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:

Album Review: Jacket Fulla Medalz by Timbo King x Ras Ceylon Prod. by Dawit Justice

 

Jacket Fulla Medalz

By

Timbo King x Ras Ceylon

Prod. By Dawit Justice

 

Now, this album only came to my attention recently and courtesy of John Dugan aka JD Hip Hop Reviews. It was originally released way back in 2025 with a digital release and then later in May of 2025 with a physical release and a digital re-release.

Jacket Fulla Medalz comes from Brooklyn emcee Timbo King (Royal Fam) and Sri Lankan born emcee Ras Ceylon. The project is produced by Dawit Justice, for Medal Gear, and features cuts from Selecta Kram. The album also brings together lyricists from both coasts of the US with guest appearances from Buckshot, LA the Darkman, Prodigal Sunn and Tragedy Khadafi. 

Just before I get into my deep dive of the album, there is a line I’d like to quote from the promotional material that sets this one up nicely, With its raw delivery and timeless production, Jacket Fulla Medalz stands as a decorated testament to lyrical warfare and conscious resistance—designed for those who still believe in message-driven hip-hop. For me that says such a lot about the approach this album takes.

Let’s get into Jacket Fulla Medalz…

We begin with the big orchestral sound of Enter which mixes strings and a heavy drum beat that kicks your adrenaline levels into high gear from the get-go. This into sets the overall tone of the album with a sampled vocal, which I am not going to pretend I know the source of, that really speaks volumes about the militant stand this album is going to take, know where your from, your history, and stand up for what is right, regardless of how some mat look at you for the strength of your convictions. With the expectation built, Stolen Legacy brings a sound that has cuts, piano and vocal samples underpinning the pounding beat, giving this one a sound that has this Italian vibe to it brought by the piano notes. With cleaver wordplay Timbo and Ras give us a look in their understanding of how African culture has been overlooked, obscured, or even erased by scholars and historians. This is not just look at past events but, more recent events too and the rise of artists like themselves raising awareness. It is also worth noting that there is a book with the same title as this track by George G.M. James that explores these concepts in more detailed format and is likely a read worth seeking out if you want to know more. Next up. Is the albums title track Jacket Fulla Medalz. Bass and horns feature but are softened into the background by a heavy drum loop that gets you head nodding; there are also some slick cuts to round things off. Here Timbo and Ras give us a display of their individual lyricism in a way that shows you the power and the strength of their resolve. The complex nature and power of their words hits hard and idea that failure is not an option, goes to prove that outcome and lasting impression of the album is their focus.

Wylin sees the first guest appearance as Buckshot steps up to the mic. Dawit Justice brings a beat that guitar vibes as the base sound with the head nod beat getting your body moving; the horns on the bridge just adds an extra level to raise you up. Wylin is a slang term and one that has a few meanings. A couple that seem to fit here are unpredictable and extreme, the reason I say that is that the militant focus here gives you pause to understand both the unpredictable and extreme nature of both how the wordplay is delivered and, how you need to act, to be able to bring awareness to the subject matter that is being suppressed by the establishments. Three The Godway sees LA The Darkman and Prodigal Sunn feature alongside Timbo and Ras. Dawit brings a heavy sound that mixes piano notes taking to the forefront from the pounding drums. This gives you a backdrop sound that brings the vocals as the focus when they drop. This one has that posse cut vibe as each emcee drops a solid delivery of intellectual lyricism. There is still that deep aspect that brings a focus to raising your fist, standing up for justice and leading the charge in bringing a greater awareness to just what that justice means. We get to the mid-point of the album with Brownstonez where the sound switches to a jazz infused sound, one that immediately outs you in mind of smoky speakeasies, places where it was free to speak openly. This one takes you back to that time but also brings the present day into focus too. There is talk of the actions of the police and of fascism too. Subject matter that makes you think as you listen, making you wonder just how much has changed in the last seventy or eighty years or so. This is all still apparent in modern times; it is just how it is delivered that has changed.

The Coolest brings a beat with strings and guitar vibes that has a sound that puts you more in mind of those Wu-Tang beats. This one is look at the situations and mind state that shape you as you grow.  There is a lot here that also focuses on the types of foods that feed your body and mind rather than just the flavours you crave. Being the coolest has changed a lot, whereas once it was all about peer pressure and looking good to others, now it is all about feeding you body what it really needs but also feeding the mind. It’s On In hits with a heavy beat that has this piano vibe that tweaks your nerves, just a little, giving you a sound that sparks your focus, seemingly bringing a clarity, like wiping mist from a window. That idea of clarity works well here as this one is all about taking some time away from all the heavy stuff and having a night out just enjoy yourself in whatever way that transpires. Tragedy Khadafi features on Frontline Generalz where the beat pounds and organ sounds carry you along, giving this one and overall sound that will work wherever you are listening at. This one sees the emcees standing as the frontline against the system, a system that is flawed and corrupt, and something that so many of us can associate with no matter where we come from. People the world over know how the system can fail them and leave them in a place where every day struggles are commonplace and system only works for those who run it or who profit from it. Here the generalz lead the way in the fight to hold these people to account and raise up the rest of us.

Go On mixes heavy drums with an electronic sound that puts you in mind of old eight-bit computer game sounds. This gives us a vibe that seems to keep you rooted in reality, never letting the drumbeat take you away from the moment. What I take from this one is a message that says invites you to focus on where you are headed in life. Never allowing anything to let you stray from that path you are forging. Realising your goals is a huge part of life and while our goals might change, subtly, from time to time, it is important to always stay focused and never lose sight of what is most important. We come to the albums penultimate track Curtainz, which sees Dawit give us a heavy pounding sound with piano notes that have an almost eerie quality, giving this one a sound that keeps you rooted in the hear and now, giving attention to what is being said. It’s all about the gritty reality of living in NYC and the impact that street life has. There are no punches pulled here as everything is laid bare for all to see. There are no rose-tinted glasses here to help you put a positive spin on things, this is the grim reality that truly exists. The album closes with Exit, the outro that has that same sound from Enter and rounds things off in a way that leaves you in no doubt about life is like beyond the front door, especially for certain ethnicities and peoples within society. Who you are and what you stand for can make you a target and that is one of the very real aspects of today’s society.

Lets get real with this one, there is a lot to like about this album, the production, the wordplay, the delivery, all is top notch and gives this album a side that is a pleasure to listen to, but when you move on from that aspect and begin to really listen to the lyrics, you realise that there is a darkness to the album. The darkness that comes through here is from the fact that there is still a fight going on between minorities and ruling bodies. Here, the focus is on the ethnic minorities but, it can also apply to other minorities in class and more because the system looks down on everyone, some more than others, there is little doubt there but, what is key here is that even if you are not classed as an ethnic minority, there is a lot to this album that speaks to you about the struggles of everyday life and what we experienced to get to where we are now. This album hits differently here in the UK because its focus is on American society where so many ethnic communities are looked down on and their roots and histories are changed and removed from what is taught. No community should have to suffer that and be required to dig for the truth.

Timbo King and Ras Ceylon have laid the facts bare here in a way that shows we still seem to be no further along in correcting these things, than we were thirty or forty years ago. Growing up with Hip Hop has shown me a lot about how people are treated by the system, and it seems astounding that we still see those same things now, that people are held back and judged due to the colour of their skin. That is one of the all-consuming messages that comes from this album, and one that you can’t avoid as you listen.

Like I said, there is also a lot to celebrate here too. The passion and fortitude that is shown by Timbo, Ras and the guest artists is second to none as they deliver their messages in a way that shows a dedication to showing the truth of society and raising people up by installing in them a power to stand up and be heard, and that brings with it a deep almost spiritual aspect with it. You can’t see the darkness you do not know the light too, for one does not exist without the other, and while there might not be a lot of talk about the light here, it does shine through in a way you might not realise until the album is over.

The wordplay has a depth and a strength that shows this was not written just to sell a few records. This is an album that was written to educate and make you think. That means you have to truly listen to those complex lyrics and see how they impact you. The production from Dawit Justice draws from and celebrates the golden age of Hip Hop and also pays homage to that Wu-Tang sound too, giving you a sound that is packed full of a passion for the sound and a raw power that hits with every beat.

This is one of those albums that you just have to give time to and see what it says to you, and I can see why it made so many waves when it had its original release.

My huge thanks to John Dugan for sending this one my way.

I’ll see ya next time.

Steve.

LINKS

Grab your copy or stream here:

https://royalfam.bandcamp.com/album/jacket-fulla-medalz

https://rootsnculture.shop/product/timbo-king-x-ras-ceylon-x-dawit-justice-jacket-fulla-medalz/

https://music.apple.com/us/album/timbo-king-presents-jacket-fulla-medalz/1811599685

Follow on Socials here:

https://www.instagram.com/originaltimboking/

https://www.facebook.com/timbo.king.3

https://www.instagram.com/rasceylon/

https://linktr.ee/rasceylon

https://www.instagram.com/dawitjustice/

https://linktr.ee/DawitJustice

https://www.instagram.com/jacketfullamedalz/

VIDEOS

Brownstonez

Album Review: Rose Hill by Deeq X Mankub

 

Rose Hill

By

DEEQ x Mankub

 

Rose Hill is a recent release from Deeq, who has featured on the blog before, and comes with production from Mankub and is released through awesome Gold On The Mixer label, where both are label mates.

I have always found that Deeq always brings a deep intellectual wordplay to his releases, as I have noted on my previous reviews, Kuru by Flooded Hallways (Deeq and Nemrot) and Salamander (2025) which featured production from Farma G, so expect this one to be no different. There are also appearances from Raz Ghoul, EF Knows, Jaroo and Amos, just to put the icing on the cake.

Rose Hill is an ode to Deeq's childhood, Rose Hill brims with brooding intent. Where the listener is transported to a low-income council estate, in one of the most deprived areas of Oxford, circa '88. With those thoughts running through your mind, it makes you think that this album is likely to be deeply personal, bringing some dark imagery that might well touch some of you in different ways. Especially those of us who grew up in the eighties or who might have experienced a similar upbringing in different, or even the same areas.

Bearing that in mind, lets see what happens when Deeq and Mankub transport us to Rose Hill…

 

Over and Out (Intro) takes us into the album with a nerve shredding sound that has a dark edge and sets the tone for the album. It has this vibe that seems to drag you away from the reality you are living in, giving you a blank screen to project the imagery on to, that you are about to be given. Ashhurst Way hits with a heavy sound that is backed by guitars and keys that give you this Italian air to things. Here the scene is set for us as we get an introduction and a look at how Deeq dressed and presented himself during those times. How you meet the world says a lot about you and the way you dress, the labels on the clothes and even down to how you cut your hair gives you that recognisable street look, which many of us can remember from those times, it was about making the statement that, this is me and this is who I’m down with.

Fool’s Errand brings a multi-layered sound that softens the beat into the background, bringing this nerve-jangling sound to the forefront, kind of putting you on edge. There is definitely an edge to this one, something that put me in mind of the foolish things we all did as youngsters, getting involved in altercations and pushing back at all the things that we didn’t want to vibe with, even though, most of the time, our efforts would amount to little of nothing. But we did what we did because we thought we knew best. From images of the rougher side of things, we move to Talisman, which features Ras Ghoul. The sound here returns the beat to the forefront, backed by this organ sound that tweaks your nerves in a different way, almost giving you this floating feeling. That feeling is what a talisman brings to you, a feeling of calm in the midst of a storm. You get the feeling that the storm here is the altercations and peer pressure of living on a housing estate, where just stepping outside your front door was a test of your resolve.

Toulouse-Lautrec has a far more relaxed feel to it as the xylophone, keys and double-bass notes mix with the laid-back beat to give you a bit of a breather from the heavy feel of the album thus far. This is Deeq’s ode to the French painter, his works and legacy. As much as this is a breather for the listener, you also feel that it mark’s an important part of Deeq’s youth, studying the life and work of the painter was probably a welcome aside from pressures of life growing up on the estate in Oxford. Black Summerz brings a funk fuelled sound that does not rely on a heavy drumbeat but has this sound that has an air of sharpness to it, rather that a heaviness. Listening to this one gives you a sense of what it was like to live back then during the summer break when you were left to your own devices and had to find ways to fill your days. Sometimes your days were filled with writing and sometimes with running and hiding. While the break from school was great, it also left you more open to stresses and strains of live beyond the front door, which could mean a whole host of unknown situations to navigate on any given day.

We move to the albums penultimate track Precision, which features EF Knows, Jaroo and Amos, alongside Deeq. Mankub brings a thumping sound that, once again, has that sharp sound to it, giving this one a sound that seems to tweak your focus. This one seems to take our focus away from that estate in 88 and show us what a glimpse of what Deeq has become since then. With back up from the other emcees, we get a display of precise wordplay right here. It gives you a feeling that no matter your beginnings and the hardships you may have faced, if you follow the right path in life, then anything is possible and a posse style cut like this shows that better days do happen. The album rounds off with the album’s title track Rose Hill. This has a heavy sound with piano sounds and more that give this one an air that puts you in an almost twilight world, looking back with dark clouds casting shadows across the land. You get the feeling here that Deeq is summing up those years spent in Rose Hill. Three minutes and some change seems like a mammoth task to sum up those years but, he does a great job of dropping an overview of those times. Showing that, while its time to turn his back on it now, that time still shaped him and helped him to become stronger.

 

There is a lot I could say about this album as, for me, it did bring some of my own memories to bear on things. I lived on the edge of an estate in the Sholing area of Southampton where one side of the road was the main housing area but, my own front door opened onto a green area where we all hung out. Our challenges came from other estates that bordered ours. But I digress here. Rose Hill most definitely takes you a place where you can draw on your own memories to help you visualise what it must have been like, the challenges of a built up area like this and peer pressure that comes with that, doing your best to fit in and be a part of something, even if that something drew you into situations that tested every nerve in your body.

Deeq does a superb job of drawing you in with intricate wordplay that teases you to listen and listen again to see if you can grasp what he is saying between the lines. The outcome of this is that you find yourself in the darkly brooding world where rowing up was a delicate balance between your own feelings and fitting in. All this hits you in a little over twenty minutes, which is a lot to take in with such detailed vocals, and you find yourself going back over a track or wanting to listen to the whole thing once again, just get the vibe.

Mankub does a superb job of matching the vibe of Deeq’s words with moody production that easily carries you into Deeq’s world. Crafting soundscapes that vary in intensity and switch between heavy brooding sounds, to those that have a sharper sound to them. None of the impact of the sound or mood being lost along the way. This has to be the mark of a good producer that they are able to, almost instinctively feel the aura of the words given them, or to produce a sound that exactly matches what the emcee needs to write those words to.

The features from Raz Ghoul, EF Knows, Jaroo, and Amos all bring that subtle edge that defines who they are, while also complimenting Deeq and instinctively the sound of Mankub. All-in-all bringing that extra layer of depth that rounds everything off perfectly.

 

Overall, Rose Hill is one of those deeply personal albums that encapsulates solid wordplay and emotive production, bringing you an album that not only gives you a window into the life of the artist, but also invites the listener to realise that by looking back, it is possible to understand just how far you’ve come.

My huge thanks to Mankub for giving me the chance to bring you my take on the album.

Rose Hill (GOTM079) is out now.

I’ll see ya next time.

Steve.

LINKS

Grab your copy of the album here:

https://goldonthemixer.bandcamp.com/album/rose-hill-gotm079

Social Links:

Deeq:

https://linktr.ee/deeq_darkimagery

Mankub:

https://www.instagram.com/manku8/

https://www.facebook.com/profile.php?id=100064003532012

Gold On The Mixer:

 https://flow.page/gotm

VIDEOS

Fools Errand

Album Review: Iron Curtain by Myalansky

 

Iron Curtain

By

Myalansky

It has been some time since I last reviewed anything that had a connection to Wu-Tang Clan. That was 2^nd Generation Wu, who featured on UK producer Planky’s single Rescue Me, back in 2023. Now I have the chance to be able to review some more Wu affiliate music courtesy of fellow reviewer JD Hip Hop Reviews. He was able to send me some stuff to review and the first of those is the recently released album Iron Curtain from Myalansky.

Myalansky named himself after gangster Mayer Lansky and rose to fame as part of the Wu-Syndicate from Virginia, which also included Joe Mafia and Napoleon. Wu-Syndicate debuted in 1998 on the compilation Wu-Tang Killa Bees: The Swarm, they followed that with their debut self-titled album Wu-Syndicate in 1999. Myalansky would release his debut album in 2008 titled Drastic Measures. He would also release two follow ups to that album with Drastic Measures 2 (2018) and Drastic Measures 3 (2021). Among a number of solo releases, including the M.E.D.U.S.A. trilogy (2023), he has also continued to work with Joe Mafia under the Wu Syndicate name.

So, with a pedigree like this, there is only one more thing to do, and that is to get straight into a deep dive into the album, which is produced by Wolf T Calzone’ and has features from Haylo Da G.O.D., Cise, Sicarii and Two Onez, alongside cuts from DJ King Prince and live instrumentation from Brian Butler. So, let’s get into it…

 

We kick things off with Manufacture Consent (Intro) which features an excerpt of an interview with Mayer Lansky over a chilled beat that features bass guitar and drums with heavy etheric vocals that give this one a laid-back air allowing you to focus on words of Lansky discussing the role of the media in making him a target of the authorities. Next up is Trick Knowledgey, the intro to which has this Baptist church vibe before the beat kicks in, bringing us a heavy sound of guitars and a pulse pounding vibe that gets your head nodding. The Baptist preaching air becomes the bridge to each verse as Myalansky drops some real knowledge, calling out the powers that be, who control the masses by seeking to trick us in a host of ways to become sheeple. There is even a lot to be said that the knowledge we are taught is a trick, as it not always the real truth, but a manipulated truth they want you to hear to point you in their direction and not to question anything. Think of the wealth of fake news and fake truths being perpetrated through the internet. There is plenty to give you pause for thought here.

Controlling Shares features Two Onez, this one has a multi-layered sound which keeps your head nodding while giving you plenty to move to as the sound keeps your mind bouncing too. The message here is all about not allowing anyone to fully control what you do. When you have spent years honing your skills and rising to the top of the game, make sure you are the one who has the controlling share of everything you have achieved. When you let others take control of what you do you are likely to become a puppet, making money for others while you will be life with nothing. The Iron Curtain Interlude brings a pulse pounding beat, strings, guitars and cuts as a short instrumental break. Casualties features, Haylo Da G.O.D. and Sicarii. It drops with a guitar heavy sound and an eerie vocal sample that seems to mess with your nerves as you listen. This on focuses on the events of 9/11 and the events surrounding what happened. This one makes you think about all the casualties there have been as a result of what happened all those years ago but, it also makes you think about current events and how we are all casualties in these politically charged events where it seems that control is the ultimate goal and we all end up being the casualties paying with our lives or financial security. Reminds us that we are all just pawns in the game of the elitists.

The Town sees Haylo Da G.O.D. and Sicarii remain alongside Myalansky. The sound here has a heavy Piano vibe that takes the forefront over the sparse beat. However, it takes nothing from the beat and keeps you moving, giving you a sound that is strangely infectious. On first listen you might think this is three emcees dropping some intricate and ferocious wordplay. However, if you are one of those who thinks a bit deeper and you read between the lines, this one speaks on how you need to be prepared on the streets anywhere in the US. Now it might not feel that way here in the UK but, it is that that way in most of the big cities, and you have to be ready for anything these days, especially after dark. Foolish King is another interlude with more about Mayer Lansky over a laid-back beat with heavy strings. Another short to make you think. Emmaculate features Cise, Haylo Da G.O.D. and Sicarii stepping up alongside Myalansky. The beat here is a classic sound and brings a smile as your head nods along with the guitar vibes in the background. This one mixes slick wordplay with more gangster references than you can shake a stick at. Giving you polished delivery with less flaws than diamond, this one is all about being perfect in all you do, because that way you are always ahead of the game.

We round off the album, well almost, with the Iron Streets (Outro) and this one gives us heavy, but laid-back way to end the album. The vocal element here is more on Mayer Lansky but, here it more in a reflective way looking back on the man and his legacy. As I said this is not the end of the album because there is more to come with Casualties (Black Tuesday) Bella Ciao Remix. This one strips back the sound of the original and gives it a whole new spin. The vocals remain the same, as does the message, but the delivery is switched up as each verse has a different beat giving each a whole new feel. This does not lessen the impact in anyway as full force of what it represents still hits hard. Making that thought of just who was responsible for what happened on 9/11, still one of the greatest unanswered questions.

Now, you might think that is it, but no, there is another remix here, which I have listed as a vinyl only track. I might need correcting here. This is TrickKnowledge, a remix of Trick Knowledgey. This one brings the beat to the forefront, backed by piano and a more operatic vocal sample. This remix gives the beat more power and thus gives the impact of the track a little more power. Not lessening the power of the original, just switching it up.

 

I think the important thing here is just to set that Wu affiliate link aside for just a second and to take this album at face value. Yes, there are little things that make you think that it has that association with it but, there is far more to this than that. This album can easily stand on its own two feet without the Wu association, and it is for that reason why you can understand that it has that association now.

The album is packed with politically charged narratives and solid wordplay that has conscious interwoven aspect that constantly asks you read between the lines. There are deeply thought-provoking aspects to this album that show a desire to bring a spotlight onto these subjects in a way that invites the listener to think far beyond the final notes of the album.

Although I remember that original Wu-Tang Killer Bees album, I cannot remember specific tracks, so this album also serves as a solid reminder of the quality and depth of what Myalansky has to offer in terms of being a Hip Hop emcee. His conscious lyricism and wordplay flows so well and he delivers every line with an internal strength that gives every line an energy that speaks to you on an unconscious level as well as that you hear. Something that gives it that, read between the line’s quality. The featured artists all do a quality job here too, bringing their own individual talents to bear on the project, and all complimenting the project perfectly.

The production is on point here too. Every sound scape does a great job of being the perfect backdrop for each individual track. You can feel that the roots of the sound all have the essence of that boom bap hip hop sound but, adding elements that work well with that gangster vibe too while not making it too over bearing as the gangster element is almost secondary here as it shows that you have to question who are the real gangsters. I also love that there are some cuts here that add that authentic feel to the whole Hip Hop vibe.

It was also good to have a couple of additional remixes here. Just highlighting exactly how you can change the impact of a track by mixing up the sound. Overall, this is a quality album that shows how the Wu-Tang name can bring a focus to a name that deserves to be heard, and in my view, this one does deserve to be heard, even without the Wu-Tang affiliation.

Iron Curtain is available now on Bella Ciao Records.

My huge appreciation to JD Hip Hop Reviews for helping me to bring this one to you.

 

I’ll see ya next time.

Steve.

LINKS

Grab a strictly limited vinyl copy here:

https://badwatch.store/iron-curtain

Myalansky on Insta:

https://www.instagram.com/rapdiamondvvs/

Wolf Calzone on Insta:

https://www.instagram.com/wolf_calzone/

Bella Ciao Records:

https://www.instagram.com/bella_ciao_records/

https://badwatch.store/bella-ciao-records

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

VIDEOS

Iron Curtain Full Album

 

 

Album Review: XII by Brutal Caesar

 

XII

By

Brutal Caesar

 

Today I have an album by producer Brutal Caesar. Originally from Cardiff, Wales, he now resides in Cornwall, and the album that I have was originally released back in October of 2025 and is simply titled XII. Brutal Caesar was sent my way courtesy of a recommendation from non-other that one of my favourite emcees, Junior Disprol, who also hails from Wales himself.

Now, if you are not familiar with the name Brutal Caesar, let me drop a few facts your way which might make you wonder how this guy’s work flew under your radar for so long. He has been producing for a number of years now and has worked with the likes of The Soloist, Emskee, A-F-R-O, Reks, Recognize Ali, The Good People, and Freddie Black, to name just a few and XII is no exception, featuring a few of those named above and many more. Now, I could list all the features here but, my feeling is that would make this intro far to long, so I’ll just introduce everyone as I go.

XII is fully produced by Brutal Caesar and all cuts on the album are performed by Tone Spliff, so I’m sure that you’re already wondering what to expect, providing that you have not already heard the album!

So, for those who are unaware of this one, let’s get into it…

 

Now, this might be by design as XII has twelve tracks and clocks in at a smidge over thirty minutes in length, and it all kicks off with Dominate, which features Reks and cuts from Tone Spliff. This one has an infectious beat that is underpinned by orchestral strings that gives this one a sound that uplifts you as you listen and gets you moving. Reks drops lyrics that are all about being strong and dominating the game. Something which goes beyond music and makes you realise that in the world we live in, you have to be strong and dominate your chosen path, stand tall and be the best expression of who you truly are. A-F-R-O joins Brutal Caesar for Top Of My Game. Here the sound mixes a more pounding beat with keys and vocal samples to give us a laid-back head nod vibe that gets you moving but, also makes you wanna sit back and listen. A-F-R-O brings his instantly recognisable voice, slick wordplay and delivery to give us a blistering example of exactly why he is on top of his game right now. Next up is Never Had A Chance which sees Wordsworth stepping up to the mic. Brutal Caesar brings us a soulful sound that mixes strings, guitars and vocal samples over a proper head nod beat to get you moving. Wordsworth hits us with some deep storytelling that details the struggles so many go through. Born into lives where everything is a struggle just get by, doing what you have to do to survive means that you often never get the chances that you deserve to be you best self; the outcome of which so often leads you down the wrong path.

Daria features Dirty Needles and brings us a sound that hits proper heavy with the bass and beat seemingly vibrating throughout your entire body. Dirty Needles brings raw and gritty wordplay which also gives us look at how he sees himself. We get the feeling he has this Bruce Wayne / Batman kinda persona, which is interesting when you understand that one of the meanings of the word Daria is the ‘upholder of good’. It gives dirty this almost anti-hero air as he shows us a solid display of lyricism. Bad FX and Tone Spliff join Brutal Caesar on Ruthless Artillery. Here the sound is a heavy mix of pounding drumbeat, guitar riffs and ferocious cuts, giving this the energy to fire up your adrenaline levels. Here the title of the track perfectly describes what we get, which is ruthless display of verbal artillery from Bad FX. What more do you need! As we hit the halfway point of the album, Brutal Caesar is joined by Bobby J from Rockaway, Freddie Black and Prestigious for Braggin’ Writes. A heavy drumbeat is mixed with horns, bells, vocal samples and more to bring a sound that has this uplifting feel to it. This one gives us three emcees all giving us solid examples of lyricism that shines a new light on the idea of rap braggadocio. This one is not all about bragging about who is the best emcee but, more a display of bragging about their writing skills. Can you separate these guys, or do they all stand shoulder to shoulder? You Decide…

Still Standing Here features ZILLA and has Brutal Caesar dropping a beat that mixes drums, keys and soulful vocal samples to good effect getting our heads nodding. ZILLA gives us a bit more of a deeper look at who he is and aspects of his life. There is still a level of rap braggadocio here but, sometimes you just have to unload and big yourself up, fire yourself up and show the world that your still here and moving forward. Heartshot sees Micwise on the mic and Tone Spliff on the cut. This has a heavy multi-layered sound that seems to hit you from multiple angles at once. The sound is heavy and the cuts, razor sharp, pummelling your mind. Micwise gives us a gritty vocal display that shows some slick wordplay which is delivered with the force of a gunshot. Tone Spliff sticks around for Step One and is joined by Akrobatik and Phantasm. Brutal Caesar brings a heavy sound that mixes heavy drum sounds with bass riffs and some angelic vocal samples that gives us this sound that sounds hard but, has an almost calming effect. The cuts slice through your awareness reminding you that this is Hip Hop right here. Akrobatik and Phantasm bring the kind of lyricism and wordplay that takes time to wrap you head around. Another cracking display.

Graff Wars features Koolsphere alongside Brutal Caesar. The sound here mixes a pounding beat alongside piano and synth vibes that gives us a sound that this big soundscape feel to it. That sense of a broader feel extends to vocals where this is about the west coast LA vibe, where crossing out someone’s name was more that just disrespectful. Putting your name up in graffiti and then having it crossed out meant a possible escalation in a gang situation, which is what Koolsphere brings to the table here. Showing another side to how graffiti has been used, beyond just creativity. We move into the penultima track Audacity and find Brutal Caesar joined by Reef The Lost Cause and Jus Daze. Organ notes back the heavy beat giving us a head nod sound that brings focus to the lyrics. This is the shortest track on the album and gives us two verses that show how rappers can have the audacity to say it how it is, to be completely open an honest on how they see things. It’s not always about conveying a message but bringing a lesson or speaking in a raw fashion about the world around them. The album ends with Magna where Lord Goat and Ill Bill take on the mic duties. Here the beat is backed by what is either a harpsichord or clavichord sound which gives this one an Italian vibe to it, making you think of the old Mafia movies. Those thoughts of mafia and cosa nostra vibes are exactly what is delivered here from Lord Goat and Ill Bill, classic in your face lyrics that are laced with the brutal nature of mob justice.

 

The first thing to note here is that this is a solid introduction to Brutal Caesar and the quality of his production. Everything here is rooted in the classic Boom Bap Hip Hop sound but, interlaced with elements from a number of different influences. This brings to mind the idea of crate digging, where producers and beat makers constantly dig through second-hand vinyl to find eclectic sounds from all genres of music that will help elevate their sampling and production. That’s not to say that live instruments are not involved either as sampling live instruments also adds a depth to any sound.

Brutal Caesar’s production on XII has a depth that shows a deep passion for the music he produces. The roots of that music are obviously the Boom Bap Hip Hop sound, but you can feel that there is that desire to bring in different elements and multiple layers to make that sound hit in just the right way, so as to create the perfect backdrop for any vocal delivery and subject matter.

What he does with this XII is to put his production values on the table by bringing in some pretty heavy hitters from both the US and UK. The emcees are mainly from the US here, but that is not something we really need to focus on as the critical thing here is the overall project and what it delivers. What we get, overall, is a quality producers’ album that showcases his talent alongside a solid line-up of emcees who deliver some top-notch bars that you can enjoy. There might not be a lot of deep messages in this one, and there is nothing wrong with that. I love delving deep into the lyrics, but sometimes it is just as much fun to be able to enjoy what I’m hearing without overthinking things, and all the artists here do a cracking job at showcasing their own talent and the quality of their own individual lyricism.

It would also be amiss of me not to mention Tone Spliff. The LA based DJ, Producer and beatmaker gives us a good look at the quality of his skills as a scratch DJ, adding the icing to the cake on a number of tracks on the album. What this does for me is just to add that extra dimension on a Hip Hop album. I always feel that, while you don’t have to have cutting and scratching to be a Hip Hop album, it does give it that extra touch of an authentic Hip Hop nature.

XII is out now and I highly suggest you check it out now, if you’ve not already heard it. If you have heard XII, do you think I got my insights right?

My humble thanks to Brutal Caesar for putting this one my way, and huge thanks to Junior Disprol for pointing him in my direction.

 

I’ll see ya next time.

 

Steve.

LINKS

Here is One link for all things Brutal Caesar:

https://linktr.ee/BrutalCaesar

VIDEOS

Dominate ft Reks (Cuts by Tone Spliff)

 

 

Album Review: Under The Radar & Over Their Heads by Remark & Murmur

 

Under The Radar & Over Their Heads

By

Remark & Murmur

 

There are times in life when finding a way forward leaves you not able to see the wood for the trees, and at these times we often turn to music as a way to help us find our path again. That is a situation that I kind of find myself in and so, have sought to focus on this review to help get back on my own path, once more. Now, this is not the way that I would ordinarily start a review but, it’s always good to mix things up a bit.

Following how much I enjoyed the debut release of Remark & Murmur, Introspection (2025), there is this deep feeling inside that Remarks deep alternative lyrical content and Murmur’s LoFi Hip Hop sound is likely to bring some clarity and ease some of the weight that comes with living in our society right now.

Remark & Murmur’s sophomore release is Under The Radar & Over Their Heads and album which they describe as a more authentic, mature, and deeply moving soul journey, woven through dusty breakbeats, lush downtempo hip hop vibes, and cinematic string arrangements that elevate the underground ethos to new heights.

Remark says of the album "This album’s about depth over trends. We've poured everything into creating something that feels lived-in and real—dusty breaks for the heads, orchestral soul for the heart, with lyrics that mean something, hopefully to the listener. It’s under the radar, because that's where indie art lives, and over their heads because of its depth”.

Murmur goes on to explain "Production-wise, we wanted to build worlds—slow-burning downtempo grooves layered with live-feeling orchestration. I was aiming for a cinematic & emotional sound to provide a landscape for Remarks lyrics.’

With all that said, there is a lot there, in those few words that give us pause for thought and to consider what the album is going sound like and what it might actually say to the depths of our being as we listen.

I think it is now time to stop the thoughts and expectations and to let Remark & Murmur takes us wherever the music will take us. I hope that you will join for the ride…

 

The album begins with the Intro, where the LoFi electronic sounds and the occasional drumbeats, create this almost meditative sound that seems to lower the brainwaves allowing the vocal sample to penetrate that much deeper into your awareness, and as you listen you realise that there is a lor more being said. Now I’m not going to say that I know where this comes from but, listening gives you a lot more pause for thought and sets up the tone of the album. There are many texts and even musical frequencies that have kept from us or even stopped from us reading or experimenting with, for the sole fact that the truths within them would change our view or everything we think we know about history, healing and more. Perhaps, right here I should suggest you not listen to this album because then it would make you want to listen all the more because of what the content might say…

Always Onwards begins our journey, now that we have had the scene set for what is to come. The sound is heavy with piano vibes alongside the kind of beat that gets your head nodding. But here the combination creates a sound that has your head nodding with closed eyes in anticipation of what lyrics may bring. Remark brings us some rousing lyrical content with deep spiritual connotations that ask you to look beyond the often-dark times we live in. In doing this we realise that we are all part of a cosmic oneness where true seeing and speak comes from the heart and not the head. When we get out of our head and into our hearts, we understand that there are times we need to look back, but we do that only to learn from the past and never to let it hold us back, always moving onwards and evolving the soul as we do so. The thoughts arising already give us much to think about and Moment Of Reflection gives us a moment to reflect while moving forward. The sound is a mix of bass notes with acoustic guitar notes, and another drum beat that makes your head want to move as vibe brings life to those reflective thoughts. Once more there is more to this one than meets the eye as Remark invites us to move past the ego and past the fear that keeps us rooted in a place where we can be controlled. As we move beyond these things we put ourselves in a place where we can connect with nature and move ourselves to a place where we can remember who we truly are and our relationship with everything around us. Once we remember this and understand it, there is nothing that can hold us back from understanding the true nature of all things. Next up is Trye Eyed Soul, where Murmur brings us a sound where guitar notes and a sparce beat combine to bring a vibe that has this uplifting feel in a way that puts you in mind of the sunshine breaking through the rain clouds. Here Remark mixes rap and sung lyrics which look at the perceived duality of two worlds, one inside and one outside, The 3-D world and the dream world. The message here is to bring yourself to a place where you can view everything from your true self; doing that allows you to come to a place where you see both worlds as one, neither being indistinguishable from the other and both being interconnected in the grand scheme of things.

Persistent Turmoil brings a more electronic vibe with bass notes and a more relaxed beat twined with synth notes that give this one a sound that has an emotive edge in a way that is not easy to describe, it is just there. But you begin to understand that emotive edge as you listen to the vocals. Each word seeps into your awareness, touching you deeply as you realise that Remark is perfectly describing our current world view and the effect it has on us. Wars are raging for the sole purpose of greed while all around us, everyday we see injustice and people left by the wayside, by a system that is ill equipped to truly help them. This might be tales from the Remark-side but, they could so easily be tales from the side of each and every one of us. With those emotionally charged thoughts still at the forefront of our awareness, Nagging Doubt brings a sound that mixes guitar notes and synth vibes, over a beat that unconsciously has you moving, giving this one a sound that seems take hold of your focus and shifting it within. I don’t know if it was the intention here, but this one makes you think of how your own thoughts speak to you, raising doubts about your own journey as the outside world pressurises you into thinking that way. The key here is not to hold onto those doubts, but release them, acknowledge and thank them for what they have to teach you, then let them go and allow the universe to change that energy from one of a negative impact, to one that is more positive. We cannot allow our doubts to consume us.

The Beautiful Design brings a far more energetic sound from Murmur, with a heavy drumbeat and a rousing rock and bass guitar notes that fuels a different kind of fire within. There is also synth sound that carry us and focus our thoughts in a far more positive direction. Remarks vocals mix rap vocals with sung elements that create an interesting balance as you listen. It speaks deeply to you as you understand that with all the changing feelings and emotions we experience, as we move along the path of life, we are in a far better place when we a dream to hold on to and when we feel that we actually belong to something, with people who understand who we are and how we feel, people that can support us and lift us up when we feel at our most vulnerable. As that realisation hangs tantalisingly at the forefront of our thoughts, Time Heals drops with a title that says so much before the music even kicks in. The drumbeat, mixed with the keys brings a sound that continues the uplifting feeling that began on the previous track. There is a simple message here and the title says it all really but, there is a deeper aspect to it. We all walk through life experiencing much with each step, each passing moment. Life can raise us up or drag us down, and through all this, each experience builds up so much within us, so easily pushing us to a point where it all seems too much and we have to let it go, somehow. What we have to remember is that we have a heart and if we can truly connect with what the heart desires, then we will understand that we can heal from anything, scars might remain to remind us of what we have overcome but, if we desire it enough and give it a little time, we can heal.

Samhain is the pagan festival that celebrates a time of the year when the vail between worlds is at its thinnest. It encompasses what we now call Halloween and a time of the year when we shift into the darkest time of the year, and the opening of the track gives you some background. Murmur brings a sound that has a more electronic LoFi feel mixing a sparce beat with a plethora of electronic vibes giving this a sound that carries your awareness to place where it can sit between worlds and lives. Remark looks at many aspects of light and darkness, life and death, and the fact that you can not have one without the other. But the deeper aspect of this is facing the darkness within or your shadow side, work with this to face what you lease wish to see within, the more you do this, the more you reclaim your true self and awaken you true power. Dreamy Narcosis seeps into our awareness with a sound that mixes guitar notes with a laid-back beat to give us a vibe that this alternative meditative feel to it, opening our minds up to other possibilities. Here it is all about looking within for what really matters, because the world around us just creates noise that distracts us from the truth of who we really are. Going within allows us to find a new kind of strength that comes from the heart, a strength of pure love. The powers that be don’t want us to look within, because when we truly go within, all their lies and control fall apart, and we are able to see the truth behind everything. We come to the penultimate track of the album, Self-Titled, where Murmur brings a sound that has a more Hip Hop vibe to it, getting your head nodding as the energy continues to raise you up to a place where a new perspective helps you see far more. The spiritual aspect is not lost here though as Remark sums up the album by bringing personal insights to bear. Elevation plays a huge part here too, be it the elevation of the soul or the elevation in music by elevating the underground movement to sound that speaks in a different way, directly to your soul, while keeping the soul of the music rooted in that real Hip Hop sound. This is one of those tracks that will speak to each of us differently, so have a listen and vibe with it… 

The album rounds off with the Outro. Here Murmur underpins Alan Watts describing Inception, with a LoFi Hip Hop sound that merges with the vocals in such a way that the sound carries the vocals into your awareness, giving you pause for thought and to allow every word to speak to you directly. There is a lot here that may speak to you differently than it does me, but the nature of dreams, perception and god, there is a lot packed into just couple of minutes, a couple of minutes that leave your mind open to all possibilities, something that this entire album seems to have been set up to do, raise your awareness and open your mind…

 

Let’s not beat around the bush here, because there is no need to do so. Remark and Murmur have done it again and created something that takes the seed of true Hip Hop music, knowledge and wisdom, planted them and cultivated them and nurtured them. Growing a sound that elevates all those things into a place where it is easily accessible by everyone, and in doing that they have given us something that gives us another tool to look within and to elevate our own consciousness.

We all have the capability to raise our consciousness but, sometimes to help us see that, we need direction from a source that we can easily associate with, and that is what Under The Radar and Over Their Heads is all about. Remark and Murmur have taken music that so many of us enjoy, and they have then used that to deliver messages and invitations for the listener to take onboard, that will have them thinking and musing well after the last beat has passed. That happens because the energy the music creates does not die or end, it simply changes form; that form changes into the form of thought energy, allowing the music and the message to live on infinitely within.

 

There is little more you can say here but, Remark and Murmur obviously have this synergy in working together because what they create suggests that they are both on the same page, with Murmur creating the perfect soundscapes that work in harmony with Remarks lyrics. They compliment each other in way that goes beyond a producer and emcee working together. This seems to be two souls coming together to bring something special to a world that needs its inhabitants to awaken their minds and connect with their souls, and the music these two bring does just that, if you just allow it in to truly speak to you.

I think I will leave it there now, because its now up to you to experience Under The Radar & Over Their Heads, letting it speak to you because the only way we can truly elevate ourselves is to go under the radar of the powers that be, while at the same time, flying over their heads and becoming who we were truly meant to be.

Make sure you also keep watch for the upcoming HQ music videos that will accompany the album. The video for Moment of Reflection is out now and features a little bit of camera work from my good self, so check that out below.

Also keep watch for some limited physical copies coming very soon too. 

Under The Radar & Over Their Heads is out today.

Huge thanks to my good friend Remark for the chance to work with him and to be able to bring you my take on this inspiring album.

I’ll see you next time.

Steve.

Oh Yeah, I almost forgot one thing. At the beginning of the review I stated that I was using the focus of this review to help me to get back on my own path. The question is, did it help me do that? Well, sometimes it takes a little more than music but, I have to say that, without a shadow of doubt, focusing on this album did help me to look at things differently and that might well be a huge part of what comes next and this album, and it's predecessor will not be far from my ears as I walk my path. just going to show that content of this type, you are never alone on your journey...

LINKS

Get your copy of the album here:

https://remarkmurmur.bandcamp.com/album/under-the-radar-over-their-heads

Remark Socials:

https://www.facebook.com/RemarkMcLennan

https://www.facebook.com/profile.php?id=100005925346438

https://www.instagram.com/remarkmclennan/

https://www.youtube.com/@RemarkMcLennan/featured

Murmur on Insta:

https://www.instagram.com/murmur8000/

VIDEOs

Moment of Reflection