It was back in November of last year that I reviewed The
Chronicles of Nefaeria Volume 1 by Ill Sykes, and now he is back with a new
single Dark Star Demoralizer. This new single is the first collaboration
between the London based rapper and the Swiss based duo Bogart aka Marin and
Jayztylez.
Released at the end of August, the first thing that hits you
about Dark Star Demoralizer is that the opening almost teases you that
this one might be a laid-back affair until the pounding beat drops in and gives
those background vocal samples an entirely different edge, suddenly the whole
thing takes on this dark, almost sinister air. Ill Sykes delivers his rugged
poetic vocal style and wordplay in a way that mimics the vibe of Bogarts
production and you begin to feel there is this dark, almost demonic feel that
penetrates you, chilling you to the core. However, listen a little deeper and
what appears to be the cry of a damned soul, is more like the cry of a soul
that fears the eternal damnation and is looking for redemption. You almost feel
that this reflects someone wrestling with their own sanity, with the devil on
one shoulder and an angel on the other.
Dark Star Demoralizer is an exciting introduction
into what promises to be an exciting collaboration between Ill Sykes and
Bogart. The sound has this deep vibe that reflects the state of modern society
but also keeps its roots in Hip Hop of the late 90’s and early 2000’s. What is
also apparent here is that Ill Sykes rap style and Bogart’s production work
very well together, each seemingly aware of exactly what is needed to breath
life into the particular vibe they are looking for.
With this insight into what they are about to bring to the
Hip Hop community, I for one will be eager to see what they bring in the form
of a full album. With this mix of deep emotive beats and vocals that twist the
senses with relatable topics and more, it looks to be a highly anticipated
sound.
Dark Star Demoralizer is out now with artwork from
Sinisa Kandic and a video from Full Clip Media and is released through their
own Tu Phaze indie label. Go check it if you haven’t already.
Feat. Masta
Ace, Heart.Wyred, Upfront MC & The Nicewun JM
It was only a few months back that I featured a track that
was produced by German producer Alias Molombo. That track also featured The
Nicewun JM (Wiltshire UK), and so when I heard that these two were going to be
linking up again, it seemed only right to drop a review; and a good thing too
as its official release is today, 6th September but, it has already
been receiving some big airplay.
The Introspection (Remix) features a big
international line up of emcees headlined by the legendary Masta Ace alongside
Heart.Wyred (Germany), Upfront MC (Split Prophets, Bristol UK) and The Nicewun
JM.
Let’s get straight into this one,
The Introspection (Remix) is a remix of Alias
Molombo’s own single which featured Masta Ace, Heart.Wyred and Upfront MC, this
remix adds The Nicewun JM to the mix. Molombo’s production here is quite
laid-back, the drums are the main element but, there is this background sound
that features what seems to be a xylophone, which when mixed in the drums gives
this one a very thoughtful tone, which fits perfectly for the track. The whole
message to this one is about looking within yourself, examining your own thoughts
and feelings and questioning, what would be different, or would I be different
if the choices I made or the events in life took me down a different path,
exactly what Introspection is.
We have all considered what would life be like had choices
and events and here we have four emcees giving us their own experiences of this
aspect of life; doing it by thought provoking wordplay, mixed with real life
experience. It is almost impossible to listen to this track and not have it
bring your own introspective thoughts to mind. I know that I have daily
introspective moments, and this track really does reflect those moments well.
This is a great track to get the mind ticking over in its
relatable contact but is also enjoyable at the same time. There is also that
international vibe to the track too, one that gets the mind ticking even more
as you welcome the fact that this music brings us all closer together,
something you don’t need to reflect on.
This is the second release that features the awesome artwork of Scum Doodlez aka Amir J. Sadeghi. I'll drop a link below to his Insta so you can hit him up for some dope art.
Introspection (Remix) is out today, so go check this
one out.
This one sneaked up on me almost under the radar but, after
getting the chance to review the Smoove Remix of Labels, with the 7” version as
the B-Side to Without Music (2021) and the full Extended Mix on the Libra album
(2023), how could I pass up the chance to do this one. Simple, I couldn’t…
Sambuca (Smoove Mix) is a strictly limited 7” release, that
is limited to just 100 copies, on B-Line recordings and is released today via
Whirlwind D’s Bandcamp page.
I don’t want to keep you waiting on this one so, lets just
get into it…
The funky beat immediately grabs your attention and those
horns on the bridge give this one the sort of infectious sound that you gets
you moving and puts a huge smile on your face and that vibe really fits so well
with Whirlwind D’s witty vocals. Now, if you have not heard this track before,
if not why not, it’s all about getting hyped up for those live shows, getting
rid of any anxious feelings with a little liquid courage. Anyone who has been
to Rope-A-Dope or certain live performances since the release of Libra, can
tell you that that Sambuca has featured; the firey liquid burns its way from
mouth to gut, giving the warmth and internal strength to perform with gusto and
engage the crowd throughout. But this track might be all about getting hyped
for the shows but, really sambuca is one of those drinks that you can just have
fun with, a bit like this track sees Whirlwind D having some fun with it.
What I love about this track and this remix is that Smoove
takes nothing away from the original, which was produced by Specific and had
cuts from Djar One, but he gives it a whole new spin, giving it a funky vibrant
club vibe that would not be out of place being thumped out a few notches above
ten at your BBQ, in your car, wherever suits you. This one is sure to have you
bouncing around every time you hear it. Just remember to drink responsibly and
don’t have a shot every time you hear the word sambuca, otherwise you are
likely only to get through one play of the track, Ha Ha…
This is a great addition to Whirlwind D’s catalog and a
truly blinding remix from Smoove who just has this uncanny knack of feeling a
track and knowing exactly how to elevate it and put the kind of spin on it that
takes it off in a whole new direction. Plus, it could not have been released at
a better time keeping those summer vibes going.
The wicked artwork for the Sambuca label comes from the creative talent of John 'Digital' Dyer.
Grab a vinyl why you can and get this one flowing through
your musical veins.
Huge thanks to my man Whirlwind D for giving me the chance
to bring this one to you.
Bombin’ is the latest release from Unsettled Scores
Records and comes hot on the heels of the debut Tracy Song.
Bombin’ was originally recorded back in 1985 and was
the title track for the Dick Fontaine documentary of the same name which was
originally aired on Channel 4 in the UK in 1988. Composed by David Toop and Performed by Brim (TATS CRU) and written
by Brim and Bronx Style Bob (Rhyme Syndicate) the track was never officially released, that I am
aware of.
The Documentary, which you can find on YouTube, focused
primarily on the graffiti element of Hip Hop, although breakin’, Rap and
Scratchin’ was all featured but, to a lesser extent. Alongside Brim, the
documentary featured the likes of Bambaataa and UK artists such as 3-D (Massive
Attack / The Wild Bunch) and Goldie (MBE), there are also excerpts from Style
Wars as well. It followed some of Brim’s 1985 exploits in the UK from lecturing
at Oxford to painting at public events and more. There was a lot of candid
parts that focused on his interactions with people around the UK involved in
graffiti and Hip Hop. It also looked at the political and racial aspects of
life in the UK, with Wolverhampton and Birmingham featured, and how those
struggles mirrored the struggles in New York. The documentary ended with Goldie
visiting New York before ending back in the UK with the ultimate message that
Graff Writers and Bombers, no matter where they come from, grew their artform
from doing their best to create something positive from the tough and often
impoverished inner city life.
Back to this release which brings the essence of those early
days of Hip Hop back to us, and I can remember, as a 17-year-old, setting the
video recorder to tape the programme and then eagerly watching it the following
day. I am sure that the feeling I get from hearing this again, will be the same
for many more of you out there that remember this Documentary and the music.
The 7 inch vinyl version features a Vocal Edit and Guitar
Dub Mix Edit that has been edited by the labels creator DeeJay Skamrok and
alongside that the digital release features the Full Length Vocal/Guitar Dub
Mix, the Main Theme/Original Version and Bombin’ Beats. All of which have been
remastered from cassette tape that was recently discovered in the collection of
Bombin’ composer David Toop and is finally released here for the first time in
its original form and features previously unheard mixes and verses from Brim.
I’ll kick things off with Bombin’ (Full Length Vocal –
Guitar Dub Mix) where the bass and mix of electronic and scratch elements
brings back that early electro/808 Hip Hop sound. There is also a rawness to
the sound that very much echoes the vibe of the streets that graffiti grew
from. Brim’s vocals have a slick flow and speak to you on the life of a graff
writer, living for bombin’ the trains and dodging the law while seeking to
bring some colour and brightness to the darkness of ghetto. Yo can feel the energy
and the passion of Brim as he speaks on what it means to him being a writer,
constantly practicing his art to be ready to get up on the next train or wall,
in a constant battle with other writers to be bigger, bolder and fresher. The
extended instrumental part of the track combines all the elements of what Hip
Hop music was at the time and those guitar elements put you in mind of what Run
DMC were doing too, with incorporating those rock riffs as part of the track.
This is the version that was originally used in the Documentary.
Next up are the two tracks that have been edited by DeeJay
Skamrok to form the 7-inch vinyl release. The Bombin’ (7” Vocal Edit)
breaks the track down to size for the vinyl by losing the extended instrumental
part of the full length version but keeping the essence of Brim’s vocals and
that electro Hip Hop vibe, creating an edit for the A-Side that can easily rock
both sides of the tracks. The B-Side Bombin’ (Dub Guitar Mix Edit) takes
the instrumental elements of the full-length version and mixes them into the
perfect instrumental version of the track. This edit is a solid soundtrack for
the bombers and writers out there and you can feel the energy of being out, in
the dead of night, getting your tags, throw ups and outlines done before moving
onto the next piece, all the while looking over your shoulder for the cops…
The next mix here is the Bombin’ (Main Theme – Original
Version) and, from the title, you might think this is the main version used
for the documentary; however, only about 15 seconds of this version was ever
used in the documentary, at around the 13:55 mark, just after the conversation
with the old woman. This version is stripped back, losing the guitar elements
and just keeping the bass, giving this an even more raw Hip Hop sound that will
touch the hearts of anyone who was there back in the day, stirring up memories
of the documentary or even their own early days of getting up or experimenting
with tags and so on. For me, this is the version that stirred the most memories
in me and my own days experimenting with tags and Graff, something I still do
to this day.
Last but, not least is the Bombin’ (Beats) which
brings you the basic beat that underpins all of the mixes and edits that have
come before. There is something about that sampled hand clap from this and the Original
Main Theme that just seems to scream early 80’s electro Hip Hop. I just get
the feeling that this one is gonna be inspirational for producers out there
right now, seeking to bring that old skool element back, perhaps Hip Hop needs
to take it back before taking it forward?
If I’m honest, there is not much more you can say about this
one except that this release is a crucial part of Hip Hop history that needed
to be put out there and for DeeJay Skamrok / Unsettled Scores Records to be
able to get this released is truly something special for the culture. In my
opinion anyway.
Here we have two formats that true Hip Hop heads will love.
The vinyl version encapsulates the sound and physical media that we all grew up
with and anything that is resurrected or discovered languishing in obscurity,
needs to have that vinyl format, even if just for nostalgia. The digital
version allows us to have those expanded versions and mixes in a form where we
can enjoy them but, that would need a vinyl album format to be made available
in physical version. Now there’s a thought?
What is crucial about what Unsetted Scores Records is doing
with this and its previous release, is giving new live to tracks that might
otherwise have been lost to time and it is important to bring these back for
the enjoyment of many more generations to come. Bombin’ being made
available now is not just going to hype up us old skool heads but, will give
the younger generations another slice of Hip Hop to enjoy and draw inspiration
from.
Everything this release is took be back to that
seventeen-year-old me, enjoying the music but, more than that I can now here
Brim’s lyrics and every word of those lyrics, feeling the energy and just how
much he put his personal experiences into every line so that we know exactly
what it is to be a writer, bombin’ and owning the lines.
If anyone has any confusion regarding the naming of the
tracks, this comes down to how they were originally named when received from
David Toop. I’ll let DeeJay Skamrok explain: When David Toop sent me the
tracks the original version was titled “Main Theme” and the one used in the
film was simply titled “Dub Guitar Mix”, no mention of a vocal. Not wanting to
mess with the original titles I just made slight changes but now I’m wishing
I’d called the Main Theme something like “Original Demo”. So, I hope that helps
clear things up a little for everyone.
I also have to shout out Exile who has done a wicked job
recreating the logo from the documentary and bringing it back for the cover.
This is one to be celebrated as it shows the universal
nature of Hip Hop, even then nearly 40 years ago, uniting people of all creeds
and colours, across boundaries and oceans, just as it does now.
My humble thanks to DeeJay Skamrok for giving me the chance
to reminisce and bring you my thoughts on this one and for his comments and
information that helped no end in just polishing this one off.
Bombin’ is available now so grab those physicals
before they sell out.
Its great to have Nottingham emcee Frisco Boogie back on the
blog. I last featured him back in October last year with 50 From The Cradle
and since them things have definitely been moving forward for him. This year he
signed to Montener The Menace’s Hidden Hobby Records and his first release for
the label is this nine track album, Lost In The Loophole.
As always Frisco Boogie does almost everything himself on
this one, from writing and production up to arranging and, obviously,
performing. He even designed the artwork too; you can’t get much more
multitalented than that! The only thing he does not do is mixing and mastering,
which is handled here by Mark Gamble. There are also features from DJ
Glibstylez and the Local Healers to spice things up a little.
So, join me as I get Lost In The Loophole with Frisco
Boogie…
Our journey into the loophole begins with Frisco Boogie’s
most recent single release Lost. This one is really the album’s title
track and has a heavy drum beat that is backed by this nerve tingling piano
loop that brings your focus directly into the music and the lyrics. As you nod
your head to the beat you can easily get lost in the music, which is really the
whole message here. We live in a society where getting lost in anything is a
challenge as we are often connected to the world in some way, shape and form
but, music is something you can truly get lost in, no matter your tastes. As we
get further into the loophole, you realise that things will come back around,
the Same ol’ Same. The beat here keeps the heavy head nod beat but, the
keys and electronic vibes bring a lighter vibe. Frisco Boogie tells it as it
is, which is the fact that life is a loophole. We go through life, day to day,
experiencing the same things, in the same places, going round in circles. Even
holidays are only a short respite from the same ol’ same ol’. Piano notes draw
you into Silence, a nerve-jangling mix of piano, drums and flute that
has you questioning what’s going on. Featuring DJ Glibstyles on the cut, here
we find Frisco Boogie detailing the value of those moments of silence; these
moments can be the most valuable thing for us as choosing what you feel inside
over a snap decision of reaction, can be the one thing that changes the outcome
of where things will lead you and those around you, it can be the difference
between a positive or a negative outcome. Just think about it, shutting up
might be the best thing you ever did…
The Local Healers feature on the next track, March
which has an infectious sound of another head nod beat, alongside hand drums
and more that give this the kind od vibe you can drift away to. There is
powerful message behind this one too, it is a celebration of the women in your
life and the strength of their feminine energy. We will all have a special
woman in our lives who bring a strength and power that guides and lifts us up.
For some, it is just their mother, and for others it could also be your wife, friends
and more. For me there is also a deeper message here, you can go beyond the
respect and love for those women and find the strength of your own feminine
energy, just because you are a man does not mean that you do not have that
energy within; let the women in your lives help you to find it and all it
brings. With such a powerful message still raw in your mind, a heavy beat kicks
in and the drums, keys, guitars and vocal samples, bring an uplifting sound
that still keeps you moving with Karma. This is a short little track
that looks at the outcomes of our choices when those choices are made with less
than positive intentions. In fact, karma comes with all the choices we make, it
is just our intentions that decide how the karma affects us. Violin notes bring
in No Answer, with xylophone, guitars and a solid drum beat, the vibe is
one with a reflective edge. This one looks at all those times we sit and
question what’s going on around us, our mind swimming in a see of questions
but, try as we might, there seems to be to answers forthcoming from inside,
even as we look externally for something that will help form those answers,
nothing comes and those questions continue to float around, deep in our mind
awaiting the time when an answer may be forthcoming. There is a short jazzy
skit at the end of the track that is different to the vibe of the track and it
kind of jumps out and surprises you, just like an old question arising or the
sudden answer to an old question finally falling into place…
Field Of Crows hits with a pounding drum beat and
sampled vocal sounds that give this one a questioning vibe, following on quite
nicely from the last track. Frisco Boogie muses over questions of what it would
be like to see through the eyes of a crow or even to be a crow. These are
questions that scientific study of these birds is only beginning to give us
insights to. Crows exhibit many of the traits that we humans do so, perhaps we
are not that different? Maybe it would be a good thing to be able to experience
how animals and birds see humans and how we treat them, as it might teach us a
thing or two and help us treat them and each other in a better way? With those
interesting thoughts in our heads, we move into the penultimate track of the
album Turmoil In The Trenches. Horns, bass and keys compliment the beat,
bringing with it a contemplative vibe. We find Frisco Boogie sat on a park
bench, taking time out to watch as the loophole continues around him. Here he
watches as life passes by and sees the turmoil that exists in the flow of the
moment; a place where we all live, side-by-side but, not passing like ships in
the night but, with a tension between us that brings with it a sense of not
knowing what’s coming, either from other person directly but, also from
outside, indirectly, with so much turmoil around us, sometimes you just have to
sit on that park bench and take some time, just for you. The final track of the
album is also the first single that was released, One Question. Eerie
keys bring us into this one with some vocals that pose the one question we all
come back to at some time in our lives; as the beat kicks in Frisco Boogie
opens up in depth about not just that one question but, all the things that
bring you to that moment, that question, go back over all those moments that
brought you here to this single most important question and ask yourself, if
you could relive one moment that would express everything about you before this
point, where would you take yourself…
After listening to this album, you kind of find yourself
thinking about things, questioning if you are really living in a loophole, and
if you are is there really going to be a moment in which you come back to the
beginning once more or will you reach a moment in which the loophole appears to
end with one final question? In fact, is this life, this loophole just an
on-going series of questions, some with answers and some without? Perhaps that
is the purpose of this album and it’s a very ingenious concept, to leave the
listener with more questions. It is also a very healthy energy, the more we
keep our mind active the healthier it remains and if we have to question
everything; then perhaps that what we do?
I love music and I do enjoy that listening to music allows
you to get lost anywhere you want, there are no borders when it comes to
getting lost in music, and more than that, I love it when the music I listen to
gives me something to get my mind buzzing with thoughts and questions because
that allows me to become creative with my words and Lost In The Loophole
is one of those albums that does that, leaving you questioning everything long
after the last beat and the last word have passed by.
I mean, even if you set aside how this album may affect you,
you are left with an enjoyable album that has Hip Hop music at its core. Every
beat is for those that enjoy the head nod style boom bap sound and will keep
you moving from top to bottom, even if you chose not to immerse yourself in the
deeper meaning of the tracks. You will also find that Frisco Boogie has an
adept way of using his wordplay and insightful lyrics to good effect across the
entire album. The appearances by DJ Glibstylez and Local Healers add the icing
to the cake or the jam in the sponge, if you will, giving the album an extra
dose of flavour that works so well but, first and foremost this is crafted by
Frisco Boogie who knows exactly what he wants and expertly crafts it from words
and music.
Overall, however you chose to listen to the album and
whether you chose to immerse yourself in it or not, just enjoy it. This is a
superb album for Frisco Boogie to bring as his debut on Hidden Hobby Records
and shows why he is such a great signing for the label. Lost In The Loophole
is most definitely one not to sleep on, in my humble opinion.
Lost In The Loophole is out now.
I’ll see ya next time, maybe with more questions, maybe not…
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