic postcard to get things flowing. If that wasn’t enough, the promo that came later via email really set things up big time and, I’m gonna share a few bits from that, which you might have seen if you have preordered this one on Bandcamp.

So, Amos gives us this:

Lost a letter from the alphabet is more than an album to me.

It’s a big hello like Trigger Happy. It’s a zipline shortened in the Chiang Mai rainforest.

It’s a splash of rusty lemonade. It’s a night on the town then back to the crown plaza.

It’s a 6-year hollibob on the Hoole drag. It’s a boiled sheep's head in Istanbul.

It’s a double shot with a celery stick. It’s a secret field full of little hills.

It’s a measurement too small. It’s a knotted stomach about to burst.

It’s a copperhead snake rushing past me. It’s a portion of Eton mess and elderflower gin.

It’s a chocolate éclair in a miniature hero's box. It's a false sling for the fling.

It’s a cables length from Granary Wharf. It’s a broken nose on a drinking binge.

It’s a game of charades in the pharmacy. It's a rushed drink in a neutral bar

He also says this about the whole process of recording the album:

LALFTA was recorded in a pretty unconventional, chaotic manner. Eldritch sent me bare-bones drum patterns - essentially click tracks - and I laid verses over the skeletal framework. He then warped them after I spat, creating this wild, backwards-in-time feel. Dark, moody, and packed with the trademark travel-laced imagery I’ve always been drawn to. I almost didn’t release it. There was a real question of whether it should stay buried under brochures, but Plague Records is the perfect home for this misadventure.

For everyone that listens to the album, he gives us these words of wisdom:

I do hope you fall madly, inconveniently, desperately in love with the multifaceted flavours and audio-tangents alive through this peculiar piece of me. It took well over a decade to summon the right spirit to my sofa - and longer still to blag it into writing. Given the subject matter and the surrounding fuckups, I fluff the pillow to perfection and pray I never need to make such a true-to-life recording like this again. It's a one-off game of hide and seek with the soft toys that had to become hard nuts overnight. Singular. Sulky. Sometimes cursed. And when I look back on my pungent shelf of durian in years to go, I imagine this one will hum the loudest - buzzing with tiger-stripe hoverflies, too stubborn to stay.

Now, this is a lot more promo stuff than I usually put into my reviews but, I just felt that all this perfectly sets up the album and giving it to you here will help set up the review for you all to enjoy.

The album is produced by Palmer Eldrich and features design and layout from Rich Brown (Bee Graphics). The cover artwork is a detail taken from the painting ‘Hotel Linda’ by Jake Clarke (b. 1966).

So, now we are all set up, join me as we hop on for a new ride to who knows where, but I’ll do my best to give you some thing to visualise along the way.

We begin our journey with Kaput/Neutral which has a sound that has a jazzy edge to it and flips from the drum and vocal sample heavy sound on the intro to a far jazzier, organ heavy sound. The opening to this one might make you think its over before it even starts but, after that transition Amos takes us on something akin to a worldwide journey in just a few minutes. Using complex wordplay that elicits visuals in your head that hit like you accidentally hit fast forward on the TV, which takes you through nature, travel and personal insights at a dizzying speed. After such a whirlwind trip we land back on our feet to find ourselves Infront Of Enemies. The beat here has a far more soulful vibe to it with strings seeming to come forth, giving this a more laid-back vibe, like sitting by the pool and musing over your travels. There is a feel that this one is like the experiences you might have in a hotel while holidaying or just passing through. There also seems to be something teasing you from in-between the lines that has you leaning toward different personal experience whether you’re traveling or just walking out the front door each day. Hoodies/ZaaZaa drops in with strings and piano merging together over a chilled beat. The piano puts you in mind of the pouring rain which works well with the title as ZaaZaa is a Japanese onomatomania used to describe the sound of heavy pouring rain or water. The beat switches midway through allowing the beat to come forth and the piano to ceased, replaced by horns. Amos takes us to Japan, allowing us to experience the tourist culture before giving us visions of certain situations you might find yourself in, finding yourself getting close to someone before realising that it can be nothing more than a phase of pure joy.

Vanish/Jai Yen (Jai Yen meaning Cool Heart in Thai culture) comes in with a big synth sound that puts you in mind of a sound backed in dance tracks. When the sound switches this time, it brings the tone down with flute and guitar notes giving this a sound that teases the far east. Here we find Amos looking at whether people really understand the nature of true love in a world where so many spend more time telling the world of their love through digital platforms and less time actually expressing love in its true form. Amos then gives us a more personal expression of his own lived experience from a time when phones were far less important and used just for connecting one-to-one. Sorry/Unforget begins with a more funk fuelled sound where the guitar takes the forefront. This is followed by a transition into a sound that has a jazzier vibe as horns are the standout sound, bringing a more chilled aspect. This one seems to look more at connecting with someone in a deep way, from a first meeting to a realisation of what that connection might mean. That feeling of what that deeper connection is explored in the second part of the track in a simple way that makes you connect with the true meaning of love and the emotions you feel when meeting or leaving them. Tired Ruins hits with a sound that just tugs at your nerves making you feel emotions you’re not sure you want to feel. This one explores the situations that can lead to loss of a loved one and is the kind of story that you can easily associate with if you can follow the narrative. Not much more to say but, there are many of us who understand what it is like to make poor decisions and lose someone we never meant to hurt.

Mistake/Dessert brings us to the mid-point of the album with a sound that begins with a piano heavy sound over a nice drum beat that will get your head nodding. Following that the sound switches to a sound that is multi-layered with bass, guitar, and keys all coming through, bringing a more chilled edge. Amos sets the scene for what is to come as he asks if you have ever made a mistake? He goes on to detail a story that might just lead to one of those mistakes. From there, Cross-Country Lost gives us a sound with a space beat, mixed with synth and guitar notes, giving us a sound that carries us long as the vocals speak. This one seems to merge experiences from a multitude of journeys that span at least one country, if not more. We are immersed into aspects of different stories that all become one, blurring the line between reality and dreams. Just as you are trying to clear up what the reality of this is Again & Again brings a guitar heavy sound that has a deep funk vibe. The story in this one is hard to unpack but, there is a real sense that it looks at some of the challenges we face in life. Those challenges and boundaries are similar to those that can arise during a journey. The unpredictable nature of anything we do, or places we go can be littered with detours and more that have us tired and questioning which way we should go and if indeed the destination we choose is the right one.

Weeping features laid-back guitars and drums that give this one a reflective edge, but also one that has an infectious vibe that will get you moving. As you listen to this one you realise that this one looks not just at crying, but at the power of tears as a physical expression of love in its purest form. When you truly love a person and you lose that person or know you are having to leave them, tears can be such a powerful way to show just how deeply that love was. Gazump has a sound that mixes guitars and synth sound to create a sound that seems to just open your mind allowing the words to sink in that bit further. The meaning of Gazump is either to swindle someone or, in the property world, to come in with a higher offer on a property. As you keep those meanings in mind Amos brings aspects of both of those into this track. The love aspect also comes in to, and you might need to over this a few times, but even then you might find yourself questioning exactly what Amos is saying and so, I’ll leave this one to you to decide as it had me going round in circles, never quite grasping exactly which way to go. So, perhaps Amos has Gazumped me here?

Xanadu brings a refreshing sound of guitars and organ notes, before rounding off with a brief, but heavy, drum beat. This is another one where we take the meaning of the word and see how it works with the track. Xanadu means a place of beauty, basically, and here you get this real feeling that what Amos is referring to is the fact that so many of us spend all of our time focusing on the details that we miss the broader picture. It is better to look at the beauty you want to create before looking at the finer details. We move to the penultimate track Final Paradee which comes with a sound that has a nice head nod beat that is paired with strings that give this one a sound that sounds like it comes from the far east, giving this one an emotive edge. Paradee is of French origin and means to show off or display, and you get the feeling that this one is giving Amos the platform to do just that, to display his wordplay. There is this incredible mix of mind-bending metaphors and similes, mixed with visions of food and more from around the world that almost puts your head in a spin. The album rounds off with Quafftide, where a Piano sound carries us along as we listen to Amos. There is also a moment where Eldrich mixes up the vocal sound which seems to vibrate your very being for a few seconds. Quafftide is an outdated 16^th century word that would refer to ‘drinking time’ or rounding off a hard day with a drink, and you get the feeling that this is exactly what Amos is doing. He is rounding off the album in a way that that let’s you know he works hard at what he does, but he also has the capability to love what he does and to breath that love into the core of this project.

There is little more that I can say about this album except, WOW, that was some ride. It took all of my interpretive strength to even get the vibe of what I was listening to, which is no mean feat when you have a whole lot of stuff going on away from the music. But this one draw me in and taxed me in a way that was both enjoyable and exhausting.

Amos has an incredible way of working with his subject matter, no t only mixing in travel aspects but, delivering his messages in a way that has you hooked and wanting to back over them to see what you have missed, and you will miss bits for sure. It is rare that I find myself taxed by what I am hearing because the wordplay is so complex, in fact, the only other emcee who usually does that is the one and only Junior Disprol. So, know I add Amos to that list, because he might not deliver his vocals at speed, but what he does do is make them so complex in nature that you come away thinking that might have been hard work but, damn it was an truly stunning piece of work.

You also have to give a huge amount of credit to Palmer Eldrich too who has crafted some top-notch soundscapes that are rooted in Hip Hop but, also embody aspects of sounds from around the world and other genres too. Sometimes those sounds seem completely at odds with what you expect, but everything just seems to work so well and the sound he has created just bring a depth and essence to the album that would not be there with any other sound.

So, I think I will leave it there because the only way you are going to get the best experience of this album is to give it a listen, and I can’t recommend it enough that you do that. This is definitely an album not to miss in 2026 and is going to be high on everyone’s lists of top albums of the year.

Lost A Letter From The Alphabet is released through Plague today and is available as Digital and physical release with Limited Edition Vinyl and Cassette versions, so don't sleep.

My huge thank to Dan at Plague for giving me the chance to bring you my take on this superb album.

So, enjoy and I’ll see ya next time.

Steve.

LINKS

Grab you copy Here:

https://plague.co/album/lost-a-letter-from-the-alphabet

AMOS Socials:

https://www.instagram.com/ramthology/

https://www.facebook.com/ryan.amos.549

Plague Socials:

https://www.instagram.com/plague_11/

https://www.facebook.com/plague11

VIDEOS

Kaput/Neutral Official Video: