Hip-Hop Revue
Matt Oliver




Singles/EPs

Rapture & Verse is King, a wise man may have said – onward! Undimmed by the fact that ‘A Lot of People Tell Me I Have a Fake Guitar’, Morriarchi goes inside his astral plane for a gentle handful of spellcaster instrumentals drifting in its own funkular helix (even if one happens to be called ‘Veggie Farts’). ‘The Wave’s Coming’ warns Bristol’s Wish Master, who might offer you salvation but isn’t afraid to let go either, parallel parked with Buggsy and Tac to the Simiah-produced track that tightropes between dreamy and booby trapped.




Imaginary Other and Chuuwee’s rebirth of slick on ‘THE (Hawaiian Button Up)’ shows a smooth mack game when all around are losing it in the woollens aisle. The balance of confidence/arrogance from LA’s IQ brings melody with a hidden jagged edge following ‘Everywhere I Go’, and the same goes for Tha Truth’s ‘Cool With It’, cutting the tension with a barely concealed blade (and a great hook), despite declaring being “cool like the breeze on a warm summer’s eve” like it’s an Andrex vox pop.

 

Albums

‘Dusty’ will leave you feeling at ease with the mathematics of the inimitable Homeboy Sandman, that slightly kooky persona that’s actually just pure skills unfazed by tempo, and turning fleeting thoughts into elaborate dissections. Just when you’re thinking he’s coming in from a softer side, he goes absolutely nuts on pots-n-pans slam ‘Yes Iyah’, before heading to the just lovely ‘Picture on the Wall’ and the pretty sleazy, yet entirely forgivable, ‘Pussy’. Long may the cult of the Sandman continue.




Out the blue, Brother Ali’s ‘Secrets & Escapes’ produced by Evidence is a helluva early Christmas present, the near enough spontaneity of the recording sessions making the respective skills on display even more sickeningly good. You know how they do – wise, open-eyed rhymes, evocative slash ready-to-scrap beats – plus guest spots from Pharoahe Monch and Talib Kweli, and ghoulish artwork open to a thousand interpretations. How’s that? Give their gifts this season.




All that glitters is ‘Green & Gold’ when Mr Key and Greenwood Sharps combine for something that, in other hands, would be dour or boorish (the delivery mixing label mates Verb T and Ed Scissor) in letting fading memories slip away. The pair prudently raise themselves and those in earshot from a slump, chronicling slow but sure shoots of recovery and understanding, knowing they still have to put the work in to do so (being woke ain’t the one either). The mere seven tracks become an engrossing evening’s listening.

Red alert under a full moon: ‘The Creature from Beneath the Mainstream’ is Genesis Elijah’s perfect Halloween soundtrack, good and angst-ridden as he stomps the warpath straight to your front door, switching between fire-breather and whispering death on the creeping, skittering back story. Rewind ‘Haunted Trap House’ three times and expect to catch your last breath. A strong starting XI makes Reklews’ second squad of ‘Rap Type Beats’, bassy head shots splashed with a fear traceable to emcees flinching at the quality of gauntlet thrown down in front of them. Perfect for bleak midwinter forecasts.

Whenever Big Toast starts limbering up you know it’s not gonna be a fair fight, and with Strange Neighbour matching him punch for punch, the Tuff Boyz twosome splash off the top rope on ‘Bat Night’. Wading in while Oliver Sudden takes scalps on the boards with funk thicker than the stodgiest of winter stews, this is all girth, no gimmicks. Snowflakes, this really isn’t for you, though the eight track running time is the only mercy shown.




His usual dice game generating wisdom from an inward path, now attending to extra grown man business, and trigger-nometry taking casualties, including an interesting rework of Siouxsie and The Banshees, Klashnekoff’s ‘Iona’ is a welcome return to the forefront. An album epitomising the need to sleep with one eye (and two ears) open, and a model example of navigating life’s shark-infested waters without scoffing at vulnerability.

Hell bent on stuffing you into a locker while balancing a ghetto blaster on its shoulder, Uncommon Nasa and Kount Fif’s ‘City as School’ is the New York underground incarnate; at pains to not fit into ‘traditional’ parameters but making so much sense in doing so, where the post-apocalyptic is unerringly, unnervingly near to modern day. Blockbuster burners laid end to end as outlaws of the corridors, “trust the process, avoid the nonsense” at all costs.

On the subject of local representation, 21 tracks and 50 emcees later and you should have a pretty good idea of the Motor City sound according to Apollo Brown. The sepia-toned soul of ‘Sincerely, Detroit’ is seamlessly able to shake itself down and roll with force to stay on course, and everyone involved – from staple spokesmen Elzhi, Illa J and Royce da 5’9”, to project investors Boog Brown, Nolan the Ninja and Bronze Nazareth – takes their time so the intimated free-for-all is avoided. Pull on your headphones, get snug and let the accomplished Michigan craft leave you misty-eared as Brown hits the peak of his powers.




Admittedly/inevitably there are a bounty of guests, skits, questions as to its timing and whether there’s really enough of its ever eloquent protagonist to go around, but Gang Starr’s ‘One of the Best Yet’ is a respectful honouring of the Guru legacy. Business as usual from DJ Premier’s infinite stash of kicks and snares, chops and swoops is the ultimate case of if it ain’t broke, and the 2019 reboot find its direction through introspection without overturning too many applecarts.

“A dive into the complex dynamics of the eternal paper chase, about capitalism, greed and excess” – so kind of unsurprising that the piece de resistance of Crimeapple’s ‘Viridi Panem’ cites ‘All About the Benjamins’ like a grim business studies 101. Another to approach the day of reckoning like it’s a Sunday morning stroll, zombie relentlessness enabled by Buck Dudley’s production, the apple of your ear only takes half hour to save the world.




Stalley’s ‘Reflection of Self: The Head Trip’ isn’t quite as meditative as it suggests, but as a mini-album lolls nicely thanks to Jansport J’s clement, lightly fuggy soul, and Stalley’s ease on the mic when sorting those needing putting in their place. “You can try and box me in, but I’m a find my way out” indicates his ease of finding solutions when others struggle with the instructions.

Hip-Hop Revue
Matt Oliver





Singles

Front page news in hip-hop this month has been the unexpected return of Gang Starr – whether it needed a guest spot from J Cole or not, ‘Family and Loyalty’ is nicely nostalgic and respectful, pure Guru wisdom about what matters most, and DJ Premier bringing boom bap sparkle, making you sigh with both contentment and for what once was.

 Rodney P roughing up the right path reveals ‘The Next Chapter’, at his influential best and calling the tune to Urban Monk extending carnival season. The surprise return of Tommy Evans wants you to feel his ‘Flow (H20)’, hosting a drowsy, frilly-collared sway with a killer hook and his clear-minded navigation of gentle waves.





Some modest Trevvy Trev production, boom bap jabbing at you rather than going for the all-out roundhouse, allows San Man & MC Small World to stroll freely and get the coolness of their deadliness to set up an old skool prowl of authority on the five track ‘EP’. The music may be of a smooth funk vintage, but Dark Lo pulls the pin to set the record straight on ‘American Made’ and exerts sheer street control on ‘Ripped Apart’ with Benny the Butcher. Catch him if you can – Nodoz is ‘All Ready Up’, “staying woke ‘til the white sheet cover my eyes”, the early bird fiercely catching Will C’s smooth funk with a magical mystery tale to tell.






Albums

‘Retropolitan’ rolls with a capital R as “a love letter and a wakeup call to the city” from Skyzoo and Pete Rock, a well suited duo speculators must secretly have been hoping would get together, and whose Big Apple toughness comes with polished corners, epitomising the concrete jungle encasing the big city of dreams. Bustling and ‘bout it but barely breaking sweat, it’s an exemplary expo of sights and sounds, achieving easy listening when the pair’s objective is anything but.

Now sporting a short back and sides and Colgate smile and aligning himself with Q-Tip as executive producer, the energy of Danny Brown stays undiminished on ‘uknowhatimsayin¿ ’, but this time around you can tell he’s given more thought as to which wet square pegs should go in which live round holes. Paul White, Flying Lotus, JPEGMAFIA and Run the Jewels are all part of a medium reset, updating the livewire’s instincts that still come through loud, clear and uncouth (“I ignore a whore, like an email from LinkedIn”).





“I may never rock the Garden, but I did plant the seed, and it’s far from Autumn” – Von Pea, with his Pusha T-ish rasp, declares ‘City for Sale’ but also mi casa su casa, endlessly funky with production baked in sunshine and snappy cypherisms penning local postcards about how hood the hood really is right now.





The ever likely lads Dr Syntax and Pete Cannon are back to break their unique brand of bread until they’ve defined ‘Wallop’, chatting solemnly over tea and biscuits before giving it some jump-up, bass-mainlining welly. Whatever the mood of your favourite plain English rapper and wildcard producer combo, they leave you feeling invigorated from all the angles they cover.





Bending your ear with his usual best of British, Kid Acne’s South Yorkshire styling receives a boost from Illinois’ Spectacular Diagnostics, pulling ‘Have a Word’ from fuggy pillars to raw and whip-smart posts. Another time capsule of references tripping off the tongue, that continued sense of Acne picking up the mic and diving straight into the close-to-home anarchy with no warm up, sustains his latest keeper of the faith as flavoursome and full of unfettered character, shared with members of New Kingdom, Juga-Naut and Juice Aleem.

Ocean Wisdom’s extensive lung squeezer ‘Big Talk’ has got the mouth to go with the trousers, unstoppably menacing when riding jittery danger zone trappers rarely feeling the need to pull the handbrake. Assists from Dizzee Rascal, P Money, Ghetts, Akala, Freddie Gibbs and Fatboy Slim underline the star quality finding six million more ways to end careers at the same rate of words per minute.

When the long stretch of ‘Eagle Court’ is in session, CMPND trio Wundrop, Kemastry and Vitamin G invest in deep bass shudders of trap/drill genealogy that you can somehow find solitude in, and disgust-registering rhymes consistently keeping heads down while speaking up for bad boys moving in silence. Probably ineffective in daylight hours, a different beast when the graveyard shift ticks by, banging like a gavel in the hand of the Grim Reaper.

Livewire rhymes with clean means of execution from VersesBang advocate ‘Cardigans & Calories’, taking over tough/rubbery bass steppers and sending the fortunes of foes into hiding. Most unexpected is the appearance of D12’s Bizarre on the concluding ‘W.E.I.R.D.O.’, showing that rap/grime is not a funny old game. Junior Disprol’s ‘Def Valley’ is like a hip-hop game of Tough Mudder, gruffly ravaging a tricky selection of beats (yacht rockers to blips-n-bleeps to pots-n-pans, drum machine brawlers) with the unfazed, warpaint-daubed mindset of no-one else is gonna manage it, so it may as well be the Dead Residents emcee.





The LA addicts fiending for static that are Clipping are back to confirm ‘There Existed an Addiction to Blood’, an oxymoron where no-one can hear you scream in space until its engine room sucks you in and spits you out. The trio continue to give braincells a thrashing but still love a good hook, with emcee Daveed Diggs’ style in charge of the captain’s log recited by a sentient streetwise super-computer, taking Benny the Butcher, El Camino and La Chat along for the ride.





The heavy burdens of Big Turks gang Rome Streetz, Jamal Gasol and Lord Juco handle dangerous day-to-days to Ro Data’s expressive Turkish folk skills. Inducing a hush as they step in the place and where spotting weakness can be cataclysmic, this it tough Mafioso styling holding a certain cinematic exotica until the heavies on the mic – few grand gestures = time is money – begin their rearranging. Clinical, allowing for one traditional Turkish jig to conclude.

An invite to ‘The Gold Room’ from SadhuGold prepares ears for heavy instrumentalism straining towards the grey area of your DAB, too focussed on trip hop toil and a certain prog rock/gangsta determination so as to avoid playing the strung out chestnut. Slithering and curling itself around late night like a serpent ready for its chokehold moment, plucky emcees will flinch at the Philly producer’s muddy Midas touch.

‘Complicate Your Life With Violence’ suggest L’Orange and Jeremiah Jae, the folklore of old war stories and wild westerns mined by the former, schooled by a 5 o’clock shadow of a faintly numb flow keeping an ear to the street belonging to the latter. An expert in throwing you for a loop in its disregard for boom bap boundaries, seems to house a cast of hundreds when in reality it’s a good old fashioned (uniquely telepathic) MC-producer two-for. Proof that violence can solve matters.

Zilla Rocca and Curly Castro could tell you what Grift Company are all about, but then they’d probably have to kill you: ‘Too Many Secrets’ takes true school to the bank with a stick-up kid swagger. Giving it all they’ve got by using the 32 minute duration as a ticking time bomb to their savagery roaming the streets, it’s a slick and dangerous operation, pushing underground cinema full of proper hip-hop spirit.





Playlist
Compiled by Dominic Valvona with contributions from Matt Oliver, Brian ‘Bordello’ Shea, Andrew C. Kidd and Gianluigi Marsibilio.
Graphics by Gianluigi Marsibilio.








Reflecting the Monolith Cocktail’s tastes and favourite choice tracks from the last few months, the Quarterly Revue is a diverse musical journey; an eclectic international playlist of discoveries. This is a space in which you are as likely to find the skewered Gary Wilson meets Brian Wilson stained-glass psychedelic songwriting of the Origami Repetika creative hub as you are the conscious transportive jazz of Horace Tapscott. Brand new tracks appear alongside reissues and recently uncovered nuggets as we move through funk, jazz, hip-hop, post-punk, shoegaze, desert blues, techno, psychedelic, acid rock, space rock, and the most experimental of musical genres.

 

Behold…part three…


Tracklist::

Snapped Ankles  ‘Three Steps To A Development’
DJ Shadow  ‘Rosie’
Kid Acne/Nosaj/Spectacular Diagnostics  ‘Crest Of A Wave’
Gang Starr/J. Cole  ‘Family and Loyalty’
Danny Brown  ‘Best Life’
Bronx Slang  ‘More Grief’
SAULT  ‘Let Me Go’
clipping.  ‘Nothing Is Safe’
Bloke Music  ‘Everything On’
Seaside Witch Coven  ‘Splutter’
Trupa Trupa  ‘Remainder’
Stereo Total  ‘Einfach’
Los Piranas  ‘Palermo’s Grunch’
Baba Zula  ‘Salincak In’
Abdallah Oumbadougou  ‘Thingalene’
Grup Dogus  ‘Namus Belasi’
Taichmania  ‘See Ya at Six or Seven’
Kota Motomura  ‘Cry Baby’
Baby Taylah  ‘Reclaim’
House Of Tapes  ‘Melted Ice’
Camino Willow  ‘Hollywood’
Callum Easter  ‘Only Sun’
Junkboy  ‘Waiting Room’
Elizabeth Everts  ‘Contraband’
Bloom de Wilde  ‘Soul Siren’
Badge Epoque Ensemble  ‘Milk Split on Eternity’
Chrissie Hynde/The Valve Bone Woe Ensemble  ‘Meditation on a Pair of Wire Cutters’
Swan/Koistinen  ‘Diagnosis’
Sirom  ‘Low Probability of a Hug’
Koma Saxo  ‘Fanfarum for Komarun’
Matana Roberts  ‘Raise Yourself Up/Backbone Once More/How Bright They Shine’
Die Achse/Ghostface Killah/Agent Sasco  ‘Baby Osamas’
U-Bahn  ‘Beta Boyz’
Occult Character  ‘Half-Wits and Cultists’
Asbestos Lead Asbestos  ‘Shrimp Asmr’
Repo-Man  ‘Evan The Runt’
Issac Birituro & The Rail Abandon  ‘Kalba’
Nicolas Gaunin  ‘Vava’u’
Mazouni  ‘Daag Dagui’
Mdou Moctar  ‘Wiwasharnine’
Aziza Brahim  ‘Leil’
Resavoir  ‘Resavoir’
Purple Mountains  ‘All My Happiness is Gone’
Babybird  ‘Cave In’
Adam Green  ‘Freeze My Love’
Catgod  ‘Blood’
Frog  ‘RIP to the Empire State Flea Market’
Pozi  ‘Engaged’
Roi  ‘Dormouse Records’
Origami Repetika  ‘Winged Creatures’
Horace Tapscott  ‘Future Sally’s Time’
A Journey Of Giraffes  ‘September 11 1977’
Jodie Lowther  ‘The Cat Collects’
Equinox/Vukovar  ‘Lament’
Kandodo 3  ‘King Vulture’

Hip-Hop Revue
Words: Matt Oliver





Singles

The summer into autumn changeover is upon us, so here’s Rapture & Verse packed with all new stationery for term time. The tang of Joey Paro’s ‘Victory Gin’, charming you with Illinformed’s sweeping strings before stout flavours are brought out, serves four shots of Bristol cream capable of dumping you on your backside when Eric the Red, Smellington Piff, Datkid and Res One chip in. An EP spraying like winner’s champagne. Four tracks of Rodney P, Ty and Blak Twang stamping their authority is ‘The KingDem’ reminding everyone of UK hip-hop’s rightful sovereignty; steered by presence most will never achieve (“man are OG, shoulda know me”), and with the ‘Kingstep’ switch into drum & bass guaranteeing a multiple carnival float pile-up. More elite elder statesman status from Blade continues to roar from strength to strength, ‘Dark Friends’ vanquishing enemies from the belltower and ‘Make It Connect’ staging a smooth and deadly old skool takedown. For an elbow sharpener, head to Denzel Himself’s ‘Birdie’, live and direct from London’s crucible with a blue touch paper hook.





DZ The Unknown bringing the ‘Thunder Slap’ with Celph Titled, M-Dot, Esoteric and Big Shug stands up for all crime rhyme Houdini Gs, rounding on C-Lance’s Gotham brass beating you into bloody pulp fiction. In contrast, Bishop Nehru and Brady Watt’s ‘The Real Book’ has got your back when coffee either eases you into the weekend or is your bargaining chip to extend the evening. Five smooth, strong aromas. Assuming things go well, J Lately’s ‘Run’ brings the cosmos into line when you’re blissfully between sound asleep and waking up.






Albums

Long owning one of UK hip-hop’s best poker faces, whether up, down or in between (“I just wanna smoke blunts, chillin’ in the bathtub”), Verb T posing ‘A Question of Time’ is his umpteenth delivery of lyrical intricacy with his feet up. The production of Pitch 92 – neo-soulful, sharply jazzed, occasionally exotic, always generously drummed – runs in parallel, the album’s calming influence matched by its best foot forward getting shit done. Grown man hip-hop in the business of casual downtime that just happens to see off those that can’t handle ‘Time’ on their hands.

Blackburn-repping bard Bill Shakes gets quizzical on ‘Eh?’, making convincing arguments on shaky ground, the down-at-heel with the dossers vibe making the bravado work harder – ‘Once Upon a Time in Blackburn’ does his best Slick Rick – and getting the strange realities, born out of the local day-to-day, to slap. One to listen to by the spark of a lighter.

Mikill Pane’s ‘The Night Elm on Mare Street’ is no video nasty, cutting through dry ice and keyboards of a certain dystopian/romantic vintage. Overfeeding punchlines like Gremlins after dark, the patent lyrical agility and care with words is entertainingly nostalgic, and dealing with a whole host of first worlders against banks of VHS-ready synth-pop pulses gives the album its distinction. Don’t sleep. As the ‘Heart Break Kid’, Rick Fury hits with prizefighter accuracy despite looking into wrestling federation glam and with the slouch of someone who’s downed tools. Working harder than the languid North East verbs appear, the soulful beats that Fury hangs his namedrops, home comforts and passive-aggressive coin flips on, sound carefully handpicked from a dusty VIP reserve, adding to the man and myth.

Expect party-hardy funk and frolics from Chali 2na and Krafty Kuts at your peril. When ‘Adventures of a Reluctant Superhero’ seems geared towards cartwheeling breaks and lyrical calisthenics, reinforced by ‘Guard the Fort’ and the sleeve/title, the dominant powers are a variety of tempos – KK releasing simple, neck-aware energies – and flows in thought (covert life coach ‘Feel the Power’) that make incisions: i.e., 2na doing what 2na does. Victory assured.





Two albums that are rough and rugged, but know the game enough to spruce up the raw. Elevating his status to ‘GITU (Greatest in the Universe)’, Chris Rivers doesn’t lose sight of the road ahead, and where the title and look-at-me connotations run deeper. The Big Pun bloodline has never run truer; capable of reading the room so lighter crossover moments share space with ripsnorters to rattle the place. Overall, a polished player with reach. Switch the accessible trap to boom-bap clean enough to eat off, and you have Joell Ortiz’ ‘Monday’ running alongside. Strong armed wistfulness (if that’s a thing), it’s a case of the rhyme animal finding a comfortable lane to put his priorities in order with open eyes, making one particularly good point on ‘Screens’ lamenting the tech-obsessed generation’s refusal to enjoy the fresh air.





Straight shooting from Rapsody earns a promotion to first lady on ‘Eve’, looking to emulate heroes and icons and wanting to be mentioned in the same breath. Making soft touches that much sharper, mixing up Phil Collins and Wu-Tang stashes as she goes, an unflinching belief system sees off the ill-equipped (“ain’t an emcee on this earth that make me feel afraid”), not so much striking a chord as demolishing it with style and sass. Queen Latifah joins the update of the ladies first manifesto from someone who comes “like Left Eye with the matches”.

The celebrated return of Little Brother – funky, soulful and with a killer side eye – is like they’ve never been away. Despite the absence of 9th Wonder, Phonte and Rapper Big Pooh’s proclamation of ‘May the Lord Watch You’ shines summery light over all. Effortless and erudite (“20-20 ain’t shit without foresight”), LB still have the remedy for when your last nerve has been worked over. Two essential elements Blu and Damu the Fudgemunk abide by are ‘Ground & Water’. You already know which other two they come through with, declaring at eight tracks once they’ve refreshed heads but also left in some necessary dirty backwash as well. Therefore, moving crowds, no mistakes allowed, and more than once, Damu giving up the goods to just step. A combination that was never in doubt re-ignites those in need of an enthusiasm boost.

Long a protestor of hip-hop being him against the world, Ras Kass’ ‘Soul on Ice 2’ is in the mood for a high score body count, maximising velocity on every single word as if it’s his last. Shattering myths and ciphers and perfect for two cents worth on the current state of the world, the backing of Diamond D, Snoop, Cee-Lo, JUSTICE League and Immortal Technique allows for valuable variation without dilution of the destruction.





A slimline serving of chintzy hors d’oeuvres and comfortable linens from Alchemist invites heavyweights such as Benny the Butcher, Meyhem Lauren, Boldy James and Action Bronson to scarf down the funk schmaltz and schmooze of ‘Yacht Rock 2’. Your entry aboard is non-refundable, though the imagery of rappers networking in floral shirts with snifter in hand while the band plays on is very believable.

HIP-HOP REVUE
Words: Matt Oliver




The latest edition of Rapture & Verse has put itself forward for an ‘Old Town Road’ remix (#1 in the year 2056), but will not be writing any top 50 lists for fear of admonishment when omitting Morris Minor and the Majors. Some singles first: a whodunit tiptoe from Pitch 92 allows justice-serving Verb T and TrueMendous to catch a ‘Cold Case’, nimble, mean-streaked rhymes leaving no stone unturned. Four instrumentals from the mighty Chairman Maf are nice, summery and don’t ‘Muff’ their lines, cheeky samples warping the beats in the sun. DJ Shadow and De La Soul’s old skool autopilot guzzles ‘Rocket Fuel’, a simple, effective weapon held down by horn overtures moving overground: a nation of breakers, poppers and lockers can be found greasing their joints in anticipation. ‘It’s Not That Simple’ claim Pawz One and John Henry, when actually the opposite is true, giving the front row what they want across eight tracks like it’s a regular day at the office. Beats and rhymes for the win, getting straight into a gold-reflected groove. Celph Titled’s ‘Paragraphs of Murder’ is not a fuzzy wuzzy Hallmark card; fact. The more obvious answer is, head banging music in an invincibility cloak.

 

Albums

Anchored by the indomitable ‘Reeboks’, Baileys Brown stirs the pot so everything’s ‘Still Fresh’, in the name of accommodating a bunch of microphone herberts. Datkid, Axel Holy, Lee Scott, Dabbla and Hozay rise up to run their mouth and take advantage of BB’s background diligence, skimming the scummy but with buckets of fizz and a little soul stardust answering the title’s call, keeping the hottest point of the club within striking distance of a couch and headphones combo.





Live at the barbecue, Giallo Point and Juga-Naut make the grind look easy when heading ‘Back to the Grill Again’. For the most part GP is weighing up which yacht to rock rather than measuring you for concrete shoes, and Jugz’ designs on alt-opulence are ones listeners want to achieve themselves rather than being put off by claims bordering on the outlandish. Running through crews like a hot knife through butter, from now only order these cordon bleu beats and rhymes, a gangster gourmet with an all important UK garnish.





Apex’ twins Ash the Author, forcing the issue and leaving pauses for thought to leave you defenceless (“raps like Moe Syzslak, straight ugly”), and Ded Tebiase, a double bluffer on the beats seeking dusty sunrises through the blinds and spreading bad voodoo to make you jerk your head back. The pair haven’t got time to be messing about and have got you covered, in tune with the changeable British summertime. One for a shoulder-high ghettoblaster.





Taking the form of the staunch Chester P, The Nameless Project surveys the wreckage of the world, wrapped in yellow and black barricade tape. It reaches a conclusion of dislocated beats under extra terrestrial duress, and disdainful observations, hauled straight from the corner, that you better start believing quick. Uneasy listening where you daren’t touch that dial.

‘The Return’ of Sampa the Great is a mind, body and soul experience requiring complete immersion (clock watchers – this isn’t for you), the indigenous explorations and fearless art of performance making it more odyssey than album. Lead by that trickily playful, Bahamadian flow sounding like it’s chewing a ton of bubblegum ready to spew napalm, funk wrecking ball ‘Final Form’ becomes a bit of a one-off in a meandering, richly textured, provocative astro/political soul installation, able to slot in a rework of The Stylistics. A debut to have critics clamouring.

A new Kool Keith album, entirely produced by Psycho Les: ‘Keith’ is the album dreams are made of to some hopeless hip-hop romantics (Jeru the Damaja and B-Real pop in to propagate the fantasy). In the real world of 2019, it’s another day of the Spankmaster’s unmatched imagination running feral, throwing his “jockstrap to the critics” and in the direction of stocky Beatnuts fare that sides with the eerily vacant, and the sometimes peppy over the sleazy. ‘Holy Water’ doing Barry White is the headline treat, yet the album improbably goes about its business with minimum bother.





Superhero worship and hip-hop purism: birds of a feather, supremely executed across eight tracks by P.SO and 2 Hungry Bros on ‘American Anime’, detailing the vagaries of the respective scenes so both the nerds and the B-Boys can have their revenge. The mild-mannered everyman by day brings out the superpowers of beats, rhymes and managing the concept like its second nature, just like your favourite lycra clad centrefold.





Grieves’ ‘The Collections of Mr Nice Guy’ uncomplicatedly detangles affairs of the heart, including self assessment, before undermining the album’s title in a kindness-for-weakness dismissal. His switch in focus with no discernible change up, means eight softly bedded lullabies bite back and keep everyone interested and entertained, as well as being a perfect introduction to latecomers.

“A varied album documenting stressful trials, psychedelic endeavours, and copious inhalations of marijuana” – that’s the lowdown on YUNGMORPHEUS and Fumitake Tamura’s ‘Mazal’. Suffice to say, side effects may cause drowsiness, though in fairness the lyrics are as much as blunt as they are blunted, red mist over red eyes looking over an out-of speakers-experience that still manages a surprise sneak attack of Shadez of Brooklyn’s ‘Change’.

Ambitiously advertised as an EP, Black Milk continues to show he knows exactly how to work the sweet spot of soulful hip-hop with something to say on the album length ‘Dive’, never stooping low to conquer. A soundtrack for heat waves and cool for the eye of the storm, it’s that movement around and manipulation of sounds that sets him apart, not to mention his rhymes sitting between confident/authentic open mic night performer bringing with him a disarming bedside manner.

‘One Word No Space’ = no space for wasted words – standard procedure from Donwill, another expertly, effortlessly concentrated spectacle (35 minutes long brings the repeat button quickly into play). Soulful but with a kick (production from Tanya Morgan teammate Von Pea), laidback but with lessons to take from, it’s another backing track for a barbeque going long into the evening.





HIP-HOP REVUE
Words: Matt Oliver




Welcome to the latest Rapture & Verse – if you don’t like some of the opinions expressed, don’t worry, VAR has probably got your back. Financial management and futures planning from the eloquently frank Charles Edison breaks it down to ‘Bricks’, striking a chord for those trying to keep their head above water and a roof over it. The guru-like linkage of Chong Wizard summons a mix of voices and beatsmiths to ‘The Soul Stone’, six tracks worth of soulful bumps with criminal connections, ground down by headliners Vic Spencer, El Ay, Juga-Naut, Vandal Savage and Stack Skrilla. ‘Cypher Sore Eyes’ is boom-bap balm for the ears from the game face of Nottingham’s Louis Cypher, getting stuck in and hounding the supplies of DJ Severe, Kastanza and Pete 1st Blood. A six-track EP that’s got soul and a will to win.





An EP of energy spikes and crashes, either frantically running for its life or staggering back so what’ll be will be, ‘Defo Not Normal’ is the badge of honour worn by the twitchy Bang On when prompted and prodded by Reklewz. Will put your speakers in a cobra clutch, whatever direction it’s moving in. “Outlook = miserable, forecast = kill ‘em all” – so say the Delusionists, keeping grounded from their position in the ‘Clouds’. Warnings of caution, carefully, smartly conveyed, make them the responsible choice. A classic sunup-to-sundown beat from Ded Tebiase – slightly stoned, but bassy enough to ring around the borough – allows Ash the Author the maximum means to ‘Transmit’ loud and clear.






Albums

Gawd Status is not a crown that lies heavy with Joker Starr and King Kashmere, ‘Firmamentum’ a rolling thunder of articulate rage and a fiercely tribal shakedown rewriting the Blaxploitation manifesto. The Iguana Man, an absolute banshee on the boards, appears in a more advisory, all-seeing role on the mic, while Joker Starr is at the front, warring so that no man is safe, allowing for occasional leave of reality. Militant pride that’ll uproot those sitting on the fence, including a silky smooth soul intermission playing its position, at a scandalously slim eight tracks long it’s a saga that must run and run. Absolutely boomin’.





Ronnie Bosh has both the no-nonsense name and gameplan of the glory days of East End hard cases, taking great disdainful chunks out of this debut ‘All People Expect’. Setting rhymes in stone with no right of reply, Bosh is perfectly aware that there’s no need to overthink matters or get too technical, yet is never economical with the truth, squeezing the mic in a considered accumulation of pressure. Jazzy head shots and drowsier dips care of Dirty Dike, complete the definition of raw and uncut.

Announcing his album arrival with the pretty outrageous ‘FCK Boy!’, Mr Muthaf*ckin’ eXquire delivers on his promises of a wild ride, armed with a bunch of spanners to hurl work-wards. Just as disruptive is his shrewd taste for narrative, hitting home without promising happy endings. Satisfying your ignorant itch and also reducing dancefloors to bloody smithereens, it’s a surprisingly, satisfyingly well-rounded album where the bite backs up the bark.





Reconvening with Madlib on Etch-a-Sketch (well, not quite) and Freddie Gibbs toting his usual gangsta trappings, the much hyped ‘Bandana’ exploits the sweet spot of Lord Quas’ soul raids and loop manoeuvres as peacekeeper/mostly silent partner in the face of Gibbs’ tirades – not that he needs too much direction to vent anyway. Open to discussion, and that’s before appearances from Anderson Paak, Pusha T, Killer Mike, Yasiin Bey and Black Thought, ‘Bandana’ kind of wings it, mostly cementing their inexplicable chemistry made bespoke.

Tread carefully should you receive directions to and from the Delivery Room, whose eponymous album rolls out the red carpet to a house of horrors and takes uncomplicated swings like a headhunter test-driving a new axe. Sometimes funky in amongst perpetual pulverisation, the Scottish crew reach a rowdy peak as ‘Break Loose’ chucks Flat Eric and The Prodigy into the moshpit. Hocking rhymes like kerb-ready lung butter but always staying one step ahead of the naysayers, Frani P never sweats as ‘Mr Small Stuff’, ducking and diving with the goods to convince you of his chatty flow, particularly when ‘Golden’ shows he’s no Jonny-come-lately. Production from Turkish Dcypha and Marley D perfectly allows him to go wide, notably and aptly wielding Ian Dury’s rhythm stick as they go.





Look no further for beats and rhymes practised until perfect than Ill Effect’s advancement as ‘Loop Junkies. Never taking their position for granted as they take on the world, no doubt the trio have got skills and sonics for days, but half an hour is exhibition enough of what they’re about, making them a heavy tapedeck presence. Also a champion for the good old days without being a golden era bore, Dyzzi’s ‘Kids Back Then’ has got the taste and skill for coming-of-age nostalgia; of course, the soulful snaps that help paint the picture don’t hurt either, and the same goes for the DivSel emcee’s ability to go from dewy-eyed to dervish. One for the summer.

 Literally five minutes after dropping end-of-year cert ‘It Wasn’t Even Close’, Your Old Droog has the temerity to drop another end of year chart troubler. His means of ‘Transportation’ – “rather be a dope failure than a wack success” – takes the form of actual…er…modes of transport (‘My Plane’, ‘Train Love’ allowing himself to get a lil’ bit sentimental, ‘Taxi’ with Quelle Chris), remaining the smoothest source of scornful, so-what couplets and eyewitness accounts. “Half man, half crustacean, 100% asshole” – that’s how Dillon be selling ‘The Tails of Lobsterdamus’, the new face about town where men wanna shell out like him, women wanna peel him off. Doing straight-faced anthropomorphism going beyond the sea, slick rhymes dictate understatedly pimped out beats, entertaining you until he’s cashed out and squids in.





‘Plugs I Met’, restoring the argument of whether seven tracks is album length (etc etc), is Benny the Butcher starting off fairly fluidly, and then getting progressively heavier until bones start splintering. In a world of wiretaps, silencers, balaclavas and dry as a bone extortion knocking down your front door, no quarter is given from Black Thought, Pusha T, Jadakiss, 38 Spesh and Conway the Machine, making this a very dangerous gang-up to ignore.

The ‘Mobb Deep Remixes’ from DJ Duce shows respect to the classics (staples from ‘The Infamous’ and ‘Hell on Earth’) while sticking his own death rattle to the Prodigy & Havoc back catalogue, and ensuring the drama he brings is no small thing with a dozen alternatives meeting the reaper at the gates of Queensbridge.

PLAYLIST
Compiled: Dominic Valvona/Matt Oliver
Art: Gianluigi Marsibilio









From an abundance of sources, via a myriad of social media platforms and messaging services, even accosted when buying a coffee from a barristo-musician, the Quarterly Revue is expanding constantly to accommodate a reasonable spread that best represents the Monolith Cocktail’s raison d’etre.

As you will hear for yourselves, new releases and the best of reissues plucked from the team – me, Dominic ValvonaMatt Oliver, Brian ‘Bordello’ Shea, Andrew C. Kidd and Gianluigi Marsibilio (who also put together the playlist artwork) – rub shoulders in the most eclectic of playlists, with tracks as geographically different to each other as Belem and Palermo.

Digest and discover as you will, but we compile each playlist to run in order so it feels like the best uninterrupted radio show or most surprising of DJ sets.


HIP-HOP REVUE
Words: Matt Oliver




Singles/EPs

Love Island audition failed once again, Rapture & Verse reverts to bringing you the tastiest hip-hop to tango your chops with. Redbeard’s ‘Misc’ EP packs a fistful of strong, down-to-earth rhymes, triumphing with joypad flex ‘Dead Pixels’, as the iron-chinned guardian to dreamlike assurance that veers into knocks sponsored by seven bells. Loose lips sink ships, but Sinking Ships bite back with the three-track conundrum ‘Foudroyant’, Leviathan and Rat Bastard pushing the everyday into the abstract along a high wire and striding comfortably through a no man’s land defined by one false move. Brollies up for when the ‘Tidal Wave’ of Cappo and Senz Beats breaks defences and provides blunt counsel that shouldn’t be slept on. A superlative remix package has Jazz T, Uncommon NASA, REDA and Lex Boogie all coping with catastrophe with individual adapt/survive tactics. J Lawson’s search for ‘Fools Gold’ over a mean Senz Beats brawler isn’t a bad look either.

Unlikely to put his ‘Reeboks’ on and have a little dance, Baileys Brown bites into a dub bludgeon laced with cosmic sparkles and Axel Holy, Stinking Slumrok and Datkid in tow. A steamroller acting like it ain’t nothing. ‘The Green House’ effect of Eric the Red and El Grobbo is straight goading music by the half dozen, going nose to nose with the crowd in an odd couple throwdown: thickset beats provide shadow when catching rhymes bouncing off the walls. The super ‘Final Form’ is Sampa the Great flattening opposition to the fattest of disco-funk fanfares: get up-stand up multiplied by can’t stop-won’t stop, generates something unstoppable.








Both scholarly and bathed in sunshine, Blu & Exile’s welcome ‘True & Livin’ EP wants to get everyone together, whether that be within cypher, backyard barbeque or think tank, packing more within three tracks than most manage across whole albums. Blu also makes an appearance on the drowsy ‘What Ifs?’, a drifter from Morriarchi and Confucius MC in Old Paradice mode, the subtle spike of discomfort funked up in cool loungewear by Swarvy on the remix. An ode to the ‘Night Shift’ from Murs looks back to set the record straight with some pertinent quotable, Kash’s blooming piano nodding in agreement, before a re-team with 9th Wonder parades a ‘Ga$ Station Gucci Belt’ as a heavyweight challenge staying light on its feet.



There’s no better demonstration of being in the zone than Homeboy Sandman travelling to the ‘West Coast’ and making light speed seem like a Sunday drive. Aesop Rock on the boards serves pure robot-chasing Def Juxism for the circuitous purpose of making complete sense. Ringing bells with boom bap to leave you hunchbacked, J57 and Blame One stoke the fire that causes Mark Ski’s ‘Voodoo’, answering the question that there is such a thing as joyous demolition lasting under two and half minutes. Finland’s Cut Beetlez and New York’s Good People to and fro for the fun ‘Cut People’ EP, an anything goes six tracker of rhymes wounding like a sarcastic slow clap, and a smorgasbord of boom bap rammed into by raw samples and the Beetlez’ trademark contempt for turntables.




Albums

Entwining the concepts of lo-fi and low life and guaranteed to get under your skin, Jack Danz’ germ peddling ‘TMIB’ gets stone cold/cold stoned as the walls start to drip and reality disintegrates. Mesmeric on his own terms, the voice of someone who’s seen too much but knows exactly what’s going on, manipulates the midnight hour into a seedy object of disdain, remaining heavy enough to give environmental health the finger.





Jazz instrumentalism to a tee from DJ Obsolete induces ‘The Mandela Effect II’, complemented by a crew of emcees to be reckoned with, hurrying up the queue to the booth until another head clocker from the German producer comes through. Nice and relaxed, but with that mean streak made easy, like the 90s used to do. The second volume of Rhettmatic’s ‘Loops, Chops, Beats & Vibes’ is precisely not just that. Early doors the instrumentals are certainly coming from inside the house, the Beat Junkie’s slasher-in-waiting boom bap headlining a bulk load of work for that neck. A premium rate number is DJ Drinks’ ‘Nightline’, switching between getting jazz to force the issue so a red mist starts to fall, and easing on back until ears get warm and blurry. Half an hour of beats that won’t leave you hanging.

The Revorg label compilation ‘Est 2013’ brings up to speed the rock-dwelling community with all of its biggest hitters. Big Toast, Gee Bag, Gatecrasherz, Jack Diggs, CNT, as well as Phoenix da Icefire and MysDiggi, all steam in on a 16-track expo of British firepower: melodious, speaker-tipping beats, and rhymes running ridiculing rings around the unenlightened. Essential.

A seen-it-all-before eye roll set to surprisingly pleasant music – a classic in brave-facing it when the contrary is obvious. Chris Orrick is ‘Out to Sea’, treading water to survive but never leaving you high and dry. A concise collection of Detroit straight talking and a specialist in which battles can and can’t be won, Orrick is able to cut himself some slack with entertaining odes to the munchies and online fraternising.





The serving suggestion for the new Pro album is ‘After Dinner Before Dawn’, and is an album you can’t fault for honesty, in terms of both professional and personal integrity. Someone who won’t stutter, will project his voice and speak clearly, easily slip into a West Coast groove out of East Coast bumps, and whose wisdom fully comes to the fore as the album moves along. Good value.

 Chaotic scenes abound when Injury Reserve’s self-titled album climbs off the bench, though you probably shouldn’t expect anything else from a crew who recorded their first mixtape in a dentist’s office. Tails are up when Rico Nasty, Cakes da Killa and Freddie Gibbs join the trio in creating aggro, when generally they’re not looking to cause trouble or bother nobody. An abrasive leftfield pile-on that levels out, just short of delivering a hotchpotch. Talking of chaotic, Beast Coast are hardly subtle in their ‘Escape from New York’, the massed ranks including Joey Bada$$, Flatbush Zombies, The Underachievers, Kirk Knight and Nyck Caution riding trap-for-all like a wave machine before creating perplexing sensations when smoothing it out. Strength in numbers barges this one past the winning post.






Hip-Hop Revue:: Matt Oliver




Singles/EPs

Welcome to the April-into-May edition of Rapture & Verse, powering through to the end of the season and still searching for that goose that laid the golden Easter egg. Into the singles, suffice to say the remix of Nick Roberts’ ‘Phlegm’ drips harder when Ash the Author has cleared his throat and sent for the delicate jazz vibes while “sick like influenza”. Cobes’ sense of stonefaced ‘Deja Vu’ is to give the people something from the gutter, wielding a sawn off flow to hypnotically sludgy trap from Don Piper. Also looking to announce their arrival via hatchet through your front door, the faint but powerful eeriness of Ill Move Sporadic allows Strange Neighbour to apply a callous coup de grace as ‘Drug Slur’ slowly seizes your brain.





The resurrected renegades of funk Belles in Monica revisit their post millennium espionage with the ‘Natsukashii’ EP, the Glasgow crew sidewinding from the shadows with balaclava militancy mixed with the invoking of bad karma. CMPND’s ‘Whatuplayin@’ makes low-rider music that redefines the ghost whip, murky with a spectral edge where show and prove deals a scorpion sting. There are those that do and those that only observe, and Upfront makes that same distinction with cocky confidence on ‘Spectator’ before beckoning to ‘Look at This’, hocking all over airy jazz vibes.

Then there’s Milkavelli’s ‘Channel Surfing’, a ten minute stream of unglued, curiosity-eking lava lamp consciousness, playing like a late night talk show you won’t find in any TV listings. A friendly game of beats and rhymes is the ‘Word’ of Rob Cave and The Other Guys, seven tracks of sunshine in a record sleeve (perhaps it’s Cave’s Del-like tone), promising something for everyone.






Albums

On his worst behaviour when ‘Confessions of a Crud Lord’ writes red-top headlines, Datkid bullies the beats of Leaf Dog until he’s administering toilet swirlies. Audaciously, Westside Gun, Conway the Machine and Roc Marciano join in with the offense of a one-man gang whose flow is pretty darned irresistible (‘Grown Up’ shows a sharper-than-thought narrative game as well), toying with his Bristol compatriot’s heavy hitters that know exactly how to get the crud to rise to the top.

Datkid also leaves his mitts on Split Prophets’ ‘The Forecast’, joining Upfront, Flying Monk, Paro, Res One and Bil Next on a proper pass-the-mic session. Badhabitz on the boards runs a tight ship for the Westcountry crew go for theirs across eight tracks, equivalent to a knowing look being all the encouragement needed to rack up a bill for booth damages.

Another outcast for whom ASBOs were drafted for is Onoe Caponoe, his Thunderdome rollercoaster ‘Surf of Die’ fixed with two settings of maelstrom or meek. Druggy wall crawlers and wild trap booms raging with the brakes cut pressurise the album until it eventually blows out with exhaustion, but it’s the solemn pauses to look at the view below that make the 169er an even more unnerving object of fascination.





One more to add to this month’s bunch of pithy, snotty spitters is the succinct Sean Peng telling you about his ‘Trips to the Medicine Cabinet’. Heat turned up by Illinformed’s usual brand of head shots driven straight down the middle, Peng is not one to indulge in excess despite the title, leaving the mic shook with an efficiency akin to racing through a Rubik’s Cube like it’s nothing.

Resisting the urge to fart rainbows and spew glitter, Ill Bill and Stu Bangas’ ‘Cannibal Hulk’ goes plundering with a superhuman taste for flesh. Bill’s Non Phixion comrades Goretex and DJ Eclipse assist with the rock and roll hellraising, which despite being petite in length, yanks you onto its team with the sway of cult leadership.

California and Detroit is where ‘Child of the Jungle’ resides, the offspring of Guilty Simpson and MED keeping the underground on a low heat you can still feel on your neck. Spoilt with the production riches of Madlib, Nottz, Black Milk, MNDSGN, Karriem Riggins and Apollo Brown, the mood moves between urgent, soulful and dusted – not the sort of backdrop the mic warhorses are gonna miss out on, slotting in without airs as is customary. Pistol McFly’s chill ‘Road Trip’ is of a similar, middle lane hold from the West Coast, picking up fans on the strength of being roofless rather than ruthless, though the occasional need to speak up and detouring down darker lanes are welcome additions to the journey.

The definition of enterprising, Quelle Chris remains a singular underground voice, loading latest album ‘Guns’ with intelligent angles on a topic never far from the news, coming up with some hardcore head nodders and an educational bigger picture that’ll “make a rapper freeze up like I was Zack in Bayside”.  Rhymes to play on your mind.





A number of R&V favourites return. Chewing premium fat like it’s mere water cooler conversation, Your Old Droog proves ‘It Wasn’t Even Close’ to the sound of cop show themes on their last doughnut and your favourite rapper being moved into retirement by means of cloak and dagger cult. Supplemented by DOOM, Mach-Hommy, Wiki and Roc Marciano passing through on the low, Droog again doesn’t need to overstate the obvious that he’s dope, a slew of shrugging punchlines and forensic wordplay cracking smiles when it feels almost inappropriate to do so, and answering his own question of “whatever happened to lines that used to make you rewind?”





Witness the fitness when Nolan the Ninja, at his most ‘Sportee’, inflicts damage on a jumble of beats mainly being used as target practice rather than competitive equal. Still striving for mid-30s retirement and musing on how to “turn my passion into profit”, another influx of hurricane rhymes wind down in the album’s latter stages just like on the previous ‘Yen’, offering a wee glimpse of conserved style beyond his impressive enthusiasm.





You know what, Dope KNife was right: ‘Things Got Worse’, though not the impact of his front foot stomping continuing on from ‘NinteenEightyFour’. Holding a grudge until knuckles turn white, this has the feel of dismissive modern gangster rap/unofficial old skool with the necessary smarts, playing the position perfectly on the industry glutton ‘Famous’. “Don’t debate the beast, cos I don’t tolerate your weakness” is all the warning needed. El Camino’s warning of ‘Don’t Eat the Fruit’ follows the morality and mechanics of the modern G-code. Namely, funk and soul loops deconstructed as makeweights in drug deals and gunplay, a flow riddled with insomnia, obsession and a bout of the hiccups, and quick out the door so as to make room for the next scheme.

Alchemist’s fifth ‘Rapper’s Best Friend’ collection shares more premium instrumentals, painting pictures to the edge of panic and including two headliners claimed by Evidence. A Record Store Day special giving a clutch of 90s beats their vinyl debut, Pete Rock – poster boy for the MPC don’t forget – claims gold for the other side with ‘Return of the SP1200’. Perfectly sitting on the rugged/smooth axis, the golden timekeeping and honeyed snap, omnipresent from jazz lullabies to flexing outside, is like ice and a slice when you’re beating sweat back.

Wrapping up this month – woop woop, it’s the sound of Open Mike Eagle & DOOM.






Playlist: Dominic Valvona/Matt Oliver




I’ll be brief – less chat, more music please – as you want the goods, but the Quarterly Revue is our chance to pick out choice tracks to represent a three month period in the Monolith Cocktail’s output. New releases and the best of reissues plucked from the team – me, Dominic Valvona, Matt Oliver, Brian ‘Bordello’ Shea, Andrew C. Kidd and Gianluigi Marsibilio – rub shoulders in the most eclectic of playlists. The full track list is awesome, global and diverse and can be found below.



Tracklist in full: 

Abdesselem Damoussi & Nour Eddine ‘Sabaato Rijal’
Bassekou Kouyate & Ngoni Ba (Ft. Abdoulaye Diabate) ‘Fanga’
Foals ‘Cafe D’Athens’
Kel Assouf ‘Tenere’
Deep Cut ‘Sharp Tongues’
Royal Trux ‘Suburban Junky Lady’
Ifriqiyya Electrique ‘Mashee Kooka’
39 Clocks ‘Psycho Beat’
The Proper Ornaments ‘Crepuscular Child’
Swazi Gold ‘Free Nelly’
Eerie Wanda ‘Magnetic Woman’
Julia Meijer ‘Fall Into Place’
Mozes And The Firstborn (Ft. PANGEA) ‘Dadcore’
Lite Storm ‘People (Let It Go Now)’
Downstroke & Gee Bag ‘Ooh My My My’
Errol Dunkley ‘Satisfaction’
Old Paradice/Confucius MC/Morriarchi ‘Sunkissed’
Black Flower ‘Future Flora’
Santiago Cordoba ‘Red’
Dexter Story (Ft. Kibrom Birhane) ‘Bila’
Houssam Gania ‘Moulay Lhacham’
Garrett N. ‘Avant’
Sir Robert Orange Peel ‘I’ve Started So I’ll Finish’
Gunter Schickert ‘Wohin’
Defari & Evidence ‘Ackknowledgement’
Eddie Russ ‘The Lope Song’
Oh No & Madlib ‘Big Whips’
CZARFACE & Ghostface ‘Mongolian Beef’
Greencryptoknight ‘Superman’
Choosey & Exile (Ft. Aloe Blacc) ‘Low Low’
Little Albert ‘Gucci Geng’
The KingDem ‘The Conversation (We Ain’t Done Yet)’
Wiki ‘Cheat Code’
Dear Euphoria ‘Push-Pull’
Tim Linghaus ‘Crossing Bornholmer (Reprise, Pt. II)’
Station 17 (Ft. Harald Grosskopf & Eberhard Kranemann) ‘…And Beyond’
Heyme ‘Noisz’
Clovvder ‘Solipsismo’
Ustad Saami ‘God Is’
Louis Jucker ‘Seagazer’
The Telescopes ‘Don’t Place Your Happiness In The Hands Of Another’
Blue House ‘Margate Jukebox’
Tempertwig ‘Apricot’
3 South & Banana ‘Magdalen Eye’
With Hidden Noise ‘The Other Korea’
Beauty Stab ‘O Eden’
Coldharbourstores ‘Something You Do Not Know’
Katie doherty & The Navigators ‘I’ll Go Out’
Mekons ‘How Many Stars?’
Graham Domain ‘Farewell Song’


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