It’s always good to have the Analog Mutants here on the blog
and this new single is no exception. This is also the first single from the
Analog Mutants not to feature DJ Grazzhoppa as there are no cuts on this one.
Production comes from DJ Snafu and vocals from Phill Most Chill.
Now, there is a little bit of a story behind the beat and
title of this one. I was struggling a little bit with certain aspects of this
one, and although I had an idea what this one was all about, I decided to ask
Snafu for a little bit more. The sample comes from an obscure genre of music
called Titty Shaker. This form of music from the 1950’s is hard to define, as
it is mainly instrumental but usually with a single word chorus. An example of
this would be the track Tequila by The Champs. This is a form of music that was
widely used in the strip joints of Vegas and also in Go-Go dancer shows, hence
the genre was coined as Titty Shaker. Snafu found a sample he loved the most
and turned it into an instrumental called Tittyshaker and then sent it
to PMC who crafted his lyrics around the beat and its title.
Tittyshaker has this upbeat funky vibe which features
guitars, keys and horns, this brings an infectious sound that injects movement
into your body and brings a huge smile with it. This fits perfectly with PMC’s
tongue-in-cheek lyrics that are not only reflect the title but, also serve as
fun filled ode to the female form, actually one certain aspect of the female
form that many of you reading this, have a certain attraction to!
This one is definitely an energy filled track that is one of
those just for fun sounds that everyone enjoys bouncing to, and this is
definitely one of the clubs. As it will undoubtedly get everyone up regardless
of your take on this.
However, it would be amiss of me not to mention one thing,
which is that the genre of Titty Shaker music is built on the objectification
of the female form, and this will mean that there are some people that may well
not like this for just that reason. Now, like it or not, there has been a lot
of the objectification of the female form in some areas of Hip Hop music and
other genre’s. I do not support this objectification but, after giving this one
several listens, it is obvious that this definitely has that tongue-in-cheek
aspect and is not written to promote the objectification of the female form
but, more just celebrates one part of the female form that makes a woman, a woman (I say that with the greatest of respect to all Women). Plus,
there are more than a few men out there who could quite easily shake their own
titties too!
The B-Side to this one is the Tittyshaker (Mod Edit)
which takes the track and strips back the vocals to give you a sound that more
closely matches the original genre of music leaving just the bare bones of
PMC’s chorus as the vocal part.
Overall, Tittyshaker is another banger from the
Analog Mutants that with have everyone grooving, proving that you can take any
obscure genre of music and turn it into a banger. DJ Snafu does a great job of
doing just that here, finding something truly obscure and bringing it into the
now. Plus, PMC gives us the kind of infectious lyrics that just match the vibe
of the production, both of which flow so well and are choc full of energy, fun and more.
Now, whatever you may think of this one, it is definitely
one to have a listen to and make up your own mind to, and you can’t ignore the
fact that its infectious vibe will get you moving in some way shape and form.
Tittyshaker is out now on Nobody Buys records, with
the vinyl versions selling like hot cakes (They are probably sold out by the time you read this).
It was about eighteen months ago when a reviewed the first
Golden Ape Beat-Tape from Dweller on the Live From The Groove label. That
release featured a collection of some of the UKs finest underground beat makers
, plus a B-Side that was seamlessly mixed by the legendary Jazz T.
Now Live From The Groove is back with the second instalment,
the Golden Ape Beat-Tape Vol 2. This time around the collection of beats
all come from label founder Dweller with Side-B being mixed by the labels own
DJ Simon C….
That said, let’s get into it…
Each side of the Beat-Tape is nine tracks long and a little
under 25 minutes in length. The A-Side kicks off with Misguided Adventure,
which has a proper funky head nod vibe that really comes alive with this double
bass element that vibrates through your whole body as you groove to the sound. What
It Means follows with drums, keys, guitar vibes, flute and more, all coming
together to give you a sound that keeps you moving. This one has that kind of
vibe that would not see it out of place on a soundtrack of movie or TV series
that has an inner city setting or similar. Next up is Chop La Disco
which brings this awesome funk fuelled sound that mixes drums, strings, piano
and guitars into the kind of sound that has an infectious feel to it. The
infectious funk vibe continues on Beam Me Up which has this wicked drum
beat over which is this eclectic mix of piano, organ and electronic vibes that
picks you up and has you floating off into space. Now you are suitably floating
off, its time for North Stars to have you transcending into another
dimension with this futuristic beat and electronic vibes. Taking you far away
as you allow the sound to permeate your awareness. Without warning the vibe
changes with Grubby Luggage, here the sound has a more boom bap feel
with a solid beat and funky bass sound that brings back from outer space to get
your head nodding once more. Now you suitable grounded once more, Slow
Motion Thinking brings a lighter sound with flute, keys, guitars, and a
more chilled beat. This one would almost have you chilled right out but for the
occasional high paced beat elements that just about keep you in the moment. The
penultimate track on this side is the only one to feature a vocal sample thus
far as the intro to Pick The Right Way. Here the beat is heavy with
electronic elements which seem to fit with the notion that picking the wrong
way will take you on a downward spiral to place you don’t want to be. You end
this side immersed in a place where you get A Word In Your Ear, one
which is full of strings, drums, and cymbals. The sound has this head nod
element but, also this vibe that has a more thoughtful edge to it, the kind of
sound that fits perfectly when you are in a contemplative mood.
It is now time to flip over to the B-Side where DJ Simon C
is about to test the minds of the listener, especially the reviewer who has no
idea of track length going into this, with nine beats being perfectly and
seamlessly mixed from start to finish. It all kicks off with Cryptwalking,
with a heavy beat, bells, keys and more, this one does give you the sense of
slowly walking forward, with no real direction and with one eye cast over your
shoulder. The beat changes slightly as we move into Flat-tops, where big orchestra horns take the forefront alongside a
solid head nod beat. Once more you get that kind of soundtrack vibe before
heavy strings join the sound. This carries you into Waterfalls, where
the beat and guitar vibes unite with Piano elements to bring this upbeat sound
that makes you wonder, what would a waterfall sound like if it had a musical
element as is cascaded over your body, and perhaps this is it. The Piano vibes
continue with Gut-Wrench which has this Lofi sound that, I have to say,
does put you in mind of how you feel having had some gut-wrenching news;
carrying you along where you are almost in a daze. Just as you are wondering
where this is going, Shot In The Dark drops in with a pulse pounding
funk sound that has this awesome uplifting sound with this funky guitar element
that puts a grin on your face once more. Sycamore Style kind of drifts
into the flow with a drum program and horns that give you a sense being at
speed but, also floating at the same time, just like a sycamore seed as it falls
to the ground, spinning rapidly while floating slowly on the breeze. Crom’s
Lament comes in with a recognisable sample that has that soundtrack vibe to
it, alongside heavy drums and cymbals; all of which put you in mind that
something big is coming and this is almost the calm before the storm. It is
either that or this is the sound of someone coming to terms with their past as
their final journey awaits them. Whichever it is there is this emotive edge to
this one that conjures up many things for the listener. You won’t be waiting
long see what the impending sound was foretelling as The End Of The World
is soon upon you. Drums and keys create this deep sound, one that continues
that emotive edge, touching you to the very core of your being and making you
wonder if there is anything more to this journey; that question is soon
answered as Shake The Colours almost explodes into your awareness,
instantly pulling you back to the present moment. The upbeat sound of drums,
xylophone notes and horns give you an instant adrenaline hit that makes you
realise that there is not just a silver lining to the world around you but,
that music is the gateway to a brighter future, you just have to let it in…
I have to say that, bringing myself back from this one was a
huge task as instrumental music gives me free reign to interpret things however
I want and, looking back over my words, I could rewrite this one totally
differently if felt like it and even go on for a few more pages yet but, I have
to give you some overall impressions, or perhaps I just did…
There are few things that strike you when you have given
this a good listen or two, the first of which is the diversity of Dweller’s
production across these eighteen tracks. Yes, you can feel that the foundation
comes from that boom bap Hip Hop sound but, there are some great elements of
other sounds, genre’s and more mixed into each one of these; showing the
calibre and an insight into just what he is capable of as a producer. The
emotive nature of these tracks really allows you to go anywhere with this one
and the fact that it leaves you on a high note means that no matter how you are
feeling when you put this one on, it will leave you on a more euphoric note
once you get to that last track.
You can’t sum up this one without taking a good look at the
B-Side too. DJ Simon C expertly mixes these tracks together, keeping the vibe
going all the way through until that last explosion of sound and inferred
colour. His addition of cuts across the whole thing also adds depth and keeps
that foundation of the Hip Hop sound alive while giving you food for thought
without pausing to consider just where the music is taking you; it’s just one
long journey to enjoy.
For me this a cracking release that shows exactly what Live
From The Groove, Dweller and DJ Simon C have to offer. The Golden Ape Beat-Tape
Vol 2 takes things to a different level from Vol 1 and proves that they are
true silver backs of the UK Hip Hop scene.
The Golden Ape Beat-Tape Vol 2 is available now and is
definitely one not to miss, also make sure you check out the recent review of MNEA ; The Future Introspective EP which is another outstanding release from
Live From The Groove
My thanks to Dweller for giving me the chance to bring you
this one.
It was back in July 2023 that I reviewed the debut, and
now sold out release ‘End Of Your Era’ by Collective MNEA. Now they are back
with the hugely anticipated The Future Introspective EP which keeps the core of
the label artists from Live From The Groove but, adds in new features along the
way.
The Future Introspective EP sees Dweller on production,
mixing and mastering duties. The artwork and design come from Tuff Draft Design
alongside artwork concepts by Ethr82. With such a wealth of artists involved in
this one, I’ll give you as much information as I can in the review. So, sit
back, keep your mind open and join me as I take you through The Future
Introspective EP.
As the initial release for the EP is on limited edition
vinyl, with streaming coming only once the vinyl is gone, I’m going to refer to
side A and B as I go along. The EP kicks off on the A-Side with Look Forward
which features King Kashmere, Enlxsh and Dweller, with cuts coming from DJ
Cuban Jon and DJ Simon C. The beat is heavy getting your head nodding as soon
as it drops; under this beat is an almost eerie sound from keys that grabs your
attention enough to keep you focused on the lyrics, while the cuts slice
through your awareness with laser like precision. This one looks toward a
possible dystopian future for the human race, where we have these dreamscapes
put forward by the emcees, each one giving us a bleak look at what’s to come in
a future that might be a lot closer that we truly realise. With those bleak
thoughts still so raw in our minds, it’s time to Free My Mind with Jess
Edie on vocals. The sound eases the anxiety of a bleak future with a vibe that
takes you back to the days of Bristol’s Massive Attack or, more recently, the
neo-soul of O.Love. Jess brings us a stunning vocal sound that calms the most
stressed nerves as she opens up on what she will do to free her mind from all
the struggles and strains of life. Now suitably chilled out, its time to join
Dweller, Enoch and DJ Simon C for the Rapture. Organ notes and horns mix
with an up-tempo drum beat that gets you bouncing once more. This one kind of
mixes the definitions of the word rapture in to one track as it brings you that
sense of euphoria, teasing you with aspects of looking back at what has gone before and then looking forward to the
start of a new journey; in a way that is uplifting and bringing optimism to the
forefront. Side-A is rounded off with Hurt, featuring Laura Vane, this
one combines bass and piano as the main elements that give this one a deeply
soulful vibe but, with a funky edge. Laura brings this powerfully soulful voice
that captures every part of your being as she brings forth the fact that no one
can get away from the fact that there are aspects of life that with hurt us. We
can do our best to avoid and ignore what’s happening around us but, sooner or
later we have to face that facts and it will hurt…
With Side-A ending on such an emotive note, it gets you
wondering as what Side-B is going to bring. You don’t have wait long as Life’s
Many Questions brings a feature from Scrabble and sound that this jazzy
funk vibe to it with this mix of drums, keys, guitars and more. Scrabble goes
off on this one juxtaposing everything you think might be the answer and
whisking your thoughts into a whirlwind, all in the space of a single verse.
Still leaving with no real answer to life’s many questions. Next up we find
MNEA reworking the track Loose Tongues
by indie funk band The Stash Collective. This one features SimpleSamples and
Kansul with cuts from DJ Simon C. The sound is heavy with a pounding bassline
that gives this one a head banger vibe that will likely have you punching the
air. The title of this one describes the track perfectly as its all about
letting their tongues loose and spitting forth the kind of bars that have you
buzzing from top to bottom. The midpoint of the B-Side brings you The Most
Wonderous Part Of Your Life as Conbel Evrence, on co-production, helps
bring you this chilled out interlude of laid-back beat and organ notes that
takes you to the point of being so relaxed you just want to float off to this
one for the rest of the day but, this is MNEA and you know that is not about to
happen. The penultimate track of the EP is the Free Your Mind (Extended Mix)
which features guest appearances from enlxsh and UK DMC finalist 2024 DJ Rasp
alongside Jess Edie. That same neo-soul vibe is here once more, only this time
you get a lot more of it and you really feel how that deep bass vibrates your
entire body. Enlxsh adds this deep verse that mirrors the sentiments of Jess
and is all about looking deep inside to unlock what will truly set you free. DJ
Rasp brings the kind of cuts that take your breath away, adding another element
to superb extended version. The final track on the EP is the Hurt (Algo
Remix). Here we find that Laura Vane’s stunningly powerful vocals and
message remain the same, but the huge change here is the DnB sound of the
remix. This one turns the tempo up a few notches, which you might think would
change the vibe of this one far too much but, the increase in tempo is just
enough to keep the message working while taking the track to the kind of level
that could well make it a huge club banger. While DnB is not my cup of tea
normally, this one actually sounds quite good and does work very well.
Now, I’ve kept the descriptions relatively short here but,
there is a lot more that you could say about these tracks but, sometimes it’s
just not needed. MNEA and Live From The Groove have done a cracking job of
dropping an EP that, firstly, is as long as some albums can be these days;
secondly, they have experimented with a host of different vibes and sounds that
take you on a true audible rollercoaster ride. What this shows is that MNEA are
not just your normal run of the mill Hip Hop collective, but they are here to
bring good music from whatever genre fits the bill. So, the foundations of the
sound might be in Hip Hop but, what you do get from this one is that MNEA are a
collective that truly want to stretch the boundaries of their musical
influences and by doing that they are going to open the listener up to a sound
that you can never anticipate one hundred percent. That is especially apparent
when you consider that outside of the core label artists, you will never know
who might feature and the vibe they could bring.
It is actually very hard to sit here and know exactly what
more I can say about this EP. It is one of those things that kind of speaks for
itself and you are just going to have to listen yourself to know what feelings
it is going to elicit within you.
Every feature on The Future Introspective EP brings
their own energy and a diverse range of styles, flows and vocal dexterity. From
Rap vocals to Soulful sounds, this one has something for everyone to enjoy and
I have to say that I enjoyed every minute of it.
With all that talk of new paths to follow and new beginnings
on The Future Introspection EP, has made me feel I’ve said enough here
and so it’s over to you give it a listen and see how it speaks to you.
This one is out soon on a limited run of 100 vinyl copies. One
randomly selected pre-order customer will also win a USB stick with the entire
back catalog from Live From The Groove and some exclusives too. There will also
be CD, Cassettes anda couple of concept
canvases available too that are hand painted by Ethr82.
Digital release will follow once the vinyl is sold out. So,
don’t sleep on this one.
My humble thanks to Dweller and all at Live From The Groove
for giving me the chance to drop this exclusive look at the EP.
It is not often that I get an album that piques my interest
from the description of what its all about. However, when I got Universal
Patterns by Newcastle based emcee The Chameleon (AKA Joe Robertson) the album
was described as a musical exploration into AI/tech addiction, medieval
knights, secret societies, numerology, spies, aliens and spiritual love, it
really did grab my attention. Not only that but, the album features some of the
UKs top producers and cuts from Jabbathakut, Fidel Cutstro, and Adika
Now, as this one delves into subjects, I have a personal
knowledge and interest in, I think the best thing is for me get straight into
it. There is a lot to get through here so join me on this deep dive into these twenty-four
tracks and a little over an hour of the Universal Patterns…
It all kicks off with Through The Mirror which is
produced by Remulak and has a very chilled vibe that comes with movie samples,
guitar and flute notes over a laid back beat. This one serves as an
introduction to the Chameleon and really just sets the stage, giving you just a
glimpse of what you are about to immerse yourself into. Replicate the Fabricant is next, with production from Ryan D who gives us an into from Blade Runner
before a proper head nod beat drops in with this background sound that almost
floats through your awareness and is almost juxtaposed to the beat, which
brings a vibe that has you on the edge of chill and bouncing. This one explores
the darker side of where technology is headed, from the way smart phones have
become the norm, to how advanced tech can be implanted under or even tattooed
onto the skin. It opens up the mind just where this might all lead. With all
that in mind Tech Disease seems to expand on that notion. Produced by Manage
the vibe has this heavy beat backed by guitar notes and cuts from Fidel
Cutstro, that keeps things flowing with a laid-back edge. This definitely takes
us deeper down the rabbit hole of how much tech influences how we live. This is
a world where you can use AI to write for you, create your art and even make
your video’s, and where the world some of us grew up in is quickly becoming a
distant memory as people relay more and more on their devices and the younger
generation rarely engage with the world around them. DJ A.D.S produces Virtual
World and brings this head nod beat over a mix of piano notes and more that
has this infectious energetic vibe to it. This one tackles things like virtual
reality, virtual worlds, and ideas like the matrix where digital technology
will become so advanced that you might be able to upload your consciousness to
a digital world and essentially live or exist for an infinite length of time,
an interesting or somewhat scary thought. Mechanical Movements is
produced by Ryan D with cuts from Jabbathakut, the sound has a heavy drum beat
with these eerie strings that tweak your nerves, just a little. This is more of
a skit that touches on AI, social media etc and really invites you to look
deeper and read between the lines in everything you do, and ask yourself why is
AI making such huge strides and why do companies want this to happen? Could be
to remove the human aspect from decision making and notions such as this? Think
about it and I mean really think about it…
Produced by Sam Krats, Visions of Hell brings a heavy
beat that is underpinned by this deep bass and an eerie sound seems to envelop
you. This one switches the narrative away from technology and on to one that
focuses more on secret societies and the clandestine activities of such. This
is the stuff that exists in a world beyond what we normally see, clouded in a
veil of secrecy that few of us will even penetrate but, it does exist. Ladder
of Destiny is produced by Mark Fear who brings a head nod beat that is
backed by a choral sample I have heard many times, and one which adds a deep
edge to the overall vibe of the track. Here we find the focus remains in the
cloak of secrecy but, here we find the narrative looks more at how science
seeks to dispel any talk of a higher spiritual power. However, all the while
those who cloak themselves in the veil of secrecy are engaged with these
higher, or lower, powers in direct opposition to the information they release
to general public. This is another area where we need to ask more questions and
read between the lines of what is being said.
Hozay brings a more funk injected sound for Beast and
Bunny, where the head nod beat is mixed with strings and a funky guitar
vibe. This one is short and switches the narrative of the album once more as we
find it is all about the beast being tamed by the love of a woman. Ryan D is
back on production for The Love Gravity, with bass and keys behind the
beat, giving this a laid-back funk vibe. Love is key in bringing balance to the
world around us and this one takes us deep into many ways that you can bring love
and balance into your life, something that you can’t avoid when you live around
Glastonbury. But however you chose to achieve it, bringing more love into your
life will change the way you see and interact with everything around you. Cosmic
Kiss sees Manage and Ryan D joining forces on production, alongside
Jabbathakut. The sound has a chilled edge to the first half of the track with
just the Piano taking the forefront, halfway in and the beat drops in with sax
notes that give the kind of sound you can close your eyes and drift off too. This
one is deeply emotive love song but, not one in the normal sence as this love
song speaks on a whole different level with cleaver and descriptive lyrics that
stick with you.
The Visit is a short instrumental piece produced by
Mr Slipz that seems to be almost a bridge between emotive vibes of the last few
tracks; then transporting you beyond the confines of this planet. We move out
of the atmosphere with DJ Nappa on production for the Galaxy of Mirrors
where a heavy beat, keys and xylophone notes transport us to a new level of
conscious awareness. Here we become embroiled in thoughts of time and space,
where quantum mechanics and theory open us up to new ideas that encompass travel
beyond what we know as now possible where the current laws of physics chose not
to go. With those mind-blowing concepts now anchored in our awareness Speed
of Thought takes that and runs with it. Ryan D’s production uses piano, sax
and drums to keep us focused while The Chameleon leaves the rabbit hole and
enters a wormhole that transcends spacetime and delves deep into what the mind
is capable of if you truly focus. There is also a side focus here which brings
in the subject of extraterrestrial biological entities, or Aliens.
Controversial to some but, a subject that is inexorably linked to our awareness
when we leave the confines of our planet and the 3-D construct. Talk of Aliens
and UFOs continues with Warrior Kings where complex lyrics and the
concept of planet earth being visited by UAP’s (Unknown Ariel Phenomena) takes
the forefront. The production comes from Wounded Buffalo Beats who creates this
head nod vibe that is underpinned by piano notes and has this vocal sample that
seems to speak to you on an unconscious level, just as another intelligence
might do. Out of Towners continues subjects of an out of this world
nature. Produced by Manage and Jack Diggs, this one has an almost unsettling
sound of drums and piano. There are almost too many things to pin down in this
one from Aliens and UFOs to the Black Knight satellite and beyond. This one
will have you mind in loops questioning what’s real and what’s not, and if
these things are real just what binds them all together?
Trinity Codes switches the narrative once more, with
production from Stu Tha Don and cuts from DJ A.D.S this one hits with a
pounding beat and a mariachi type guitar and vocal samples that have you moving
while listening intently to the vocals. This one seems to take us away from one
particular focus on the world around us and takes us within. It is almost like
we are listening to the thoughts of the protagonist as he sits and considers
much of his internal knowledge and where it will lead him next and what effect
that will have on those around him. As you consider what might come next, 9
comes forward to burst any notion that you might be able to string a cohesive
thought into something that will help you understand. The head nod beat from
Ryan D and cuts from Adika form this sound that you can’t help but enjoy; and
all the while you enjoy that beat these deep lyrics that explore many aspects
of the unseen world around us, sink into your unconscious awareness.
As the heavy beat and string infused head nod vibe from DJ
Nappa hit from Love and Valor, it is time to switch the narrative once
more, now we find ourselves drawn back through time to the realm of knights and
wizards. A realm that could well still exist in another dimension, a place
where the knight stands for all that is good and protects the land and its
people. Our journey to the land of myth and legend continues with Arthurian
Legend. This one is produced by Manage and has cuts from Jabbathakut.
Manage brings strings and etheric vocals over this pounding beat that gets your
head nodding. But there are no vocals here as this little instrumental makes
you drawn back to its title and has you dreaming, albeit briefly, of the
legends of king Arthur and the knights of the round table, something that is
always in your awareness around Glastonbury, a place that it often described as
Avalon. As your mind drifts into the mists of Avalon Hozay brings us an etheric
sound of choral samples, guitar notes and a hefty drum beat for the Rap
Crusader pt 2. Here the knights of old merge with the emcee to bring you a
new bread of crusader, one who uses their lyrics as both sword and shield,
while Jabbathakut slices the air with battleaxe cuts. This is followed directly
by the Rap Crusader pt 1, produced by Ryan D, with cuts from Adika and additional vocals from Jane Walker,
this one has the kind of beat that will have you out your seat, hitting hard
with huge energy. This one is both a prequal and a sequel to what has gone
before. Time to just sit back and enjoy, nuff said for now…
Hozay and Jabbathakut are back for Cloak and Swagger,
a pounding beat with strings gets the energy levels up and the heads nodding
once more. This one sees The Chameleon entering the world of international
espionage. This one will have you thinking of James Bond, Jason Bourne, and
more with no secrets safe as The Chameleon uncovers everything bringing it out
into the open for everyone to see. The penultimate track of the album is Present
Day, produced by Bay 29 and featuring Jabbathakut on the cuts, this one is
an instrumental track that has a heavy beat with a background sound that has a
gritty dark feel at times, while at others the piano comes forward to bring
calm. The track focuses on some of the subjects that are seen in the media
every day, from the war in Ukraine and the horrific situation in Palestine, to
global warming, these are some of the of what we see every day, things that
fill us with fear. The album ends with Hope, Rebirth and A Perfect Musical
Universe. Just the title alone lifts your spirits, and the uplifting sound
of sax, bass, keys and strings gives you that sense of hope and rebirth across
the first two minutes; the following two minutes bring this piano track that
forms the background to the vocals, a sampled narrative on music and what the
perfect musical universe might look like. Now I’m not going to say I know who
wrote this piece but, it does touch you and leaves you pondering that notion
long after the track has ended.
With everything I have just written, how can I possibly sum
up this album? Firstly, I can simply say WOW, because this album is packed so
full of knowledge and information you could easily make two albums from this
and it would still have the same impact. But, let me try and say just a little
bit more…
Lyrically I found this to be extremely good because The
Chameleon has a solid vocal style, flow and his wordplay are spot on and the
way he incorporates the subject matter and complex descriptive narratives is,
quite honestly, superb and being able to hear every word of this is truly
something. Not only are some of these subjects the kind of esoteric stuff that
many don’t like to speak about but, here he packs so much into this album its
just mind blowing. I did like the way that each subject matter is grouped in a
way that you could split them into little EPs and they would still work. The
grouping might seem a little strange at first but, as you listen there is no
effect on the flow and the positioning of the tracks about love and knights and
strategically positioned to break up some of the heftier subjects so as to not
overload the listener. It is still a marathon listen but, it has to be well
worth it in my mind.
The production on this one is also top notch and you can
probably see that from the names of the production credits. It just works so
well in matching the vibe of each track and keeping the overall flow of the
album working. There are all those little movie extracts and things that also add extra depth to the narrative of each track too. I don’t think I need to say much else production wise, it just
that good.
Also great to see a wealth of cuts on this one too.
Jabbathakut, Adika and Fidel Cutstro, all do a cracking job in adding that
little extra depth to those tracks they feature on. It just brings that real
Hip Hop vibe to life.
There is stuff on this album that I could talk about for
hours as I have personally researched a lot of it in the past and it is always
good to see someone willing to bring those subjects to life in a way that is
enjoyable on a different level. Everything on the album is what you can
encounter in day to day life, some of it is more sobering while much can be
uplifting but, what is important here is that by bringing this stuff to you
through the medium of music, allows you to enjoy it in a new way or, just enjoy
it for being music, you do not necessarily have to immerse yourself in the
subject matter, although I suspect that many people will find themselves
looking up a particular subject after listening.
For me, this is one that has to be heard to be believed and
understood. It is a deep dive beyond the normal and there is nothing wrong with
that right, plus it makes you think and that is a good thing.
This review was originally written for the September Issue of the Killa Tapes Magazine. It is amazing to think that my reviews are being featured in physical magazine. There are not many magazines out there right now and it was reading magazines such as Hip Hop Connection and others that were part of the inspiration for me to do what I do now, because I wanted to do reviews which expanded on those short reviews and gave an insight from the point of view of a person who might buy and listen to the music. Anyway, back to the review...
Way back in the early 2000’s I became aware of a highly
rated album by a UK emcee called CAPPO. This album, Spaz The World, quickly
became hot property and one of the must haves of the time. So, to have the
chance to review his latest work for my first review contribution in Killa
Tapes Magazine is something special.
Cappo was born and raised in Nottingham UK and originally
began his Hip Hop journey as a Graff writer. He also began rapping from an
early age and by the Mid-1990’s getting noticed with his first proper show
coming in 97 at the Nottingham carnival. His first Demo ‘First Knight’ came in
98, closely followed by the self-produced and self-financed ‘The Cap Tape Vol
1’. After getting noticed by SON records Cappo had a few released via the label
before his first solo album ‘Spaz The World’ came on the Zebra Traffic label in
2003. Since then, he has become a legendary UK emcee, with a string of releases
under his belt, the latest of which ‘CANON’ came in 2023
S.T.A.R.V.E is released via Plague records and is a
nine-track album with some incredible physical releases on the cards too. The
album is written and produced by Cappo, with some additional production coming
from Congi, Theorist and Sam Zircon. Recorded and mixed by 1stBlood and
mastered by Irn Mnky, the design and layout come from Rich Brown at Bee
Graphics.
With all that said, there is only one thing left to do, and
that is for me to take you through the album, top to bottom, giving you my
impressions along the way…
It all kicks off with Jar which is produced by Congi
and has a heavy pounding beat, interlaced with keys and more, giving it a sound
that is deep but, also switches along the way keeping you focused on the words.
Cappo’s vocals here seem to have this reflective air to them which mirrors the
tone of the beat. Jar grabs you deep in your chest as Cappo speaks on
what feels like the thoughts of someone musing on a broken relationship or even
the loss of someone close, things that have a close emotive energy and leave
you wondering what hits home more, the loss or the wonderful memories left
behind. With those thoughts still so clear in your mind the intro to Drip,
suddenly jerks you back to reality, produced by Theorist, this one has a sparse
beat mixed with piano and the sound of dripping water. This all comes together
for a vibe that plays havoc with your mind, much like Cappo’s words, which at
first seem to be reflective of things he sees around him, from the struggles of
relationships and changing aspects of who you are to fit with that
relationship, to the struggles of a parent doing their best but, seeing their
frustrations explode on those closest to them. However, as you listen you begin
to question those thoughts and wonder if this all about one person’s
experiences in life, dripping into his current awareness. There is not time to
sit and contemplate those thoughts as Terrace 3 – Void hits with an
accapella vibe, where Cappo’s words have the emotive strength of a person
grappling with their own mental health, stepping back from those closest to
them. The beat kicks in about halfway through and has a more modern sound to
it, mixed with some electronic vibes that seems to match the feels of those
intrusive thoughts that hit every day, matching the air of the lyrics
perfectly.
Window is next and opens with an eerie intro, which
I’m not gonna try and translate here, and sets a tone that has you wondering
what’s coming. When the beat drops, it has a pounding feel that seems to weigh
heavy on every nerve. Cappo’s words seep into your mind and speak on someone
struggling with life, medicating and immersing themselves into anything that
numbs the pain. Just as you are coming to some understanding, the beat changes,
becoming slightly more upbeat with a sound that gets your head nodding. Here,
it feels like this is a moment of clarity in an otherwise pain filled haze.
This is a moment where you can suddenly see your own struggles and where you
need to be to get back to who you are but, it is also the moment where you may
question if you have the strength to do it? Terrace 2 is a short that
has a huge impact, with Cappo’s words those someone might record in a live
video, recording their thoughts as they continue to struggle with the strains
of life where there is not enough money or help for those who need it most. I
have seen this stuff first hand on the streets and in talking cafes and it hits
so hard because these few words are so real and reflect the sad reality that so
many live. With those words hitting so hard, it is almost a relief when the
piano and head nod beat of Strongbow kick in but, that relief is short
lived as the reality of Cappo’s words hit home once more. There is a glimmer of
hope here though as this one focuses on someone doing their best to recover,
swapping the spliff for a four pack of Stongbow, doing their best to take their
meds in an attempt to get better but, only finding solace within their own four
walls while the system looks down on them, labelling them and failing them and
those around them. This is where the medical model favours legal drugs over
giving more support and therapy that can truly help people get back into
society and back on their feet.
Slow Poison is produced by Sam Zircon and brings a
heavy modern sound with a grime edge to it. The piano elements give this one an
emotive edge; that emotive edge fits with the vibe of the track which really
seems to be focused on addiction in its various forms, and that is the poison
which slowly invades you, gaining control of who you are, taking away your true
self and separating you from those who care. Coming back from addiction is hard
and takes willpower, something that has to come from deep inside, from your
true self, and you have to recognise that and find who you truly are. The
penultimate track is another short, Terrace 1, which brings another
glimpse of the sun through the dark storm clouds. Here we hear the words of
someone fighting to kick the darkness and find the light of the true self,
realising that they have retreated from everything and everyone who brought
light to their life. This is one of those huge steps forward in finding your
true self, asking for the help. The last track of the album is Writeful
Owner and brings another emotive vibe of electronic keys and heavy pounding
beats that reinforce the deep aspects of the words. Those word here see Cappo
opening up on moving forward with a clean slate, starting again after all the
struggles, pain and suffering, this is where the new journey begins and walking
forward into a future that you get to write yourself, written in a place that
is illuminated by the light of love and positive vibes…
Sometimes you have to give yourself a minute when you are
summing up the overall vibe of an album such as this, and this is one of those
times.
On the face of it this album is about so many of the
struggles that people go through in life but, it is so much more than that.
S.T.A.R.V.E has such a deeply personal edge to it that you can’t help but feel
as you listen to every track. It hits every emotion you have as you listen,
from sadness and empathy to a conclusion that culminates in a feeling of relief
as you understand that all the battles throughout the album have not gone in
vain and there truly is a brighter horizon in view.
Cappo touches on so many subjects that anyone of us can
relate to, and it is the strength of those words that impacts you so deeply as
you listen; you can feel his pain because you know that pain but, more than
that, you can feel the positive nature of the final track because you feel that
too, and you feel all this because of the skilful way in which Cappo delivers
every word of every line across the album and those spoken word elements carry
such impact too, it’s almost unreal. The wordplay is incredible too as it
matches the impact of the delivery, allowing you to hear and feel every word on
a whole different level.
Production wise too, you can’t get much better here as every
track has this sound that matches the tone of the lyrics perfectly, allowing
every track to reverberate through your entire being, eliciting an emotive
response that you might not be expecting. I have to commend the guest producers
as much as the production from Cappo himself, it’s a cracking piece of work to
say the least.
I don’t know how much of this might come from Cappo’s
personal experience but, from sitting here and letting every word in, feeling
those words too, it makes me think that these words could very well come from
his own lived experience, which is why this album hits on so many levels,
because it comes from a place that is rooted firmly in reality and true
emotional experience and for someone to be that open and honest takes story
teller to a whole different level. In fact, you could even say that this goes
beyond story telling and becomes a beacon to those out there going through
their own personal hell, and shows them a light, a direction to a true path of
recovery.
S.T.A.R.V.E is out on Plague records now.
You should also check out the additional release by Cappo and Plague called Vignettes, a collection of additional shorts that serve as an expanded narrative for S.T.A.R.V.E and it protagonist. This is available as a free or Pay what you can download and well worth listening to once you have digested the original.
My humble thanks to Craig at Killa Tapes for asking me to do this and also huge thanks to Danny over at Plague for giving me the chance to review the album.
