Album Review: Listen To The Masters by DK and Ghettosocks

 

Listen to the Masters

By

DK and Ghettosocks

 

Listen to the Masters is the new album from the duo of DK (Producer) and Ghettosocks (emcee) both hailing from Canada. The last time Ghettosocks appeared on the blog was way back in 2019 when I reviewed the album HOLOS when he teamed up with fellow Canadian Aquakulture as Aquasocks. Check that review for a little more about Ghettosocks. Producer DK is new to me and so I was excited when he contacted me and asked me to review the album, based solely on my reviews he had read. Let me add a few quick facts about DK taken from his official bio.

Born and raised in Newfoundland, DK grew up being audibly transported by his father’s
eclectic vinyl and CD collections. His grandmother taught him the basics of the organ, but those
notes couldn’t compete with DMX’s bark and Dr. Dre’s cinematic g-funk. In love with hip-hop at
first listen, a teenaged DK then discovered A Tribe Called Quest, Pete Rock, Kanye West,
and more hip-hop artists whose music appealed to his affinity for jazz and soul. He didn’t know it
then, but these foundational influences would shape his sound as DK.
DK became obsessed with making beats in college. He spent every waking hour outside
of class on Fruity Loops, learning his craft one sample and drum break at a time. Chasing a
grittier and more vintage aesthetic, he purchased an MPC and began developing his meticulous
amalgam of vinyl sampled drums, analog synthesizers, dusty loops, and other live
instrumentation.
Local producers and MCs applauded DK’s early work, but he made his proper debut with
2019’s Soul Expressions, a bumping yet mellow 10-track EP that showcased the DK signature
with a tight roster of Canadian rappers such as Ghettosocks, Aquakultre, and Timbuktu, as well
as features from New York spitter Justo The MC and Atlanta-based Cam James.

Ghettosocks and DK began working together over two years ago and so Listen to the Masters has been a long time coming and one that has spanned so much of what has affected us in the last couple of years or so.

The album also features a host of guest artists lining up to bring us what promises to be a banger of an album. Check this line up Skyzoo, Rome Streetz, CL Smooth, El Da Sensei, Phoenix Pagliacci, Lxvndr, O.C., Moka Only, Tachichi, UFO Fev, Ambition, Justo the MC, Kxng Wooz and Timbuktu.

The album is 10 tracks deep and made up of nine full tracks and one skit splitting the album down the middle. So, with all that said let me give you the lowdown on what I got from the album as I break it down track by track.

Right out the gates you get a feeling for what is about to come as Reflections drops with this piano and drum heavy vibe and with a dash of flute and looped samples this one has you kind of floating into the album, which also creates this thoughtful air to proceedings from DK and this fits perfectly as Ghettosocks proceeds to reflect back on what it takes to get by and make something successful in life. It’s all about your ethics and your motivation to reach out there and grab those dreams and to create that reality for yourself. If you were thinking this one was gonna have a deep laid-back vibe, the kind that grabs and retains your focus, then What it Seems, has you thinking you’ve nailed it. DK comes with a chilled vibe of strings, drums, and keys while the cuts on the chorus slice into your awareness enough to keep from drifting away far. GhettoSocks, Skyzoo and Rome Streetz hit you with the kind of intellectual verses that make you realise that everything in the world today just ain’t what it seems. It’s not a game out there anymore but, more of a battle between us and the powers that be, where money and profit rules and we do not play the game, we are just the pawns. Next up is what you could say is the album’s title track The Masters. Here DK gives us an audible canvas with a background of slick keys, bass and sax, making you feel you could really float away to but, then a proper boom bap beat drops and you head gets to nodding. CL Smooth, Ghettosocks and El Da Sensei speak, masterfully, on really on what it is to be a master of your chosen craft. When you are pushing to make something of yourself, you see many masters out there doing what they do and the best way to become a master yourself, is to simply listen to the masters and continue to hone your own craft. Nearly halfway into the album and that boombap vibe continues on Be A Mango. The huge intro gives way to heavy sound of bass, horns, and drums from DK. It’s one of those sounds you just gotta nod your head to. But there is a deeper message here as Phoenix Pagliacci, Ghettosocks and LXVNDR lay it down about toxic masculinity and old views of gender stereotypes and how men and women are supposed to be is quickly breaking down and becoming an outdated notion. Now is a time when people can choose to be who they want to be. They can be their own expression of themselves and become truly authentic. Next up we have Ghettosocks, O.C. and Moka Only going All In over a solid heavy drum sound over an almost soulful mix of horns and keys, from DK and Moka Only, that keeps you bobbing your head. There is a definite air of uplifting the listener here as each verse reinforces the last, speaking to your soul and reminding you that life is not about half measures but, about giving it your all, going all in to reach for the stars.

So, we have reached that little interlude an Industry SHKIT, here we have Maya Killtron and Chudi Harris taking on the roles of Janice and Mr Woodsworth, for a comedy skit all about some out of touch record executive being given a new vinyl record, from DK The Producer, by his slightly more in touch assistant. Have a chuckle to this one as it cleanses the audible palate ready for part II of the album…

The second part, or side of the album if you have the vinyl, kicks off with DK dropping a straight up boom bap beat with some piano notes. This makes you wanna turn the volume up as Tachichi, Ghettosocks and UFO Fev drop verses demonstrating their verbal and lyrical skills, dropping bars and flipping the words for the hell of it on CHKN CHOP. To top it all of we get DK chopping up some classic Busta Rhymes samples. The vibe now moves to a far jazzier vibe as DK has us kicking back a chilled beat that is heavy on the sax alongside some xylophone notes and drums. Ghettosocks, Ambition and Justo The MC speak on those times when you are down on your luck and times are hard. This is kind of a reflection of how things are in the current climate with soaring prices and people being forced to choose where to spend what little money they might have. There is still this message here that whatever you go through its about what you do and how you conduct yourself that counts and you can still be Smoove Regardless. The penultimate track of the album is John McEnroe, which see’s DK dropping a sax heavy boom bap beat and some razor sharp, scratched up samples completing the classic Hip Hop sound. McEnroe was an outspoken person who often questioned the authorities and that is the metaphor here as Ghettosocks, Kxng Wooz and Timbuktu speak openly on the struggles that still face black people, particularly in North America. There has got to come a time when people of all races are treated with equal respect. Your skin colour should not be looked on as a negative aspect and a reason to treat you any differently. Until such a time when all peoples of the world are looked on as one family by everyone, the struggles of people in black communities and those who commit the crimes against them has to be kept in focus. The final track of the album sees DK and Ghettosocks going solo once more. Baggage has DK dropping a jazz fuelled vibe of piano, sax, double bass, and drums that will have you moving. Ghettosocks gives us a little story based around a couple, their relationship, experiences, and a few elicit substances. Just an entertaining little ditty, like someone reading from a novel, or is there more to this, can you maintain or get out of such a situation through a haze of a drug induced vision of reality…

 

So overall, what did I think?

Listen To The Masters is a solid slice of Hip Hop that has a very polished feel to it. There is an air of time taken to produce something where any flaws have been removed with a constant process of grinding and polishing until they achieved their goal. The sound is Hip Hop that flows between vibes in a way that is perfect for the listener. Boom bap, soulful and jazzy sounds all combine with lyrical dexterity that covers a lot of ground in its often-deep messages, such as police brutality, to those times it seems to give that just for fun display of wordplay. It might have been years in the making but, everything here is still very relevant now.

Ghettosocks displays an intelligent wordplay with a delivery that can be hard but, still have a silky-smooth flow that leaves you knowing that this guy has to be at the top of his game right now. Like any great emcee, his mastery of telling stories rooted in the now to simply having fun on the mic, has an often-cerebral edge to way it is delivered, with deft use of flows, wordplay, and lyrical prowess.

My first experience of listening DK on production leaves me thinking or should I say knowing that this guy is gonna be carving a huge name for himself within Hip Hop music. His use of silky-smooth samples and jazzy soulful sounds all backed up by solid Hip Hop beats is a true pleasure to behold and cuts are true gold, bringing that authentic Hip Hop sound to the fore front. DK is definitely one to watch and together with Gettosocks here they are proving that Canadian Hip Hop is showing how universal the Hip Hop sound is and bringing us closer around the world.

I also must give mention to the guest artists here who all fit perfectly into this project. Bringing and using their own unique sound to good use. Vocally we have the legendary figures such as CL Smooth, El Da Sensei and Moka Only, to those who might not be so familiar such as Phoenix Pagliacci (Canadian emcee and activist), LXVNDR, UFO Fev and Kxng Wooz, everyone does a solid display showing why they deserve to be on a release such as this. Some additional information I found out from DK was the use of live musicians on the album. I always rate using live musicians as it always adds an extra depth to the sound and I can why that has, perhaps, given me additional inspiration. Featured notable contributions are Keyboards on “Smoove Regardless” performed by Cas Weinbren and Saxophone on "Baggages" performed by jazz big band leader James Shaw.

A couple of additional shouts go to Uncle Fester who mixed the project and provided the cuts and scratches. The project was mastered by the awesome Jake Palumbo and artwork comes from Ghettosocks (He is a great Graff artist too, by the way) himself.

So, what more can say? Well, that is easy, just grab this on whatever is your preferred format and simply enjoy it.

Listen To The Masters by DK and Ghettosocks is out today in association with Black Buffalo Records.

On that note,

I’m out…

Steve

LINKS

Check the links for the release as soon as it drops. All links open in a new window.

Remember to check the guys on all social media, YouTube and all streaming platforms.

DK on Bandcamp:

https://dkproducer.bandcamp.com/

Ghettosocks on Bandcamp:

https://music.ghettosocks.com/

Black Buffalo Records on Bandcamp:

https://blackbuffalorecords.bandcamp.com/music

Black Buffalo Records Website:

http://blackbuffalorecords.ca/

VIDEOS

All In (ft O.C. & Moka Only)

What It Seems (ft Skyzoo & Rome Streetz)

The Masters (ft CL Smooth & El Da Sensei)

Album Review: DEF II by Junior Disprol

 

DEF II

By

Junior Disprol

 

Following on form the recent release of Hung Drawn and Slaughta’d alongside Krash Slaughta, Cardiff Emcee Junior Disprol is back with the follow-up to 2020’s Def Valley, DEF II.

The new album is released through the Plague Label and features one hell of a line up stepping up to feature alongside the man himself, it includes Krash Slaughta, DJ Jaffa, Thirstin Howl III, Kid Acne, SIR Beans OBE, Roughneck Jihad, and DJ Alkemy. With an international line up like this you just know this one is gonna be a banger. You can also bet that this won’t be your average Hip Hop sound either. To get an idea of just how much this one does bang and to see if it that’s in more ways than one, I get to cast my mind over it…

So, why not join me as I immerse myself in DEF II…

The album kicks off with the title track DEF II and what a way to open too. The sound, created by Cool Edit Chud, is this pounding bass vibe with these nerve shredding horns and chock full of electronic and sonic sounds, alongside classic samples and featuring the razor-sharp cutting and scratching of Krash Slaughta to boot. Junior Disprol seems to take us back to the eighties where his younger self was all about Hip Hop and pretty much everything that was DEF about an era that many of us, of a certain age, can associate with and relate to. The video, by Stepasaur, really takes you back to the eighties and all the things that were a part of growing up in that era. The heavy sound continues into The Blood God which has this classic sample running through it, which my head is unable to pinpoint right now, giving this a definite head nod vibe as DJ Jaffa’s cuts slice wickedly through your awareness. Sometimes listening to a track, you find yourself musing over what it’s all about and realising that you’re enjoying it so much nothing else matters and that is what I’m getting with this track. So, all you other emcee’s take note, if you want your listeners to enjoy being pleasantly baffled, here’s how you do it. Next up the sound becomes more, out the box, with a drum element that has a raw sound, like it has been created on a trash can, alongside bongos or djembe drum sounds and horns which gives this a two-tone element. Here Junior Disprol takes us into the world of the Neighbour From Hell, a nightmarish place where anything could happen but, whatever does happen, it’s strangely enjoyable…

From one slice of the strangely enjoyable to another as we are treated to an almost off-key sound full of pounding beats and an eclectic mix of sounds that grabs hold of your nerve endings and bitch slaps em before DJ Jaffa cuts those frayed nerve endings with the skill of surgeon. Let’s face it, Mugshots yeah, we all got one. The way you look day to day or that face you make after, before or during a nice mug of tea. I suppose you could have a mug of coffee but, to be honest our mugs were made for mugs of tea right. Anyway, Junior Disprol and the one Thirstin Howl III drop mind bending verses on how you look and how you conduct yourself, yeah that’s what this is all about, I think that’s right anyway? Don't forget to check the video for this one, also by Stepasaur, see if you can me, yourself or anyone else for that matter.  A jazzy organ, bass, guitars, and drums bring a jazzed-up vibe to Mastadon, which also features the turntable athleticism of Krash Slaughta to polish it off. You can do nothing more, right here, than enjoy the pure rhyming ability of Junior Disprol who, once more, seems to prove that he can take any group of random sentences and words and turn them into something that is a true pleasure to listen to. Kid Acne now joins Junior Disprol for The Wrath, drum heavy sound seems almost at odds with the classic sample and other sounds but, it all works coming together in some random way. The perfect back drop for both emcees to drop verses that make you feel like your trapped in someone’s weird dream world. Sandwiched between the two verses is a classic example of transforming on decks, something that shouldn’t fit here but works perfectly, a bit like my random thoughts on a given day, anyway…

Ubermagnetic see’s Junior Disprol joined by Roughneck Jihad and SIR Beans OBE for a true boom bap sound of a pounding beat over guitars and bass. RD and RJ spit back and forth, bouncing off each other, verse after verse, this is how it should be done rhyme after rhyme. SIR Beans OBE drops some rough but highly polished cuts that cap this one off in style. Next time you want to order an Uber, then make it this one. A heavy beat over what, at first, is a fractured sound, once more tests your nerves. Basquiatish is an abstract art style which is perfectly mirrored on this track both musically and lyrically as JD is not afraid to be unashamedly abstract in his vocals. DJ Jaffa cuts some more classic samples giving you a vision of the roots behind the abstract art. That abstract style continues with the sonic sounding vibe of Brundle. That sonic vibe is given a nerve-jangling edge with Krash Slaughtas turntable wizardry. JD gets rough, rugged, and raw on the ups and downs of daily life and the pace you have to live at. The vibe of this track really fits with the how society seems to be going right now as we live day to day and minute to minute.

He Talks Flash hits with a bass guitar heavy vibe which gives this deep funk edge, while the drums are heavy enough to hold you attention and get your head slowly nodding. Here JD demonstrates how talking flash can get you anywhere if you just know how to do it, it’s kind of a British thing to talk flash, or is it? Well, whatever it is it seems to work, right? Drums and piano combine on IT’S to form this kinda abstract jazz vibe that infiltrates your mind, opening it up. Now your mind is open JD goes in on everything that causes a negative impact in our lives, from the governments and the high level paedos, to the gun runners and those in charge of religion and the media to the diseases that kill from the inside out. If it affects us negatively in anyway then IT’s in here. Krash Slaughta’s slick razor-sharp cuts slice into our awareness accompanied by head nod drums and sampled horns. This one takes it up a few notches on the Hip Hop tip as JD kicks the pace up with some deft rapping while Krash scratches the shit outta the wax. Could it be that Rotund Shogun is a new alias for Mr Disprol? Who Knows but, this one is certainly as sharp as a katana in every way…

Now, if you have been listening to this on the vinyl then this is where that portion of your audible experience ends. The following four track are exclusive to the tape, CD and digital versions But, don’t worry vinyl lovers as you get these as a digital download too…

King of BS see’s JD joined by DJ Jaffa on a beat comprised of pounding drums and a mixed-up phone keypad tone electronic tone which strangely combine with other electronic sounds into something that you can’t help but, vibe to. Sit back and spend the first minute enjoying JD’s pathological Bullshit and then spend the second minute doing nothing but listening to Jaffa on the cut, this is what Hip Hop is all about. Dj Jaffa remains on turntable duties with JD for Bwana. The musical backdrop is mix of drums, guitar notes and Xylophone creating this vibe that makes you feel like you’re in this pit of sound and looking down on you is Bwana, The Boss, Junior Disprol. You’re left knowing exactly why they call him Bwana and it’s all rounded off by Jaffa using his cutting expertise to reinforce that point so you don’t forget. The penultimate track here see’s DJ Alkemy joining JD for another abstract mix of drums and electronic keyboard notes that merge together into a sound that will stretch your mind and twist it in new directions. JD takes an eclectic mix of words spinning them into sentences and taking your mind into ever decreasing circles as DJ Alkemy slices cuts through your fragile awareness not allowing you to drift to far away because JD needs you know one thing, My Pidgeon Weighs a Ton. DEF II is rounded of with When All Said, a mind-numbing mix of strings, guitar, drums, and sonic sounds that at first, might stretch your awareness a step to far but, turns out to simply ground you back in this reality. The final word here is like the final word in any situation, which is simply that, when all is said and done all you are left with is your word, your integrity and if that is anything less than rooted, solidly in a truthful portrayal of your true self, then what are you really? Here Junior Disprol shows that when all said this is who he is, Nuff Said…

 

Overall, this has to be one of the most outstanding albums you will hear this year. It takes the notion of Hip Hop to new experimental heights and returns to a standing ovation. Yes, it takes some listening to, that’s for sure but, you come away from this a fresh new perspective and one that is likely to stay with you, always being rekindled whenever you listen again. There is not a weak track here, all sixteen solid and will test the listener to breaking point.

Junior Disprol is a powerhouse in his delivery with a lyrical content that is as intellectual as it is, at times, unashamedly raw and uncouth. The more you listen to what he does as an emcee, the more you realise that this guy is one of the most underrated out there. He has a style all his own that is complex, raw, and direct. He as easily able to create verses from what most people would consider an indecipherable collection of words, mixing in real life aspects and x-rated metaphors that just leaves you wondering how he does it. He is, without a doubt, once of the most incredible lyricists out there right now.

Musically, DEF II was produced entirely by Cool Edit Chud and what a masterpiece he has created here. He has put together this paradigm shifting expression of what Hip Hop music is all about, using these abstract musical soundscapes to stunning effect, and something that constantly keeps the listener guessing, stretching the boundaries of there understanding, opening them up to new horizons to explore. It all fits so well with Junior Disprol’s lyrical content and delivery, which demands a sound that steps outside the box, then turns around and kicks it out the stadium, and that is what Cool Edit Chud delivers here.

Also outstanding is the line-up of guest artists and DJs who all bring that extra depth and seasoning to the project. Delivering the kind of performances that leave you breathless and just adding the icing to what is already a perfectly baked cake of an album.

Nothing would be complete here if I didn’t give a nod to the artwork. As we know Junior Disprol aka Matt is also an incredible artist, which was demonstrated on the cover of Hung Drawn and Slaughta’d. For DEF II he has collaborated with Chud and Scott Lewis on the artwork and design.

I really don’t know what else to say here except that the album is out now on Plague in the coloured vinyl, tape and CD formats with digital release coming on 20^th May. This one you really don’t want to miss and has to be a strong contender for underground Hip Hop album of the year.

 

On That Note,

I’m outta here,

Steve

LINKS

Get DEF II from Junior Disprol on Bandcamp Here:

https://plague11.bandcamp.com/album/def-ii

Get DEF II from Plague on Bandcamp Here:

https://plague11.bandcamp.com/

VIDEOS

DEF II

Mugshots

Album Review: Jazz Spastiks Vs Cut Beetlez

 

Jazz Spastiks VS Cut Beetlez

Right now, in this very moment, when you think of jazz and Hip Hop fusion sounds, two names come immediately to mind, the Jazz Spastiks (Edinburgh,UK) and the Cut Beetlez (Finland).

Both are beat makers, DJs and producers who bring their own twist to mixing up classic boom bap Hip Hop with Jazzy vibes. Both are also duos with the Jazz Spastiks consisting of Coconut Delight and Mr Manyana, while the Cut Beetlez are DJ J-Man and HP Lovescratch. There is no doubt that they both have their own distinctive sound which they use to great effect on instrumental cuts as well as those featuring a whole host of guest artists from the golden era of Hip Hop right up to some up and coming artists hungry to show their pedigree.

Jazz Spastiks VS Cut Beetlez is the third release from Worthing UK based Hip Hop label Deuce Deuce, who are one of the premier up and coming labels in the UK. Only available on Vinyl and digital this release is obviously one that is made for vinyl as it consists of two sides, with the A Side coming from the Jazz Spastiks and the B Side from the Cut Beetlez, each duo dropping seven tracks showcasing their own brand of experimental, instrumental, jazzy Hip Hop niceness.

So, let me get into this and break it down for you…

The Jazz Spastiks kick of Side A with The Doctor,  a proper feel-good mix with the jazzy sounds of horns, keys mixed in with a nice funky drumbeat, cuts and some samples that describe a trip to go see the doctor. There are not many of us who like a trip to the doctor but, if every trip to your doc was this good, who’d want to leave? After, regrettably leaving the doctors office we move on to Anka Banka where the listener is treated to a head nod beat that overlays this jazzy sound scape of cymbals, keys, bells, and bass which allows your mind to wander as you listen. I checked a few means of the title and ones which stuck with me were Merciful (Anka) Brave (Banka), this idea of being compassionate, whilst still being strong stuck with me as I listened as it fit with the two parts of the music. From that laid-back thoughtful moment, it’s time to switch it up a notch with Usin’ and Confusin’, an almost cut n paste style sound with some classic samples, a solid boom bap beat and razor-sharp cuts, all of which is backed up by some chilled organ vibes. This one really speaks on the basics of what the Jazz Spastiks do, in taking the beats and sounds then working their magic to produce something brand new. From getting that basic idea of what the Jazz Spastiks do, we are then treated to a basic explanation of what jazz music is, the Master Fundamentals if you will, all courtesy of a sampled vocal. The track is relaxed mix of cymbals, drums and electric organ notes which is enough to carry you along while focusing on the words.

Static, drums, electronic sounds, and organ notes merge to bring a chilled-out vibe of The Boss. This track brings the atmosphere of listening to old vinyl records to the digital age, even if you’re listening to this on digital. It still keeps you moving your head too, so no matter the mood this has the flow. The now switches once more as cymbals, keys, electronic sounds, and a heavy drumbeat create a more spaced-out vibe. This is perfect for the Spirit Molecule as you feel you are transcending the current dimension and moving to a place where the normal laws of physics don’t apply. Moving to the final piece on this side we are treated to a slick vibe of drums, horns bass and organ notes. There is a sampled conversation taking place and the sounds of the city, making you feel like you are sitting in a booth in a jazz café where people are musing over The Good Life and the complexities that come with it, albeit on a deep existential level…

Flipping to Side B, it now the turn of the Cut Beetlez who open up with their Intro, which is an up-tempo piece of drums, horns, organ notes which switches mid-way through, and we lose the jazz and hear a slightly down-tempo voice who directs his request to the Cut Beetlez for some more boom bap for the Hip Hop headz, you know that sound they are known for…

Horns and drums bring us into Ready For Battle but, those horns and drums are closely followed by sampled vocals and frantic cuts and more classic samples with a sound that is almost like using the cross fader between turntables, giving you the feeling these guys are ready for anything. More percussion, and organ notes seem to switch the tempo up a notch or two giving a sound that tweaks your nerves. Some slick cuts give your nerves a break on a couple of occasions making you wonder just what’s coming next as you say Gimme A Break. That break is about to come with some laid-back double bass and classic Hip Hop samples But, soon some organ notes come in bouncing of our nerves once more as the Cut Beetlez seem to invite us into Channeling this experimental vibe into our minds and opening up a new understanding of music. Laid-back horns lead us into You Need To Quit, before sparse drums and cut up samples allow us to relax for a minute and just simply enjoy the sounds of horns and keys alongside those chilled drums.

Straight Up Dope Boom Bap does exactly what is says as some slick turntableism, classic samples and dope cuts serve as the backdrop while a heavy boom bap beat and some jazzy horns slip in to carry us along as we can’t help but, nod our heads to this as it embodies what we all love about Hip Hop. The final track on this side is Last Jazztics, the drums pound, the horns blow and the keys sound out, all this as cuts slice through your awareness and you detect more than little turntable trickery along the way as this one just eases us out of the album in style, Cut Beetlez style that is…

 

After all that what can you truly say in order to sum this one up…

I don’t, for one minute, say that I know much about the many types of jazz sound there are, as I am sure there are many and the roots of these go back to the late 19^th and early 20^th centuries when jazz grew out of the influences of ragtime, blues, gospel, and military big band music. There has been a huge jazz influence within Hip Hop over the years with the likes  Gang Starr, Digable Planets, A Tribe Called Quest and the Roots, to name just a few. The Jazz Spastiks and Cut Beetlez have brought a new spotlight back to the jazz influence within Hip Hop.

I found that on Jazz Spastiks VS Cut Beetlez there were two kinda vibes going on. The Jazz Spastiks showed a great balance with a more classic Hip Hop musical approach to there offerings, creating flowing tracks that often allowed you to read more into the music that was first apparent. The Cut Beetlez however, showed a more experimental approach creating a sound that showed what can be achieved when you think a little bit outside the box when fusing two genres of music and without that experimental aspect, things would never move forward.

For me this was far less of a versus battle situation and more of a stage for each to simply showcase their sounds and what they are capable of producing, when given the space to do so. The only winner here is the listener who gets treated to some of the most exciting Hip Hop/Jazz fusion music out there and from two of the most exciting Hip Hop beat maker/production/DJ duos out there right now.

I have rated both the Jazz Spastiks and Cut Beetlez for some time now. The Cut Beetles have featured in my reviews on several occasions but, not so with the Jazz Spastiks. So, it is a pleasure to be able to review such an outstanding release by both and huge respect to Deuce Deuce for putting this one out.

I just want to finish by saying a huge thank you to DJ J-Man from the Cut Beetles for sending this one my way.

This is definitely one to have in your collection, especially if there are some vinyl copies still out there.

Links to get the album are below and don't forget to follow Jazz Spastiks, Cut Beetlez and Deuce Deuce Records on all the usual social media.

On that note, it’s time for me to Be Bop outta here,

See ya,

Steve

LINKS

Get your copy from Deuce Deuce Records on Bandcamp:

https://deucedeucerecords.bandcamp.com/merch

Jazz Spastiks on Bandcamp:

https://jazzspastiks.bandcamp.com/

Cut Beetlez on Bandcamp:

https://cutbeetlez.bandcamp.com/

Album Review: True Rhyming Over Youthfulness by TROY

 

True Rhyming Over Youthfulness

By

TROY

 

True Rhyming Over Youthfulness is the brand-new project from Troy Arnold and follows the release of the single TalkWalk ft Briti$h. The rapper/producer from Ipswich UK has written, produced, recorded, and mixed the whole project himself as a launchpad for his future music and shows exactly what he is all about.

The best thing for me to do here is to take you through the seven tracks and give my thoughts and feelings so, let’s go…

 

The whole thing kick’s off with Broken Silence which has an almost brooding vibe with slightly modern musical undertones. The whole thing is piano heavy with electronic notes and electronic drums patterns. Troy’s vocals here give you the impression that he has quietly been watching what has been going on around him and that his thoughts and feelings have built up across this time, just waiting on the right moment to burst forth and that time is now. That internal voice that has kept its silence, now finds a voice and the light to bring forth it’s pent-up energy and truthfulness. The feeling of breaking through from the darkness to the light continues with Legit. This track has a lighter feel to the beat that is fuelled by guitar notes. You get the feel here that Troy is stepping out from the shadows into the light and giving us the truth about who he is as a rapper and producer and how he will stand tall and always speak the truth. This desire to speak the truth lends itself to a deeper message if you chose to read between the lines, as speaking the truth is desire not to mislead people and too much, in the world around us, are we exposed to misleading information by those in a position of power. So, we understand that Troy is and always will be Legit in what he does.

The keyboards, electronic notes, xylophone notes and sparse drums of Borderline create a more thoughtful feel. This is the perfect backdrop for a track which appears to be focusing on mental health. There is a definite sense that Troy is speaking on the experience of someone struggling with life and walking the thin line of their own mental health. His words here could mirror those of so many who find their minds overflowing with dark thoughts, slowly slipping into a place where even the things that mean so much to them do not appear to be able to save them from the all-encompassing darkness. Troy now snatches us back from the brink with an upbeat vibe of keys, electronic notes, claps, and drums. The beat serves to raise you up and go with the flow of Let’s Go, which see’s Troy demonstrating his verbal skills and unloading the bars simply for the enjoyment of the listener. There is not much else to say here except sit back and enjoy.

Next up is a heavy beat full of keys and cymbal notes, creating the kind of vibe that invites us to listen as we nod along to the beat. Troy speaks on how life is like a Kaleidoscope, constantly changing minute to minute, hour to hour and day to day. All these good times and positive morph with the darker and more negative moments where we wish we could simply float away but, reality means that we pick ourselves up from the floor, dust ourselves down and continue the journey into our ever-changing life story. This more thoughtful vibe gives way to a far more uplifting but, laid-back feel of piano, electronic notes, drums, and claps. Goin’ In finds Troy going full on telling us that he is not here to play as a rapper but, not in the way you would expect. This is not the kind of track where he is her to brag about how good he is and to make you jump up and bounce along to the beat. Here Troy approaches things in a more laid-back style where he tells you exactly how it is for him doing his thing and it really makes you listen to the message in the words. The final track is Never Change, a fresh sound of strings, electronic notes and heavy but sparse drums, that also has a hint at some more modern influences on the sound. Troy’s message here is about how it is important to be you and to surround yourself with real friends. Don’t be affected or influenced by what’s going on around you. It is only by being your true authentic self that will allow you to speak your truth and help you earn respect.

 

Overall, there is a deep feel to this project. Troy has this desire to assert himself by laying all his cards on the table and being transparent and saying, this is who I am, this is what I do, and this is how I am going to do it. There is no BS here just straight up truthfulness from someone who has taken their time to hone their craft, polish their skills and develop their own style by being completely open.

Troy’s production and vocals deliver a variety of sounds, flows and moods that are rooted in his own life experiences and feelings. From situations in day-to-day life to experiences in the music scene you get this distinct impression that there is true desire here from someone coming up and making a name for themselves. Troy has presence of mind and a solid rhyme style all backed up by impressive production skills.

I really felt the heart that Troy put into this release. He has put together a really solid platform to stand firm on as he looks to future releases. I really feel he will develop and evolve with each project which will give him a good underground following and who’s to say how far he can go.

True Rhyming Over Youthfulness is available now as a free download and I highly recommend you give this one a listen as there are definitely good things coming for Troy Arnold.

On that Note,

I’m out,

Steve 

LINKS

Download the album on Bandcamp Here:

https://troyarnoldmusic.bandcamp.com/album/true-rhymin-over-youthfulness 

Download the single TalkWalk ft Briti$h Here:

https://troyarnoldmusic.bandcamp.com/track/talkwalk-feat-briti-h

Single Review: AE046 - Rhymes Be Bomb! by J & MO'

 

A: Rhymes Be Bomb! (feat. Emcee G Roc Gayle)

B: Pelottaa (feat. HP Lovescratch)

By

J & MO’

 

Rhymes Be Bomb! Is the first release in 2022 from AE Productions and sees the debut 7” release from the Finnish production duo of J & Mo’ aka DJ J-Man (Cut Beetlez) and DJ Mo’ Money as they work towards dropping a full-length album, J & MO’, later in the year.

So, prepare yourselves and take cover because we got incoming…

Side A is the title track Rhymes Be Bomb! Which is taken from the forthcoming album and features vocals from Canadian Emcee G Roc Gayle (The Vibe Drops). Here J & Mo’ bring an upbeat jazzy fusion of horns, keys, guitar, drums, and cuts. The vibe is so infectious and uplifting that it raises you up regardless of your mood. Emcee G Roc Gayle skilfully drops the kinda bars that do exactly what the title suggests, dropping rhyme bombs for your ears, not only that. He does it in such a way as to still be radio friendly at the same time so, there is no place to hide from the onslaught.

Just as you are cautiously raising your head up to see if all is clear, you flip to side B where J & Mo’ unleash Pelottaa, a non-album track that only get with this release. An instrumental jazz funk mix, which includes a few classic samples, has the duo creating a mood that constantly switches around to keep you constantly guessing at what is coming, add to that a feature from HP Lovescratch (Cut Beetlez) with some classic human beatbox and this one might just tug at your awareness enough to bring something deeper to that second-guessing. The fact that Pelottaa is the Finnish word for ‘frightened’ makes you suddenly realise that these guys may just have produced a piece of music that fits perfectly with that emotion, albeit in a Hip Hop sense…

 

Rhymes Be Bomb! Is cracking debut from J & Mo’ and one which undoubtedly puts them on everyone’s radar and sets the perfect amount of anticipation for the upcoming album.

There are two different sounds here, both rooted in that Hip Hop Jazz fusion style but, both creating two different moods and vibes. What is also great to hear on this release is that the embodiment of true Hip Hop music shines through with energetic Hip Hop beats, plenty of cuts and scratches and rare appearance of the Human Beatbox, something that we are sadly hear a lot less of. As modern technology takes over and people can create beats on there phones, the human beatbox is becoming something that people are just not taking up but, here HP Lovescratch shows that it is still alive, and I can only hope this is a catalyst for others to have a go and bring it back…

The appearance of Emcee G Roc Gayle also brings another depth to the title track as he shows that you can still drop heavy lyrical content and still keep it radio playable. His vocals also bring a freshness that fits perfectly to the vibe of the release.

The Sleeve design comes from longtime AE Collaborator Mr Krum who replicates the metaphor used in the title track by replacing bombs with mics in artwork that mirrors a vintage board game to great effect.

This one has been out a few weeks now and if you have not heard it yet, then you need to check this one as soon as, it’s the shape of things to come from the Finnish duo and shows just how global the Hip Hop culture is and full of positive vibes for all.

As always, my thanks to Mr Fantastic over at AE Productions for sending this one.

On that explosive note,

I’m out,

Steve

LINKS

Buy the 7" from the AE Productions online shop:

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

Get your copy from AE Productions on Bandcamp:

https://aeproductions.bandcamp.com/album/rhymes-be-bomb