We all picture producers to be meticulous perfectionists. Digging and repeating tracks over and over, again and again. Striving to find exactly what they hear in their head. The quest for perfection could drive some mad but most of the time, to mediocrity. It’s often a fruitless pursuit. In essence it’s a search, which is why the name ‘Telemachus’ is so fitting.

Telemachus directly translated means ‘far from battle’. The name relates to a tale in Greek mythology where a boy goes searching for news about his father during the Trojan War. Although the premise of this story relates to the travels of a young boy, ‘In the evening’ takes you on Telemachus’ journey – one rich and immersive.

Despite the inherit difficultly of a production-based album; there’s something about this work that comes across with ease. From the moment ‘In the evening’ drops. It doesn’t grab your attention, no – Chemo’s alias is much more subtler. Instead he persuades it, building an understated atmosphere, moving effortlessly from entrancing movements, elevating melodies through to disconcerting tones.

With the first stanza echoing DJ Shadow’s Entroducing, the early portion of the album is characterized by layers of instrumentals. Seen in the bouncing drums of Tennis Season and the hazy-horns of Planet Earth. Yet the movement after this breaks into a gust of Egyptian pipes in Trivandum’ following on from an upbeat layover in reggae with The Light. At times, it has the slickness and suavity of the ocean’s gang 11 on acid.

The second half of the album incites more of the toil of the journey. Through the desert-infused tracks of lonesome wandering to the accomplishment of Grey Skies before the reflective vibrations of Ferndale Road. With both Rose Petals and the Roc Marciano featured Scarecrows helping you heed warnings of the troubles along the way. Crucially, Telemachus is confident enough in his abilities to not stack the bill with big names, instead he uses features sparingly and to builds with them, not around them.

‘on this mountain road, vultures overhead I’m counting the crows’. Jehst – The Sheltering Sky

There’s a dark vitality to a lot of the tracks, when things start to get upbeat it seems there’s always something lurking on the horizon. But where most instrumental albums get too convoluted, Telemachus is comfortable enough to emphasize sounds without overworking the feel of tracks. Whilst making sure it doesn’t sound overproduced; the subtleties of the album are its strength.

His previous work leading up to ‘In The Evening’ featured everything from Ethiopian dancehall singers, Lee Fields, the Dixie cups, Jefferson airplane, to J Dilla and The Doors (to name but a few). Overall, the eclectic mix of sounds triumphantly return. It’s one of the few things you’ll listen to and fell like it was over too quickly. With beats creeping up and disappearing you feel like something you were trying to catch has just slipped through your fingers.

It’s engaging, but more importantly in today’s age, it’s innovative. Hip-Hop has always drawn influences from every corner of the musical cosmos. But it’s seldom seen that so much from so many places is brought together without disharmony. Only then to masterfully toy with the atmosphere throughout the album without causing audible offence – incredible.

Ultimately, Telemachus’ ‘In the evening’ entrances you like medusa, has the strength of Hercules and the craft of Odysseus without the Achilles heels of most instrumental albums. Telemachus has sculpted something to satisfy the turntable-nerd, the passive listener and the inattentive hip-hop head. What he’s created with ‘in the evening’ may be influenced by mythology, but it sounds like magic. If Telemachus the myth is the journey of a boy becoming a man, Telemachus’ latest work is the journey of a producer becoming a wizard.

For a physical copy and a free poster get to Suspect-Packages.com

Review by Danny Hill @

Share this

Comments

The post Telemachus – In The Evening appeared first on Wordplay Magazine.

It’s easy to forget the ‘UK’ in UK Hip Hop. Take it from a migrant city fella like myself – living in the supposed epicentre of everything can be exhausting and unhealthy. “Watch yourself son,” advised a prized pub local back down Essex-ways. “London may still make a snobbish arsehole of you yet.” So confident was the old bloke he bet me a bitter.

Cue midland’s maestro’s Heavy Links and their third, highly anticipated Heavyweight EP. In many ways, this EP exemplifies what Heavy Links are all about. Loudly and proudly heralding the flag of Boom Bap, El Tel’s signature sound and on-point production lays the foundation for Habitat and himself to go ham on the lyrical front. DJ Donnie Propa completes the chemical equation with creative cuts and scratching interludes from start to finishHeavyweight kicks off with ‘Closing Down The Show’. Before you even get the chance to savour the tasty beat Habitat comes through with: “Yo, it’s Tasha Bronson and I’m rapping my bollocks off, in the stage like a grudge match and explode like a Molotov.” Attention grabbed. If, like me, you also noticed the flawless marriage between beat and flow within the first 30 seconds then you’ll agree we have something dope on our hands. Even on the first listen, one can’t help but mime along with Donnie Prop’s infectious, selected cuts.

For all us potentially pious Londoners, ‘Just To Let You Know’ opens with the reassuring sound of veteran rapper Verb T. One of the EP’s three collaborations, the High Focus talisman seemingly spits for fun, effortlessly teeing up El Tel’s acute, flow-chopping bars before tagging Habitat in, to the lyrical ring, for the decisive finishing moves. The EP continues to journey through notable tunes as ‘Follow This’ and ‘The Watchmen’; showcasing the groups abilities both “individually” and as a “team” – a clichéd yet necessary mentionable when applying for a crap job. We’ve all been there.

‘Nuclear’ is the EP’s first released single and it features Nottingham’s very own Cappo. His prominent, ghostly rhymes nestle between Habitat’s & El Tel’s over a sharp beat with sharper cuts. ‘TBTHL’, as the acronym suggests, features Oxford-Bristol connection The Book Thieves. Collectively they convey honest, down-to-earth lyrics which celebrate a real love for what they do outside of the grime and struggle, grind and hustle. Upon playing Heavyweight’s penultimate track ‘I Know Your Style’ my Italian flatmate instantly acknowledged the sexual quality of the beat, one that even Pete Rock would be proud of. As the sincere and soulful finale of ‘Exit Class’ (my personal favourite) fades into silence you cannot help but feel a renewed affinity and love for Hip-Hop. In their own words, this is real, raw and rugged UK Hip-Hop. Real talk.

A close German friend of mine always used to preach ‘never change a winning system’, in, of course, a typically stern and serious German tone. Without any intended insult, this is the path Heavy Links have opted to walk down and you can’t argue with the results. The record is consistently brilliant and brilliantly consistent. It’s fair to say that we now know exactly what we are going to get from the midland’s 3-piece. Well if that’s the case, then it’s only right to mention that Heavy Links are quickly becoming masters of their own craft.

The Heavyweight EP is a solid extension of 2012’s ‘The Essence’ leaving the door slightly ajar to tempt your curiosity of what’s to come. Four years in music and four strong releases to show for it, Heavy Links are beginning to establish themselves in the UKHH scene. Make no mistake – this is real Hip-Hop for real fans. Fans with an ear and appreciation for this art form; who know the story, lived the movie and bought many a T-shirt.

Sure, London is where it’s at and it inevitably harvests the lions share for itself. Personally, I am hugely grateful to hear this EP as it serves as a stark reminder of the talent we are blessed with across the UK. Seems obvious doesn’t it? Can London really turn you into an inward-seeking prick? I guess owe that old bastard a pint after all.

Review By Umrish Pandya – @UmrishP

Check out some Heavy Link’s other work below:

Share this

Comments

The post Heavy Links – Heavyweight EP appeared first on Wordplay Magazine.

The environment in which a select few began back spinning breaks and lacing them with rhythmic rhyme patterns was one of movement; a place that looked both inward and outward, drawing influence and inspiration from faraway places and providing an expressive escapism for those trapped within their locality, both spatially and socially. It is maybe this environment – the foundational essence of this art form – that has paved the way for Hip Hop to spread across the globe, not only in its tainted commercial manifestation but more importantly in its raw, inclusive, expressive, true form. With this in mind then, we might do well to see Lewis Parkers move across the pond some years ago as simple proof (like we needed any) of his dedication to, love for, and propagation of, that golden sound! Those few who are left moaning about a change in accent from Mr Parker will be, quite simply, DE-RAILED by the long awaited second instalment of The Puzzle – The Glass Ceiling. A dizzying release, some 30 tracks deep and chock full of tough drums and panoramic sounds, The Glass Ceiling is the product of many years spent perfecting the craft and negotiating the rocky terrain of the music industry. The album plays out through the strong conceptual framework of an espionage crime thriller which Lewis has been fine tuning since his coming up days. Here though, the concept seems to have solidified and strengthened resulting in his most coherent and thematic release to date, which is astonishing given the length of the album. The concept of the glass ceiling is the invisible boundary which inhibits many from realising any sort of upward economic mobility and offers the top rungs of the corporate ladder only to an elite minority. It is inherent in the capitalist world system and Parker embarks on an exploration of life beneath the glass ceiling, relaying tales of betrayal, sabotage, love, strife and graft.

The title track opens the album with a panoramic vista of entwining string and horn arrangements – the kind that have become characteristic of Mr Parkers sound. From the get go the level of lyricism displayed far surpasses any of his work since It`s all Happening Now (2002) with rich imagery evoking the day to day negotiation of the city-scape. Summer with Asakala tells a tale of lost love and shows Parker reflecting on a relationship strained under the weight of distance. As pensive strings punctuate sorrowful flutes it`s easy to forget your listening to LP`s arrangements on the SP1200 and not a live orchestra; such is the skill with which he`s reworked a patchwork of sound from vinyl into hard hitting movements! John Robinson enters the frame on Excursions; a cosmic, Rhodes infused track which sees them both laying out nostalgic life histories, tales of movement and migration. Vibrato Illusions sees Parker joined by Mista Spyce from the legendary UK group The Brotherhood for a sinister discussion on the illusory nature of reality. As the album draws towards a close it’s Game of survival which jumps out; a reflective meditation on a life long struggle laid upon a canvas of spiralling flutes. The whole project is intersected by a number of skits, often returning to the original string motif from the title track, giving the release the feel of a soundtrack or library record.

Parkers beats are tough as ever throughout and the fact the whole album – all 30 tracks of it – plays coherently from beginning to end is indicative of the longevity of Lewis Parker`s time in the game. The Glass Ceiling does what any great film soundtrack or thematic score was supposed to do in the 70s; evoke moods, paint a picture and transport the listener. The 2xLP album comes in a gatefold sleeve with ill Blaxploitation style/Schifrin-esque artwork. For both long-time fans of Lewis Parker and new listeners this certainly won’t disappoint, beat-heads and lay people alike will appreciate the time and effort that`s gone into both the beats and the overall sound of the project. No doubt this will be one of the best Hip Hop albums of the year and sees Lewis Parker setting the bar ever higher…NO ONE makes beats this good!

The 2xLP is available from kingunderground.com

CD Pre-Order suspect-packages.com

Matt Smith @MRVILLAGELIVE

Share this

Comments

The post Lewis Parker – The Glass Ceiling appeared first on Wordplay Magazine.

Oh well hi there Broken Poetz, didn’t know you were about. But I must tell you this,I am sure glad I found you.

Broken Poetz made the earth move this March with the release of their debut EP- ‘The Pen, The Pad & the Good Things We Had’. I hadn’t heard of these guys until Wordplay pointed me in their direction, but I’ll tell you something for free, these guys have a good thing going. Broken Poetz consist of D.Know and Mystero who hail from humble Hampshire. Now, quite frankly I cant say I know much about Hampshire, let alone that they have a hip hop scene. But, if this is a taste of Hampshire’s finest home grown artists, then I have been hugely mistaken.

The artist’s bandcamp page describes their music as a project that explores the concepts of ‘loss’ and ‘positivity’ whilst maintaining an upbeat vibe. You only need to listen to this EP once and you will instantly catch on to why Broken Poetz describe their music as “journal over beats”. Some of the topics both artists explore from their past are pretty hard hitting, with rhymes that delve into the more personal moments in life with no hesitation. To be truthful, at times I felt that the subjects touched on about broken families and heartbreak was pretty intense, but at the same time I still hold the up most respect for the new to the scene artists who are straight talking from the get go. The artists even say themselves that the EP explores “painfully honest representations of deepest thoughts” as they believe that “honesty in hip-hop is extremely important and sadly lacking in today’s scene”. I say hats off to the lads as they have achieved this with their debut.

‘Choose Life’ is the first track that kick starts this EP. With a banger of an intro the track slips into a prime head bobbing beat. If the title doesn’t already give it away, the lyrics explores the theme of ‘options’ we have in life in a rather similar yet much less cynical way to the beginning of Trainspotting (but with no Ewen Mcgreggor rolling over a car business). ‘Seldom Seen’ is probably one of the most heartfelt tracks out of the seven. As a tribute to a loved one, the two artists open up to the listeners about who they are and their past. In terms of lyrics I say fair fucking play. It takes a lot of balls to be straight up about who you are and your past and I think that it is the brutal honesty that makes it such a touching track to listen to. And you only need to look on Youtube to see the thousands of views the video to this is racking up to know that many heads out there feel the same.

Favourite track? It is difficult to say because the EP is mostly an all round pleaser. ‘Hard Road’ is most definitely up there, not only because of the choice of sample with Jimmy Cliff, but because of its bitter/sweet play on words to beats. Not only that, but it really demonstrates in terms of beats, just how diverse a listen it really is. Worst track? Well I’m going to have to go for the last one on the EP ‘I Don’t Know You Like You Know Me’ This may be partly due to the female vocals grated on me quite a bit, but I cant really criticise because I couldn’t belt out vocals like that even if I tried.

As I said at the top, as a listen in full, many of the topics touched upon can be pretty heavy going. But it’s not all gloom for Broken Poetz. Its wordplay like “I’ve been having mad dreams lately, feeling more confused than a drag queens baby” alongside the very eclectic but damn good selection of beats that keep this EP upbeat; making you want to return back to it and listen again. I’d definitely recommend to give this a listen as I think you will be hearing a lot about these guys in the future.

Review By Abi Lewis

Share this

Comments

The post Broken Poetz – The Pen, The Pad and the things we had appeared first on Wordplay Magazine.

PRE ORDER NOW - http://themouseoutfit.bandcamp.com/album/escape-music

The Mouse Outfit was voted as Wordplay Magazine’s 2012 Best New comers and this has been firmly justified with their debut album ‘Escape Music’.  TMO are a live band, 9 members deep, with a very able roster of emcees that feature on this standout album. For the record we have Dr Syntax, Sparkz, Dubbul_O, Truthos Muthos, Kosine providing the lyricism.   TMO were not resting on their laurels since last year’s onslaught of dope tracks.  This album has great sequencing, no need to skip tracks, however rewind is more than likely to be used.

It kicks off with Dr Syntax with ‘Every Single Time’ an instant head nodder.  Simple but effective production coupled with Syntax’s laid-back delivery doing his best to “easing hunger pains in the booth”.

It eases nicely into ‘Shak Out’ with Jazzy bass line and keyboards with featured emcee Sparkz.  He adds a sound system chatting edge that totally works.  Sparkz gives us a slice of what he offers with his swift delivery style  “nuttin gwan test me told ya bwoy deh…”.  Essentially it’s a hold ya corner moment for some!

‘Sit Back‘ features Truthos Mufas who emcees with very full bars of intricate lyrics on this one whilst a sung chorus urges all to spark up a zoot and who are we to argue? This track should be the anthem for next years 420 legalize it rallies.

‘Escape Music’ has a triple threat Sytax, Sparkz Kosine give the lowdown on exactly how to dismiss the bullshit life can send your way “turn it up shut the world out…when life’s like a maze tryna find my way through it waitin’ for a brighter day loomin, tryna stay human…”  There’s much to absorb so keep your ears primed.

‘Who Gwan test’ ska horns, dub b-lines gives this tune pure vibes as it bubbles along I couldn’t help but be drawn into the good mood vibes that allowed me to have a little dance around my yard without feeling silly.   When Sparkz and Dubbul_O spit the line

“who gwan test…” it’s a casual warning to lesser  emcees and it’s done in such a cool laid back manner this wouldn’t turn into a fight in the dance as indeed it is “music to get yer moving”.  This is like many others on this release a feel good tune.

‘Got Me Thinking’ is kinda hypnotic with a ooohing sound that makes me think of old skool 1960s Star Trek sound weaving in and out as Sparkz shows his love of words with his “core rhyme scheme”.  This is another slice of real Hip Hop.

‘Air Max’ is Black Josh’s ode to old skool Air Max Nikes in the days when buying a pair of trainers wasn’t the equivalent of a house mortgage payment.  The mournful miles Davis-esque trumpet matches Black Josh’s reminiscing over trainers gone by.  As he says a pair of Air Max 1 plus a bag of zoot material  “keeps my cipher complete”.  I don’t even like trainers but I love this track!

‘Stay With Me’ is Syntax’s fair indictment warts and all on love gone wrong and how and when to right it.  He’s got a tough problem to solve as he reveals “it’s like I promised her the thrill of her life and all she got is the nightbus to Croyden!”  I don’t know how Syntax got out of that one! Did the girl stick around or not? I demand an update!

Next track ‘Blaze It Up’ is perfect for those of the green persuasion and for sure Sparkz comes under that very pleasant hue.   You can hear the joy and understand that this is a case of lifestyle when blazing doesn’t have to mean inactivity but inhaling and staying focused.  The production is full of little sounds that will have the blazing ones possibly wondering if they are mashed or is it the track!

‘Over the Rocks’ brings the word shimmer to mind and Syntax has his style of letting his mind lead the way as he says “never over the top” a line that can cover much on this album which is after all a bullshit free zone.

‘Children Of The Stars’ has the apt words “we put a spell on you through lyricism, we twist decibels of alchemy and mysticism, we getting ahead and getting fed up of the television, manipulate mindstate, forget the terrorism…”  Sparkz & Dubbul_o slay this track over vibraphone jazz sounds that belie the lyrical content. This is one of my favorite tracks and it uses one of my favorite words Alchemy!

I have to mention Fox who brings a nice touch to proceedings with his contagious reggae vocal to dubstep tinged track ‘Kickstart’ and seamlessly he makes it work on the bouncing jazz of penultimate track ‘Built In A Day’.   I’ll keep my eye open for future work from him.

Escape Music as an album title perfectly sums up this album.  Each of the 19 tunes showcase the vibes from straight up Hip Hop mingling with Jazz, Ska and dub. I think an overwhelming key to this album is that you feel a sense that this is how this crew is living.  This aspect coincides nicely with the The Mouse Outfits production skills.  It can’t be denied that the Outfit and all the featured emcees love Hip Hop, it may seem to be an unnecessary observation but not every man or women who spit bars or get behind the boards love the culture.  Real heads can tell what’s what and The Mouse Outfit and all the featured artists pass the test.

So in the words of a kids show of yesteryear ‘Why Don’t You just switch of the TV and do something less boring instead?!”  Grab a copy of ‘Escape Music’ and lose yourself in an entire album of good music.

Escape Music is released 20th May

PRE ORDER NOW – http://themouseoutfit.bandcamp.com/album/escape-music

TMO treat you to a free track remix of Who Gwan Test

Delphina Scott @rawbluecheese

Share this

Comments

The post The Mouse Outfit – Escape Music appeared first on Wordplay Magazine.

I remember hearing Talib Kweli’s on Kanye’s College Dropout and being delighted that this guy was finally getting put in the spotlight. Even more so with Jay’s line in ‘Moment of Clarity’ – ‘If skills sold/Truth be told/I’d probably be/Lyrically/Talib Kweli’. Years later and his mark on hip-hop is indelible. Reflection Eternal’s Train of Thought and Blackstar’s Self-Titled are two albums that are undoubtedly hip-hop classics. Nobody can disagree with that. However, Talib Kweli’s latest release ‘Prisoner of Conscious’ falls short in a big way.

The title of the album incited the notion that Talib was going to break loose and unveil some sort of institutionally destructive masterpiece. Instead what plays out over 16 tracks is a confused, contradictory and uninspiring attempt at delving deep. At times, the only prisoner is the listener.

The intro, a rousing speech from the occupy movement then breaks into ‘Human Mic’ which really sums up the problem with some of Talib’s work and this effort – it’s underwhelming. Whilst there’s clearly this hungry and masterful lyricist, the beats just crescendo and crash over his flow. Flow that which jumps around the place until your not sure what’s going on.

Whilst the track ‘upper echelon’ is about how his style is on another level of genius. But being a conscious rapper surely requires some form of self-awareness for his audience? Yet the verse lays out: ‘it’s that upper echelon shi-’ sung out by the girl who could have backed Ludacris’ ‘pussin’ poppin’. This just seems to be a painful contradiction. Denounce a superficial style then use it? Not to mention the ‘paid in full’ sample, a classic beat just hideously out of place.  Then a tame shot at others:

“Rappers now a days are confusing you, I know you’re tired of the usual like Trey Songz and Drake.”  Talib Kweli – Ready,Set,Go

Given this and so much more, in reflection the title ‘prisoner of conscious’ seems quite smug. Simply because he doesn’t get as misogynistic or despicable as other rappers doesn’t mean that he has some form of higher intellect. Using big words and spitting quickly doesn’t make you clever, it’s very much a limited style with little substance.

The topics are exactly the same, essentially – ‘you’re a special girl and I’m going to treat you right’. Miguel’s ode to the female orgasm in ‘come here’ makes you feel more uncomfortable that sexy.  ‘Hamster wheel’ is yet another song about the struggle, with some great story telling but a hashed concept at best. We get it, times are hard? We got it the fourth time.

So if this is an album alluding to consciousness, why are there features from Nelly, Busta Rhymes and Curren$y (these guys were great but- why?) and do people remember a collaboration with Gucci Mane a few years ago?!  I just don’t understand what the concept of this album is – seemingly nor do those behind it.

A lot of ideas are underdeveloped and the directions rarely pursued. You end up feeling your sat-nav broke on the way to hip-hop town for some food. Though every avenue, street and alley has been relatively explored, you’ve found nowhere to eat and you’re sat in your car frustrated, lost and unfulfilled.

Talib Kweli to is an all-time great. He could go another decade producing the worst ukuele-step-country-trap music and to me will be considered a great hip-hop artist. However, there’s something so disappointing about this album. The styling of his better work such as ‘Get by’ just aren’t there. ‘Respiration’, ‘Just Begun’ and ‘Palookas’ (stop reading this and go listen to them)

Ultimately, this album is worth a listen. The production is likely to be better than everything else that will come out this year. It’s by not awful, just disappointing.  Especially from someone with this ability, who is such an advocate for development in hip-hop. For those who have took their time listening to Talib, this album may serve as an antithesis of some of Kweli’s solo endeavors. There are moments of sheer brilliance, but alongside the painfully forgettable. I don’t think Talib is a prisoner of conscious, but is simply trapped in attempting too much at once and deviating too far away from what made him the artist every major rapper wanted to be.

@dannyhillWP

Share this

Comments

The post Talib Kweli – Prisoner of Conscious appeared first on Wordplay Magazine.

You can picture the scene. After spending the previous year consistently dropping heavy album after heavy album, High Focus decide to hit a more mellow high with Leaf and Rag’s “Dog’N’Bone EP” when all of a sudden, someone drunkenly stumbles in and fucks things up. Dirty Dike, SMB general and Contact Play’s resident “all-time failure of the world”, is back with his third feature-length outing, “Return Of The Twat”. Produced entirely by Naïve and Pete Cannon, it’s as rowdy and raucous as you would expect with Dike at his unreservedly honest best.

Kicking things off, “He’s Getting Judged Like An Idiot” serves as the perfect introduction to the mind-set of the aforementioned Mr Dikestar before tracks like “There He Goes (That Look In His Eye)” and “One Drink (That’s Completely Out The Question)” delve the listener further into a world of lying, drinking, cheating, drinking, thievery, a little more drinking and the unrepentantly all-out living of life. Coming like the finest episode of Jackanory on road, “Catch Me If You…Nah” depicts the art of police-baiting and endurance running. The narrative’s on point as Dike rides the funky instrumentation as drama unfolds around the central, surely lovable rogue character he so admiringly portrays.

Any Dirty Dike release wouldn’t be complete without an undiluted dose of all-out, puerile nastiness. Taking the form of the title track, Dike goes into overdrive with his uniquely vivid and most definitely twisted thought-patterns; culminating in metaphorical wonders the likes of bacon and cheese wrap-resembling genitalia. Genius. That being said, it’s not all jokes and childish humour. “New Street”, an autobiographical account of witnessing the effects of domestic violence and substance abuse, offers the album a deeper conscious and its brief hit serves a perfect ‘pause for thought’ amongst the rest of the LP’s festivities.

Never one to shy away from controversy, the Dabbla assisted “Rapping over Silence” points a finger at the ‘skills’ of the battle rap scene. Whilst purely personal opinion, the venom in which he delivers lines like, “Dirty who? (Dike) with a mind like it’s senile/ at least I clash a rapper in a cypher and it’s freestyle/ meanwhile, I listen to these kids/ I’m thinking it’s ridiculous how you can piss a written out and think it’s sick”, naturally hit a nerve; with a few of the Don’t Flop heads voicing their thoughts his way via the twittersphere.

Bringing the project to a rousing crescendo, its guest spots galore with the mammoth “Future Posse Cut One Thousand”. Carrying production so rowdy and infectiously head-nodding that even the Churchill dog would struggle to cope; Dike’s joined by Stig Of The Dump, Dr Syntax, BVA, DatKid, Verb T, Jam Baxter, Ed Scissortongue, Mr Key, Fliptrix and Leaf Dog for a dose of all out, verbal warfare.

Admittedly, I’ve never been the biggest Dike fan. His “Sloshpot EP” began to sway my opinion, causing me to approach his album with optimism and an open-mind. It’s genuinely surprised me how much I’ve enjoyed listening to it. Repeatedly. Over and over again. There’s not one track that’s even remotely skip-worthy and Dike’s somehow managed to strike a balance between his innate immaturity, distinctive sense of humour and supreme storytelling ability. Similar to Fliptrix on his last LP, sticking with just two producers works to his advantage; with Naïve and Pete Cannon delivering a consistently sublime soundscape for Dike to trample all over. This is definitely becoming one of my favourite releases of the year so far and I guarantee that heads will be bumping this all summer long. Ladies and Gentlemen; the twat is back. And what a twat he is…

“Return Of The Twat” dropped today so order your copy HERE

Dike’s also coming to a town near you with his Contact Play familia. Check the dates below and get involved.

Review by Mike Pattemore @beats_n_pieces

Share this

Comments

The post Dirty Dike – Return Of The Twat appeared first on Wordplay Magazine.

Whilst it’s not impossible that this weekend’s weather has been both the start and finish of British Summertime; if it decides to hang around a little longer then what better to compliment it than the latest offering from Brighton’s fine wine and liquid-refreshment connoisseurs? Mixed by Direct, Rum Committee are back with the second instalment of their mixtape series, entitled “Committee Is Still Boss”. Weighing in at a pretty hefty 28 tracks, it boasts a collection of fresh material from the entire collective with added guest spots from the likes of Sonnyjim, Adam The Rapper, Koaste, Tom Caruana and many more.

For those who are familiar with the Rum Com sound, it’s safe to say that the guys like a little aperitif or cheeky short every once in a while so it’s not surprising that alcohol-infused antics form a good chunk of the mixtape. Ceezlin sets the scene, introducing the average day with the opener “Committee On Tour” before the rowdiness and aggression surfaces with the likes of Gi3mo’s “Big Mo”, “Tea Leaves” and “Buddhist Warfare”. Whilst the solo tracks all impress, the ‘posse cuts’ are where the strength of the release lies. Tracks like “Eyesores”, “Piledriver”, “Gutterstars” and “Gritty Committee II” see the pressure levels rise as the crew go to-and-fro, bouncing bars off one another with frantic energy.

However, somewhat like the metaphorical morning-after-the-night-before, if you tread carefully around the broken remnants of shot glasses and crack open a window to vent the herbal vapours; other tracks surface to deliver the ideal hangover cure. Rag ‘N’ Bone Man’s soulful stylings offer the perfect contrast to many of the RC heads’ verses throughout the mixtape; most noticeably on “Nightwatch Mashup” and the ode to the fairer sex, “Wrong Love”. The Sherlock Bones produced “Days” sees Bukioe on a throwback vibe over Bones’ laid-back, distorted piano loops whilst Ceezlin teams up to great effect with Eat Good boss Sonnyjim on the vocal sample led “Love My City”. Lyrically, the standout of the project has to be “Turning The Tables”, where the illustrative wizard Bukioe drops an immense verse that ponders on the ever debatable subject of religion.

“An atheist now but learning early as an infant/ That everything’s a business, even churches take commission…and then it clicked, I saw it like a vivid vision/ it’s a guilt ridden system driven for a God that’s non-existent”.

When you put out a body of work of this size, you’ll often find a few castaways to pad out the release; this is definitely not the case. Aside from an isolated skit, it’s all killer no filler as the crew, both on a solo and collective tip, showcase their musical prowess. Each individual brings their own unique element to the table to craft a cracking listen from start to finish. There’s enough material here to create the best part of three LPs yet for some reason, whether or not it was a decision made under the influence, they’ve decided to throw it your way absolutely free of charge. Madness! It may have been a couple of years since “Boozetown” first landed but if any one may have foolishly suggested that they’ve lost their edge or gone quiet, I urge you to remember one thing; RUM COMMITTEE IS STILL BOSS.

Download “Committee Is Still Boss” now from their Bandcamp page below

Review by Mike Pattemore @beats_n_pieces

Share this

Comments

The post Rum Committee – Committee Is Still Boss appeared first on Wordplay Magazine.

The UK’s very own all female graffiti crew GOT will be showcasing a range of work in NYC this month. With work from Chock, Luna, Lyns, Pixie and Syrup across all mediums including embroidery, collage and customised items.

If you are anywhere near this don’t miss it, follow the event here: https://www.facebook.com/events/521627181228526/?fref=ts 

Share this

Comments

The post Girls On Top in NYC appeared first on Wordplay Magazine.

The comic itself is important to talk about and it is one that tells of organised crime, gangs and gory deaths and the album is an equally gritty piece, remaining dark and aggressive whilst being occasionally heartbreaking, reflecting a crime thriller comic perfectly.

There are some fantastic guest appearances on this album. Of course much of The Clan leave their mark on this piece with the narration by RZA (reinforcing the literary aspect) and bars from Inspectah Deck, U-God and Masta Killa, also bars from old time Wu-Tang affiliates Cappadonna and Killa sin feature. William Hart from soul group Delfonics also appears, further spicing up this lovely concoction.

‘Twelve Reasons to Die’ opens with ‘Beware of the Stare’ a superb empowering opening with angelic singing, which then jumps into some hard-hitting bars. There’s rap over guitar over harpsichord over pretty singing creating a fantastic cocktail of sounds that have an almost fairytale feel to them, which considering the point of this album is to tell a tale, is very appropriate.

This is your first glimpse of the potent chemistry between producer Adriane Young and Ghostface himself. Throughout the entire album reactions continue to occur painting a glorious and graphic picture of a Basin city like place rife with sins and lies.

The beats are for the most part fast-paced with a stressful sense of urgency giving you some insight to the tension and trauma that comes with the life of a criminal reprobate.

The album changes half way through beginning with ‘Centre of Attraction’, it takes a slower and more moving pace as a questionable romantic interest becomes involved and we find our protagonist questioning her and himself whilst he is warned ‘she’s a set up chick’. From here on the album focuses on betrayal with the song ‘enemies all around me’ that shows the dangers of maintaining your place within this crime world. ‘The Unexpected Call’ the song to follow does confirm the fears that she is a ‘Set up chick’ and we are told a heart wrenching if not slightly cliché tale of how our main characters love does indeed betray him.

The Rise of Ghostface Killah sees the rapper charting his characters rise and explaining his environment and further displaying his knack for story telling whilst Adriane Young’s beats ensure the correct amount of theatricality to emphasise the bars and message perfectly. It shares a lot in common with the Django unchained soundtrack with western style guitars and bells giving a sense of foreboding.

‘Revenge is sweet’ once again sees a choir, emphasising the epicness of the tale.

The conclusion to this album, it’s namesake ‘Twelve Reasons to Die’ sees RZA explaining that ‘unable to become immortalised in life Ghostface became immortalised in death’. His speech makes this a rather epic ending to what has been a fantastical yarn and further reinforces the importance of narrative in this album. He continues ‘he created a mayhem so vast that the tale of his rampage would be passed down for generations’ giving a myth element. And I do hope that this album will be passed down for generations and immortalised. The cinematic instrumental is epic and almost heroic with booming classical instruments that leave us stunned and awe inspired at the end of wt has been an incredible piece, of musical mastery.

This is more than an album Twelve Reasons to Die is truly a story complete with plot, beginning middle and end. It also has a climax, dilemma and all the tension you expect from a good story. Complete with all the tone and theatrics of an opera and complex characters of a Shakespearian play it truly brings across the true point of Hip Hop, which is the art of story telling, and Ghostface does this superbly. The chemistry between Young and Ghostface is outstanding throughout, this is a true masterpiece, an experimental work of art that everyone should tune into and lose themselves in this fantastic tale.

Review By Jess Johns

Share this

Comments

The post Ghostface Killah – Twelve Reason To Die appeared first on Wordplay Magazine.