Playlist: Chosen by Dominic Valvona & Matt Oliver/ Curated by Dominic Valvona





Priding ourselves on the diverse, pan-global playlists we collate for your aural pleasure and indulgence, the Monolith Cocktail Quarterly Revue series is the eclectic behemoth of them all. With no demarcation of any kind or rules we mix the harrowing and gothic with beckoning polyrhythmic dancefloor screamers, flights of panoramic fantasy with raging protestations, and the most sublime peregrinations with experimental cries from the wilderness.

Everything you find on this playlist has either featured on the site over the last three months or been in our general orbit (the sheer volume of music we get sent means there is inevitably issues of space and time, and so some great tracks just don’t make it; this is our chance to feature those lost tracks). Below you will find a full track list, including links to reviews.


Tracklist:-


Malawi Mouse Boys  ‘Hunger (Hymn)
Spike & Debbie  ‘Strike – Compilation Version
Dur-Dur Band  ‘Yabaal
Goatman  ‘Jaam Ak Salam’
Mac Miller  ‘Party On Fifth Ave.
Parquet Floors  ‘Wide Awake’
LCD Soundsystem  ‘Oh Baby – Lovefingers Remix’
Papernut Cambridge  ‘The Hobbledehoy
Yuzo Iwata  ‘Gigolo’
Soft Science  ‘Undone
Stella Sommer  ‘Dark Princess, Dark Prince
Mehdi Rostami & Adib Rostami  ‘Delight
Yiddish Glory (Loyko, Alexander Sevastian, Sophie Milman)  ‘Shpatzir in Vald (A Walk In The Forest)
Yazz Ahmed  ‘The Lost Pearl – Hector Plimmer Remix
John Coltrane  ‘Impressions – Take 3’
Thelonious Monk  ‘Nutty, Pt. 2’
RAM  ‘Dambala Elouwe’
Vaudou Game  ‘Tata Fatigue’
Derya Yıldırım, Grup Şimşek  ‘Uc Kiz Bir Ana’
Idris Ackamoor & The Pyramids  ‘Land Of Ra’
Bixiga 70  ‘Quebra Cabeça
Etuk Ubong  ‘Black Debtors’
Ayalew Mesfin  ‘Hasabe (My Worries)’
Ippu Mitsui  ‘Shift Down
Otis Sandsjo  ‘Teppich
Nyeusi  ‘Jupiter’s Giant Red Spot’
Angels Die Hard  ‘Acid Beach
Mothers  ‘PINK’
Rat The Magnificent  ‘Up The Street
American Nudism  ‘Future 5-0’
Dead End, M, Second Son  ‘Let The Music Talk
Tenesha The Wordsmith, DJ Khalab  ‘Madea’
CRIMEAPPLE, Big Ghost Ltd.  ‘Your Love’
The Last Skeptik, Mikill Pane, Allana Verde  ‘Rules Of Engagement
Beans, Sam Fog  ‘The Black Chasm’
Bronx Slang  ‘Rushing The Stage
Wordburglar  ‘Rental Patient
Gunshot  ‘Sulphur
Stringmodulator  ‘Betwixt & Between
Laure Briard  ‘Janela’
Brian Bordello  ‘Eddie Cochran’
Simon Love  ‘God Bless The Dick Who Let You Go
Picturebox  ‘The Vicar’s Dog
Atmosphere  ‘Make It All Better Again’
Daniel Rossen  ‘Deerslayer’
White Denim  ‘Good News’
La Luz  ‘Mean Dream’
Kammerflimmer Kollektief  ‘Action 3: Thoughtless, Hamburg


Previous Quarterly Revues From 2018 



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Matt Oliver’s essential Hip-Hop revue





Handbags at dawn for Rapture & Verse this month, with Cardi B and Nicki Minaj almost inevitably auditioning for a future Pay-Per-View bout, and Eminem dropping the sneak attack ‘Kamikaze’, a hitlist trying to avoid becoming an old-man-shouts-at-cloud meme. Thus far, only Machine Gun Kelly, with a fair-to-middling amount of invective, has taken the bait and dragged it back to the playground. The album itself is full of uninspired/overegged production and one glaring ‘Sing for the Moment’ moment of redemption, swept aside by Mathers going supersonic in burying post-‘Revival’ hatchets and sacking frontline figures.

 

Singles/EPs

Hello darkness, my old friend. There’s getting low, and then there’s ‘Low and Behold’, a scathing cellar dweller with no escape from Final Boss and Harry the Bastard. Pair it with Dirty Dike’s ‘Permanent Midnight’, a wrathful rhyme execution dumping you somewhere near the valley of the shadow of death, and Dead End’s ‘Let the Music Talk’, bodying a symphony, getting ice cold on the warpath and issuing a warrant for all ears. The digitally druggy ‘Helsinki Knights’ ain’t playing either, ThisIsDa getting isometric as he plays fact against fiction.





Back to beat up your boombox, Mongrels crack skulls and shells on ‘Over Eggin’ It’, Kid Acne and Benjamin yoking jokers with Sleaford ModsJason Williamson. ‘Shoot the Breeze’ on the flip has Cappo and Juganaut dropping knowledge like a cinder block from the top floor. Th£ Gaffa and Mikispeakz put Mitcham on the map by getting into a ‘Soul Off’, handling the smooth with a great, bristling will to win. The warmth of Pitch 92’s ‘Lost in Space’ serves funk and soul silk, with frayed edges kept in, for Verb T, Jehst and Sparkz, and has the producer giving himself some alone time on top: less astro, all artisan.





If deM atlaS offers you an invite to his ‘Tomorrow Party’, notify your loved ones, a rage blowing out the Midwest waiting for the apocalypse to gatecrash any minute. Party bags = hell in a handcart. Present at that moment your brain descrambles after waking, Akinyemi and Birocratic pull back the duvet before issuing a rat-a-tat to-do list: ‘Dream On’ ensures you won’t stay static. Staying out for the summer, Von Pea and The Other Guys mean no ill when they assert ‘I’m Good Luv, Enjoy’, five tracks of coolly hailing a Californian lab-cab, as they always seem to do, and thoughtfully including the instrumentals to cruise to.





Rugged in uppercase, Marvi Marx and DJ Squigz announce ‘My Resignation’, a Michigan-via-England-via-Thailand turning of the screw, sounding off with vigilantism on their mind. For one brilliant moment, we imagined Ghostface’s ‘Buckingham Palace’ being a belated response to Fergie’s ‘London Bridge’. Instead it’s a traditional, testosterone ticker tape parade of horns, taking aim with 38 Spesh, KXNG Crooked and Benny the Butcher.

 

Albums

Rhyming from his highest plain yet, Fliptrix remodelling the Lotus position on ‘Inexhale’ masters the art of knocking you down with a feather. Ocean Wisdom, Capo Lee and Skinnyman join the inner circle of auditory enlightenment that would freak out the unaware. Even when reverting to a slacker, more stoned flow, using the mic as both jostick and Excalibur’s edge, the pugilistic psychoanalysis is untouchable, recalibrating the percentages between inspiration, perspiration and respiration.





Street struck with a shrug, King Grubb’s potently dour ‘Droopy’, shaken with a yardstick dose of Blah Records apathy, is done with summer and just wants to hunker down. For what is essentially hip-hop shoegazing, Grubb paradoxically develops a warming cocoon out of isolated, unsympathetic beats and rhymes (“forget more lines than I memorise/which is wack, so I don’t empathise”).

“Do I look as if I’m bothered by some little squabble?”- a flying kick to the ear and a gob that can go all day are Dabbla’s signature ‘Death Moves’. Long disciplined in schooling any beat that knocks, whether it keeps heads down or jumps up, the bounce of his court jester sustains the ability to clown you at any given opportunity, and yet still make you grin when he’s giving you an unrelenting earful.





Gruff roughhouse Gi3mo declares ‘Big Gizzy is Boss’, reminding everyone of his biggest power moves to date that include hook-ups with Stig of the Dump, Inja and Dirty Dike. The Rum Committee crown ruler sends beats running for cover, bulldozing his way through with a big bad set of show and prove that’ll blow your house down. Another necessary recap comes from Farmabeats, counting down on ‘365’ with a year’s worth of heaviness as he twists folklore, funk and mystery for the benefit of Recognize Ali, Mach Hommy, Jalal Salaam, Ty Farris and more, like shady urban myths having the record set straight by a seething underground network. Earth2Tom’s ‘One’ LP, pushed forward by appearances from Confucius MC, FRSHRZ, Holly Flo Lightly and MINX, is a neck knotter numero uno. Freshness delivered in many shades of jazz and soul and for all occasions, the inclusive, hip-hop workshop vibe and have-beats-will-travel attitude, banish the blues. A talented bunch keeping it moving with a London heartbeat.

Leading a search party by miner’s lamp through a quagmire the wrong way, Armand Hammer’s Elucid and Billy Woods come out the other side reeking of ‘Paraffin’. Unburdened and unrepentantly marching through hip-hop’s twilight zones to enhance their own cult, be warned, cos these two “are good at these ghetto games”. An album so underground that it bears beats and rhymes fossils. Now for the settling of street scores to a soundtrack of duels decided on the count of three: Knowledge the Pirate is a dry, sleep-is-the-cousin-of-death rhymer, and ‘Flintlock ’is an album of pure tooth for a tooth, eye for an eye stakes-raising. Will have you lost in the drama hook, line and sinker. The drama that Giallo Point brings is never a small thing, re-teaming with Smoovth for ‘Don Fabio: Medellin II’. Expect the usual mix of seedy underworlds and chandelier sparkle, blunt-edged collaborators such as Estee Nack, Hus Kingpin and Crimeapple, and concentration leaving all concerned gasping in fear of a shopping trip for Colombian neckties.

“A giant-size vernacular spectacular” – the Wordburglar brand of true skool entertainment is serious about showstealing stanzas without taking the game too seriously, like a Canadian branch of Ugly Duckling (especially when he turns The Wiseguys’ ‘Ooh La La’ into his own thief’s theme). ‘Rhyme Your Business’ stuffs a swag bag full of puns and engaging nostalgia exploring the core elements (digging in the crates, beef and battling). A good laugh that doesn’t forget to bring the goods. Appointing himself as guardian of vibes, ‘Keep Summer Safe’ has Calvin Valentine stepping to the mic to add an extra smooth layer to his always recline-ready, R&B-reaching roll outs. Life sounds so much simpler when Valentine starts easing the pressure under clear blue skies, though it shouldn’t stop you reaching for it when fireside positioning becomes priority.

 

Stay tuned for a game of cat and mouse with Ocean Wisdom, LoneMoon putting his back into it, and one time for the late Mac Miller.









 

Essential Hip-Hop Revue: Words: Matt Oliver





Singles/EPs

The bunting’s down, the facepaint has been ruined by teardrops, the class of 2018 failed to graduate…but worry not, Rapture & Verse is here to wipe the World Cup slate clean. Starting with some jazz to get horizontal to from Talos, with Coops stopping by and making the ‘Lowlight’ EP one to reach for when your soul needs a spritz of aftersun. Cross the Final Boss and expect to get your crash helmet cracked through the seat of your pants on the intriguing ‘Renegade’, a juddering slalom mixing joypad sci-fi and rock ready to brawl, piloted by a maverick on the verge of dangerous. ‘Est 92’ has Farma and Remus putting in a diverse five-track shift and pushing chips off the old block the size of boulders that shatter the mirror dividing fantasy and reality.





Doing what he does best with all of his strong arm steadiness, Rasco’s ‘Where the Heart’s At’ stomps down, a rugged size 9 carrying a little club favour to it thanks to Tom Caruana. Unashamedly summary, The Aztext will have you a blast once ‘Everyday Sun’ hits your speakers; the honeyed hook, the pianos and horns, and rhymes rolling up their sleeves, get parasols popping. Get yourself to the low-rider showroom as well and demand a Sean Elliot paint job while you’re at it, ‘Big Boy’ a funky-assed baller blasted with Southern rays and Big Sant on the passenger side. Madison Washington continue their hot streak with the laidback ‘No Cliché’, an after-party groove with the right amount of nous behind it.




Albums

Take a look ‘Under the Patio’ and you’ll find the excellent return of The Last Skeptik, stumping up a string of vibing, dusky beats that never fade to black, understated in their genre reach. Star turns around the honeypot from Bonkaz, Mikill Pane, Cosmo, Kojey Radical and plenty more feed off the unseen electricity that eventually overloads into a sneering punk climax. An album simmering down the summer’s sticky restlessness, but Skeptik’s lot ain’t soft by a long stretch.

Micall Parknsun and Mr Thing are unequivocal on ‘Finish What We Started’, mainstays trusted with hip-hop restoration and consumed by the decency of “this is real, this is raw, this ain’t pop shit”. Park-E’s unmistakable stony flow draining stamina from challengers, and Thing adjusting the degrees of boom bap drama – including scheming countdowns and old skool windmills landing like a haymaker – have all the answers for those exaggerating hip-hop’s downfall.





‘Sugar Like Salt’ is the taste of Louis VI. A cunning operator sounding a little like Loyle Carner, the Londoner flavours the album just as the title says by working jazz angles and stories from midnight into the sunshine, and smarts from both sides of the equation. Hazy, but a firer on all cylinders. A third round of ‘Blackcurrent Jazz’ has Funky DL reaching his usual pro-jazz professionalism. Smoothness shaking out all the strains of the day comes with some refreshing twists on love and life, and even when the album’s at its most down in the mouth, the funky def lyrics can raise spirits and get a toe tapped.





Roll up roll up, Vanderslice is offering you the chance to grab ‘The Best Album Money Can Buy’. Ghostface, Freddie Gibbs, Prodigy, Slug and Evidence on guest duties up the exchange rate of the producer’s skinny set, a mob playground slash foreign film dub with Vic Spencer’s ‘Bone Museum’ the heaviest on the door, and rubbed up the wrong way by J-Zone crashing a ‘Chevrolet’.

You only have to skim through past R&V columns to see old skool institutions coming a cropper in the modern game. AG isn’t one to stumble, ensuring ‘The Taste of AMbrosia’ doesn’t lose any of that DITC flavour. “For mature rap devotees who’ve grown tired of contemporary rhymesayer laziness”, sounds like corporate blurb: “the flow is so simple but the words are so heavy” is AG chasing artificial additives out of town.

After last month’s explosion of seven track elitism, we should probably give a mention to Drake’s ‘Scorpion’. The good quality moments and educated/cryptic referencing are overcome by the usual sing-song peacocking (you don’t judge a battle by Drake out-singing Pusha T), and a tracklisting that’s in itself seems like a direct response to his competitors’ funsize selections. That hasn’t stopped it selling/streaming by the squillion, so what do we know.

Don’t expect ‘Therapeutic’ by A Minus and Chanes to take you somewhere New Age. Do expect plenty of that ol’ Detroit drowse button to blow you on course, smog soul and rhymes keeping upright but never uptight and with some good plots to pore over. One to spend time on the couch with. An even bigger smoke break with levels submerged until eyes turn red, MIKE’s ‘Renaissance Man’, with a Guilty Simpson-esque swagger, teeters through heavy cloud cover, an unfazed baritone dragging the lapse-hop project up by its bootlaces. Roughness around the edges that can still strike a chord with the keep it realists. No nonsense, WYSIWYG, Ronseal hip-hop from Scoob Rock – ‘Be You’ is his uncomplicated proclamation, and he follows his own advice with a weathered, hoarse flow dipping into a patois that maintains a snake-like squeeze on the beats. Will stare you down, administer a one punch TKO before continuing about his day.

L’Orange continues his long and successful run of collaborative albums with ‘Marlowe’, in partnership with fellow North Carolinan Solemn Brigham. As usual the producer’s beats are full of character, detailing colourful scenarios, surprise witnesses and funkiness found in every archive discovery. Brigham clamps the mic from the get-go and is an imperious ringleader to the circus, challenging but never difficult. Both excel in never revealing what’s steaming around the next corner, even when you’ve grabbed your tooth comb for the umpteenth time.






Mixtapes/remix LPs

Fans have thought it; purists have wished for it, speculators have theorized it – a whole album of Nas rhyming over DJ Premier beats. Shortee Blitz and Turkish Dcypha give you a taste of what might have been (and what still could be), their dexterous, catalogue-cherry picking ‘NaSir’ mash-up supplying enough theoretical bangers to get petitioners for the real thing hot under the collar. Not to be outdone, the Steel Town Sounds Crew remix their own Nas favourites, prepared to push out the boat and up the risk factor (as well as keep the peace) with a collection of familiarities and the lesser picked – worth a listen on a name your price basis. Golden agers wanting some of that DITC TNT for the ear are in luck as well. Donnie Propa steps back up to the mixtape plate for a ‘Diggin in the Crate Cave’ double sider, Big L, Fat Joe, OC and co replayed in all their suede Timbs and sleigh bells finery. 90s quality to make your jeans that lil’ bit baggier.

Two DOOM features to gaze at: one with DJ Muggs and Freddie Gibbs, the other overseeing the Youth of the Apocalypse. Plus Wiki and Your Old Droog hit the city.










Words: Matt Oliver


ESSENTIAL HIP-HOP REVIEW: WORDS: MATT OLIVER





What a blockbuster month in hip-hop it’s been… Snoop setting the world’s biggest gin and juice record. Eminem and Nicki Minaj reportedly going steady. 50 Cent against Ja Rule, episode #89. Seven tracks being the new 18 tracks plus intro, outro and skits, plus bonus disc.

And there’s also been Pusha T versus Drake: ‘Daytona’ is a significant, title belt-claiming blow that’ll take some recovering from – the latter’s ‘Scorpion’ is imminent, with the additional angle of Martin Shkreli weighing in. Kanye’s ‘Ye’ poses more questions than answers, which is precisely what makes the man, while Nas & Kanye’s ‘Nasir’ has its moments, but falls short of what the dream team billing promises and certainly needs more room than the running length du jour. This is before we’ve even had time to take on Kid Cudi & Kanye’s ‘Kids See Ghosts’, or attempted to try and keep up with The Carters.

 

Singles/EPs

Dead Residents’ ‘Style Terrorist #1’ weighs an absolute ton, a clunky renegade barking like a sergeant major wearing influences as badges of honour. Heist vibes in full effect when Mr Brown sets a tripwire and infra red assault course and Confucius MC and Jehst come abseiling in through windows, all in the name of protecting ‘The Art-form part 2’, warning that “the ultimate high is the overdose”. One man’s lazy day on the river is another’s circled by sharks – Benofficial’s ‘Machine Gun Benny’ perfects the casual-smarting look. On the edge of grime and trap, VersesBang is sonically and sartorially sharp with seven tracker ‘Dressed to Kill…Myself’, well-paced so as to let listeners take a peek behind the big time persona (“I need to take control, like playing FIFA when it ain’t my go”).





After destroying airwaves with one of the freestyles of recent times, Black Thought rises above all of the aforementioned hullaballoo with the six track ‘Streams of Thought’. Augmented by 9th Wonder’s telepathy, soulfully shaded but a no-go zone for suckers, it’s an absolute lesson in politics, autobiography and pure battle-hardened craftsmanship that number one spots are reserved for. Parading the glamour life before denting it hard, Conway the Machine and Sonnyjim, with business-like savagery, cause ‘Death by Misadventure’, professional professors in the science of not flinching when stakes get high. To pianos that go left where ‘Still DRE’ went right, Blank Face and Tools Beastly ride the streets on ‘Gunslinger’, advising against feeling lucky. Trademark street cinema from Endemic Emerald joins with French generals 87 Escadron for the war report ‘Mercenaires’, army fatigue gruffness driving through the eye of the storm with Ruste Juxx and Tragedy resuming support. Add Apollo Brown carefully stirring emotions with boom bap going deep in thought, to Locksmith laying bare introspection, ideas and education, and the answer of ‘No Question’ is empathetic and quietly emphatic.




Albums

This year, Ramson Badbonez is ‘Jason Bonez’. That’s not Jason of the Bourne Identity, nor the Argonaut organiser or even the one-time Scott Robinson, but the mask-wearing blood and guts specialist who as with everything he does, doesn’t take his foot off the gas from the first unsheathing. Here to carve open nine swashbuckling tracks, wringing the house of horror hitman spiel out hard, there’s a new patron saint for whenever the 13th Friday of the month rolls around.





The restless sound of Rye Shabby is to ‘Die Shabby’. Worldly pressures that build up around him are absorbed by the protection of a dark, eerie glow, lyrically economical with energy but never the truth. With Verb T writing out prescriptions that enhance the dilapidated, empty experience, sling it on during the dead of night and find it how it envelopes the room, bringing silhouettes to life and an unspoken feel for consolation.

We may be a bit late on this one, but with new special editions launched and then swiped off shelves, Crimeapple and Big Ghost are the crime family with ‘nuff shots to share. ‘Aguardiente’ is a 100% proof of ferocious rhymes and slick stories making you believe everything spoken about every goon, scam and threat (the hook to ‘Five Chechnyans’ will make you laugh when it probably shouldn’t), to the tune of soul-infused onlookers and accomplices that either look the other way or are in too deep. Music to stash goods and tint windows by.





Neat and tidy true school enthusiasts who have the golden age running through them like a stick of rock, New York’s Penpals crew keep the underground on the level when penning ‘To Whom It May Concern’. Their zeal for technical perfection/pseudo-nerdery means rocking the boat extends to shouting out John Cleese, but the likes of ‘On the Roof’ are just what your garden party and fly school reunion needs. A few listens in and thou shalt not return to sender.

Time for some hip-hop corporal punishment to keep the next generation in line: Bumpy Knuckles is the elected elder statesman who won’t bend to socially mediated conventions. ‘Pop Duke’ is produced by Nottz knocking heads together, and has Chuck D, Kool G Rap and Biz Markie showing there’s no substitute for experience and a carefully sharpened stick in the mud that creditably, doesn’t ramble on.

In it to win it. Fake it til you make it. ‘Thieving as Long as I’m Breathing’. The world according to blasé boosters and old skool aestheticians Career Crooks, savvy Philly pair Zilla Rocca and Small Professor emptying a swag bag of doting remixes plus their own version of how to hold the hip-hop underground to ransom like gentlemen bandits. Do not be scared to check or scared to look. ‘Paranoid City’ by Isaac Roberts, previously known as Sleaze da Don, and Sonnyjim, is another to get repackaged by respectful well-wishers. Remixing new life into the pair’s doyens at the top table diary, Illinformed, Kelakovski, Smugii, Kosyne and the headliners themselves put up a very fine set of variations still keeping it tight knit.





Tom Caruana unveils volume six of his always exceptional ‘Rough Versions’ remix series with a collection of super funky Biggie revisions that elevate classics to new levels, made like the Son of Sam man was the real brains behind Bad Boy all along. The equally notorious David Begun is also at it again with a slice and dice job of Mobb Deep and Dr Octagon. Even if you think the format is tired (and there’s not much wrong when linking core QBC epitaphs to the ghoulish underground), the artwork alone to ‘Dr OctoMobb’ deserves a bony-fingered round of applause.





Bored of the World Cup? To finish, here’s the one man army that is Aesop Rock.




Matt Oliver

HIP-HOP REVIEW: WORDS: MATT OLIVER




Singles/EPs

If you can look away from Kanye rediscovering his Twitter password, here’s the new Rapture & Verse to clog up your social media feeds with self-amusing jpegs, resent at royal wedding snubs, and wondering who’ll step up next after J Cole’s ‘KOD’ and Childish Gambino’s ‘This is America’. The saga continues when Salar examines the ‘Demigod Complex’, whose who-wants-some rhymes come wrapped in dynasty strings measuring you for a horse’s head. S. Kalibre takes the weather personal on ‘Sun and Rain’, a quiet storm looking for a sliver of light in burdened times. Bluesy keys and dipping sunshine won’t hold back Fliptrix, asserting ‘It’s Like That’ with bladed precision synching syllables against the shimmer. “If the bars don’t get ‘em, then the flow will” – Legion of Goon lump you with extra credit, ‘AIOFO’ and ‘Flashing Lights’ keeping up their strain of witty unpredictable. ‘Lock Your Doors’ is a pretty flimsy means of resistance once Ramson Badbonez does his best Jack Torrance impression, and ‘Safe’ by Kalieon won’t provide shelter from a measured pounding of the streets battling uphill.

The sweg of sarky master Lee Scott continues unabated, ‘Oh, The Fun We’re All Having’ a seven tracker finding pleasing ways to rise up from his customary wit pricking dulled psychedelica. ‘When It Rains It Pours’, and when Lewis Parker reaches cucumber temperature, it’s normally a keys and breeze classic, smoothness to the Nth degree with Verbz on the mic a good fit for street forecasting. Three times for your mind, the P Brothers’ buccaneering ‘Mentaltainment’, with Daniel Son, Doo Wop, Your Old Droog and Milano picking up and brandishing the baton, does heavyweight jail breaking you’ll lose your shoes over. On 2018’s system update of ‘don’t touch that dial’, Homeboy Sandman and Edan attempt to break superhighway shackles and ‘#NeverUseTheInternetAgain’, a fun old skool caper with a hook from the rooftops capping exasperated moral guardianship/public health warning.








Interesting spoken word/rhyming at both ends of the candle from Lausse the Cat tells the tale of ‘The Girl, The Cat and The Tree’. A cosy jazz bedding of some splendour can show its claws, and the comfortably muted storytelling joins the dots between telltale realities of love and life, and what’s going on through the looking glass. The powerful, stark prose and spectacle in the spotlight of ‘Without Certainty’ has Ceiling Demons speaking up in a bid to bring a pertinent good cause to the fore: job done if it strikes a chord or doesn’t leave you sitting comfortably. “Emotional damage, you know I’m a vet” – at the junction of heartbreak ridge and breaking point, WLK’s ‘The Gry’ EP is a bid for survival knocking you sideways: industrially scalded, claustrophobic in surround sound, and lashing out when rationality evaporates. With a Guilty Simpson-esque roughness around the edges, MIKE’s ‘Black Soap’ EP is a steel wool wash of loops and freestyle static circling the drain, that gruff command structuring and keeping heads above water.




Albums

A whiny, shrill, eyeballs bulging flow researching Cage at the height of his neuroses with a dash of Chester P: that’s the mist of Eric the Red descending on ‘Caught Red Handed’. Eric’s mugshot is front and centre while Illinformed helps himself out back, in prime form with 14 shots to the dome and his own mutinous agenda. A swift in and out job, as much about partnering in crime as trying to stitch one another up, this is a thick cut of hella lairy British beef.





Spraying bars to bleach your grey cells and decreeing “I’d rather be real shallow than fake deep”, Lunar C has got the smarts to back the undoubted brat factor. ‘Dirtbrain’ rides mischief and sledgehammers found on grime stairwells (see the scales-breaking ‘Skwolla’), with WTF wordplay goading the rewind button. But canny operations that could well take him further, show his strength for the gift of gab beyond gobbing off. Ain’t no such things as halfway crooks, but there is The Mouse Outfit’s ‘Jagged Tooth Crook’, which is neo-soul, nailed. Manchester’s late night live band stick to the script and show the usual steady steps spiced by a rota of emcees and guests.

With assistance from Earl Sweatshirt and Knxwledge, Denmark Vessey’s ‘Sun Go Nova’ is a laborious half and half of rhymes most ears won’t be ready for, and a turnaround of instrumentals riffing off of needle fluff. “For lack of a better word, it’s alternative and leftfield” says the man himself, which is putting it mildly. An insurgent radio station needing the deftest of twiddles to lock onto, follows an audience address admirable for its single-mindedness, chipping away at your defences.

If the origins and whereabouts of Pan Amsterdam lead your search engine down a dead end, ‘The Pocket Watch’ shrugs ‘so what?’ if its skittish ghetto Jackanory leads you down a rabbit hole/Never-Netherlands. Easily distracted with thought pieces of no why and wherefore, the coolest town crier refuting time and space that you’d never imagine medicates to funk, jazz and electro paying low rent but giving glints of bygone razzle dazzle. Unfazed, unconstrained, and easily up for cult listen of the year.





Instrumental scaremongering from Dew8 offers a one-way ticket to a two-way street of the outer limits and no man’s land with lo-fi ghoulishness, ‘Pigeon Feed’ perfecting the classic of letting your ears fill in the gaps for what horrors will follow. Parallel altered state ambience and patent anxiety from Sam Zircon reserved ‘For Shipping and/or Storage’ is like trying to piece together the ghosts of dreams past, offering sub zero degrees of nostalgic comfort and a boom bap itch that you can never quite get to.

Solidify your summertime listening with Dumi RIGHT’s ‘Doing It The Right Way’, the Zimbabwe Legit emcee doing user-friendly consciousness with help from Mr Lif and Mike G of the Jungle Brothers; a good one to throw on once debate breaks out over beers and barbeque. Follow suit with Offwhyte’s ‘Both Sides of the Mississippi’, packing contemplative punch from that fairly gentle, ever fluent flow of his, where rhymes manifest over perfectly matched beats until he’s the last man standing. More fire from The Doppelgangaz tells you to open wide and say ‘Aaaaggghh’. Tinted a little darker than their rockingly good ‘Dopp Hopp’, still crossing from East to West but like they’ve dimmed the high beams on the low-rider (‘Slay Bells’ demands are you listening), all praise remains due to The Cloak from one of the baddest assed pairs out there.





The love of lexicon is still the apple of Paul Barman’s eye. More than meets the ear in his answer-for-everything, stimulator kook role, ‘Echo Chamber’ carries on closing the gap between potent politics, funky lounge lizard off-the-tops and bizarre hypotheses, burrowing its way through the toughest of leather bound volumes to have you picking the bones out for weeks on end. A supporting cast of ?uestlove, Mark Ronson, Open Mike Eagle, Prince Paul, DOOM and Masta Ace means it’s not far from frickin’ awesome. Blu and Shafiq Husayn’s flaky ‘The Blueprint’ has funk to be found, but sounds like it’s constantly going in and out of tunnels while it breaks down gang divisions and geography by the most basic means possible.

Some proper old skool, four-track business out of Cali produces a re-up of The Nonce’s ‘1990’, the Project Blowed affiliates finding their feet with De La Soul-style rhymes, pointers towards Peanut Butter Wolf & Charizma and The Pharcyde, and interplay and concepts (little metaphor needed for the napkin-tucking ‘Chocolate Cake’) getting the most out of raw materials. Royce da 5’9” continues to go from strength to strength when unlocking the ‘Book of Ryan’, piled high with battles and confessionals, life lessons and fears to open eyes and ears. Given the LP’s length, ‘I’m not getting better, I’m just getting started” will make you think twice if you thought you knew everything about the man already.





With so much drama in the CNT it’s kinda hard being the LDZ. Funky DL does GTA, and Sam Krats has got the cream.













MATT OLIVER‘S ESSENTIAL HIP-HOP ROUNDUP






Singles/EPs

By any means necessary, Illaman will ‘Geddit’, rifling through Sumgii’s kitchen sink bass scuttle. No boos when G00se jumps to his desk and welcomes to you the spot-on six track ‘Living Poets Society’, pitching himself against sinuously looped funk so he can give the mic what for with lyrics that “are rejected scripts from The Exorcist”. Harvs le Toad’s ‘Garlic Mayo’ EP is a strong platter of elegant neck warmers, taken away from the fireside by the candour of Kemastry, Vitamin G and Bill Greene. The nimble step ups of Louis VI tip their hat to how ‘Jazz Got Me’, joined by Mick Jenkins for a quiet storm warming the spot just lovely as rhymes dart between licks and plucks.





Westside Gunn continues to fire across the compass with the imposing Mr Green, “FLYGOD Is Good..​. All The Time” pushing big and dusty drum snaps and that trigger happy, badaboom flow spraying stupidly close bystanders. Off-kilter with a happy, cosmic ending, Blacktop Megaphone’s three track spitball starring Denmark Vessey, DrxQuinnx, Khallee and Angele Anise could only be called ‘Post Reality’. The intense vortex spun by Haleek Maul’s ‘In Permanence’ EP is perfect end-of-days/modern day guerrilla hip-hop, soulfulness and shoots of recovery encased in twisted electronics and blasted with raw-throated verbs. Least subtle muse of the month goes to A$AP Rocky rinsing Moby on ‘A$AP Forever’, a hotchpotch so brazen it’s almost admirable.



Albums

Several false starts after the startling original, Dr Octagon is back doing the rounds, Kool Keith reading a print out from his random scenario generator as his thesis of ‘Moosebumps – An Exploration Into Modern Day Horripilation’ reunites the pimp-practitioner with the screwdriver sonics of Dan the Automator and Qbert. A couple of hardcore/‘I’m Destructive’ moments in the top pocket, it’s otherwise prime time, KK cue card rambling/shopping list recitals to space-staged conspiracies, at least going some way to restoring the good doctor’s name.





A collaboration sure to put a knot in the shorts of fanboys everywhere, ‘Czarface Meets Metal Face’ pretty much delivers on comic book and underground hip-hop hype. Inspectah Deck plays a controlled, governing hand. Esoteric will battle anybody, and doesn’t care who you tell. DOOM is even more aloof when staring the cataclysmic dead in the eye. DJ 7L is a threat throughout on the beats with a succession of meaty blows. Plenty to dissect then; in proper comic book style, this boat race battle will run and run.





Nowadays it’s a boost to your credibility, maturity and back catalogue to take a trip to the opera house. Nas is the latest to dig out his dicky bow, his Kennedy Center performance of ‘Illmatic’ from top to bottom with the National Symphony Orchestra, caught for posterity. The prodigal son of the projects now has America’s amphitheatres in his pocket, thief themes now a grandiose, surround sound spectacle. If you think it’s superfluous, Nas not dropping a single note in the spirit of the original is worth putting your top hat and tails for.

Strong on the basics with one foot in the club, Del & Amp Live coast out of ‘Gate 13’ with shiny beats that indulge in P-funk boogie without over-flossing, nor complying to trap 101. Del’s customary wordery successfully challenges itself to come off the top without reaching for the moon, despite the occasional Amp Live nudge into Deltron 3030 colonies. Don’t let this one slip under the radar.

You believe Jean Grae and Quelle Chris when they declare ‘Everything’s Fine’, an album full of contrasting textures and combinations from the power couple. Lo-fi to highly charged to deeply underground, socially aware to conceptual to off the wall, unyielding to free and flowing and far reaching (including cameos from Nick Offerman, Hannibal Buress and Your Old Droog). Casual listens are strictly off limits.

For when you’re kicking back but still scheming, Maxo’s ‘Smile’ grins through gritted teeth, all bleary neo-soul beats and off-the-chest, mind working overtime assertions. Once Cavalier opens up his ‘Private Stock’, you’re prey to fuggy funk – Iman Omari with the lion’s share – and easy-on-the-streets style you can’t help but fall back to. “Your recipe depend on your prowess” forces opposition to cook the books. Stepping in the right direction ‘On Their Way’, Dillon and Batsauce flow through highs and lows (see ‘Splash’ drowning its sorrows segueing into the Greg Nice upper ‘Come On’) with turn of phrase and funkiness of lick, wisdom to throw wide open and also crumbs of comfort to keep to yourself. “As long as we get fed, then nobody gets hurt” – so do yourself a favour and throw them a bone.





The best of Wretch32 and label mate Ocean Wisdom, Coops runs the graveyard shift to deal with the grey matter of ‘No Brainer’. Over a bedrock of deep watery keys and sultry atmospheres jamming on the low, Coops’ clutch flow is perfect for seeing situations through to daybreak, mixing the kinetic and lullabies both cradling and on the creep. Uncomplicated and concise, let it take hold as shadows lengthen. British bulldog spirit ignorant to minding Ps and Qs, Smellington Piff – “the definition of a drunken scholar, living in squalor” – is the school of seven bells graduate forcibly removing those in his way. ‘No Fixed Abode’ is an energetic knuckle sandwich full of big, thoroughly well produced head nodders and sabre-truth rhymes as the Piff hits the stand towards the top of the UK brat pack.





Live from the doss house, Cult of the Damned’s squalid ciphers come so solid on “Part Deux: Brick Pelican Posse Crew Gang Syndicate”, the all-star suicide squad wearing a “Burger King crown with your queen feeding me”. Def/undead rhymes tilt the balance of lopsided boom-bap phantasms, probably done the old fashioned, wet-finger-in-plug-socket way. Not far behind, Wundrop and Kemastry are ice cold in their provision of ‘Frosty Raps’, hammering out a reality while surroundings start reddening eyeballs. Forging ahead against the smother of midnight, the pair achieve the fine art of making the squalid sound like a super sharp shooter.





Poseur exterminator Big Toast continues to spray society’s roaches on ‘Call It On’, joined by Jack Diggs showing a spite-concealing jazz hand on the beats, and stepping to the mic with equally indignant gusto. Focus mode on full alert and guaranteed to end in blood, sweat and tears, the pair pile in as the pints are poured. The human condition analysed in that cold up North flow, Savvy aka Asaviour takes risks and expands outside of his bread and butter in ‘The Battle for Hearts and Minds’, with extensive, well rounded theatre addressing the state of the world.

A splice of soul gold, Kuartz’ ‘Kuartz FM’ is most debonair on the dials, heading down the highway with wind in hair and song in heart. Determined to make the sun put its hat on, instrumentals create a love zone playlist with the right amount of kick-snare slap to it. For those who enjoyed Calvin Valentine’s ‘Plush Seats’, make room for the addition of ePP supplying vocal garnish and taking care of the source on the free upgrade ‘Chrome Seats’.



Mixtapes

(Pulitzer prize winner) Kendrick Lamar rhymes over Dr Dre beats. Wipe that drool away and rejoice that DJ Critical Hype has got his wondrous sewing machine out and impeccably stitched together a capital Compton grey album so high grade, it’s ‘The Damn Chronic’, to the sound of a million hip-hop messageboards imploding.

https://audiomack.com/embed/album/dj-critical-hype/the-damn-chronic

Matt Oliver’s Essential Hip-Hop Review




So, it turns out that 50 Cent isn’t a bitcoin millionaire after all. And that Talib Kweli found about the Black Star album reunion on the internet, like the rest of us. So Rapture & Verse has had its fingers burnt while attempting to keep ‘em on the pulse. We’ve been consoling ourselves instead with the possibility of that zillion dollar Wu-Tang album being relisted on eBay – we’re more likely to bid on that than go for a Record Store day reissue of Cam’ron’s finest hour – and that a trip to Busta Rhymes Island (a legitimate map location, not a Flipmode Squad theme park) could be just the job to escape this frightful weather.






Singles/EPs

Del the Funky Homosapien and Amp Live – not in the roles of Nicky Campbell and Carol Smillie – wheel up the ‘Wheel of Fortune’, a banger that pleasingly doesn’t travel straight up and down as the club dictates. Music to fry by, ‘Fajita Effect’ is the Doppelgangaz letting loose another dollop of that ‘Dopp Hopp’, East-to-West funk that’ll make you guard your grill. MED and Guilty Simpson pledge ‘Loyalty’ with a set of easygoing back-and-forths nudging you to fling your windows wide open, save for ‘Face Down’ making you eat mat.





‘Donkey Punch!’ from Wundrop & Kemastry is here to make an ass of us all, an unsteady hallucination turned into actual fact. More Juga-Naut for you on ‘Found Objects’ means more East Midlands elitism, striking blows and a pose over half-inched favourites and rocking some of his own wares with a dissertation worth of references to chew over. The right honourable Harvs le Toad gives the airwaves some zing with ivory tinkler ‘Minty Fresh’, Vitamin G and Louis Loan tipping their hat to a beatsmith taking his jazz all the way to Walford.



Pragmatic in the face of joy, lo-fi curio ‘Plus One’ by Pan Amsterdam balances spring-has-sprung strings with a deadweight flow locked between Jonwayne and Count Bass D. Killer horns lift the firing Bishop Nehru up to the ‘Rooftops’, and ‘The Mood’ lifted by Smoke DZA featuring Joey Bada$$ would be relegated to just another trapper by numbers were it not saved by a lovely ice cream van riff wafting over the top. Back with a new set of scalpels, Dr OctagonKool Keith, Q-Bert and Dan the Automator – prescribe a one-way ticket to ‘Area 54’, full of that ‘cosmetic, kinetic, ultramagnetic” good stuff measuring you for a bodybag.




Albums

Calming yet still able to speak up, Ty’s ‘A Work of Heart’ almost feels like a magic carpet ride over the capital’s skyline, especially with singles ‘Brixton Baby’ and ‘Eyes Open’. Or the navigating of London backstreets like it’s a gambol though the countryside, despite there always being potholes en route. Or set adrift on memory bliss before stubbing its toe. You get the idea, so come and spread your arms if you really need a hug.

Apathy’s continued research into finding six million new ways for you to pop your clogs, means ‘The Widow’s Son’ is a fourteen round fight for your life (the title track calling in a favour from He-Man). Producers DJ Premier, Pete Rock, Buckwild, Nottz and Stu Bangas spread out in a bid to keep up with punchlines and wordplay battling into the fantastical. Remember, “while you rocking man-buns, I’m cocking handguns”. The second Prhyme instalment of Premier and Royce 5’9” continues their restoration job of hip-hop integrity. It still might not be enough for hardcore dream team assemblers, yet there are far worse concepts than an emcee extending his hot streak right from the off, and the producer richly rounding out the boom bap rat-a-tat, without either stuttering in stride.





Black Milk confidently advises you to catch his ‘Fever’, smooth neo-soul style that keeps your ear pressed hard to the speaker, and whose live band wisdom is velvety enough to give you a universally appealing education that cuts through the smoke. 2018 has another seat filled for best of reservations come Christmas.

It’s rare for an instrumental album/beat tape to sound so luxurious, but Calvin Valentine isn’t skimping when putting his feet up in the ‘Plush Seats’, 20, sub two minute silk cuts of soul and funk to have you glued to your pew. On the clunkier but no less funkier side, Exile’s excerpt in the ‘Baker’s Dozen’ series chops away to great effect, treating the MPC like a punch bag and still able to get smooth with it. ‘Sunlight Grace/O\Moonlight Vibes’ tells you all you need to know about Sai Wai, a pulse-steadying emcee keeping fires burning once jazz has closed shop for the day and has a date with a long hot bath in mind. Good for what ails you.





Still sounding like they’re working on Her Majesty’s Secret Service and still not giving the game away, The Herbaliser’s ‘Bring Out the Sound’ mixes lavish funk escapades with hip-hop involving peak-time Rodney P and beats styled as B-boy informants. Also eating away at hip-hop’s wider possibilities, Cut Chemist steps up to add songs and scope to his signature turntable torque. Edan, Mr Lif, Chali 2na, Myka 9 and Biz Markie fulfil mic duties as wings are spread into dusty, enquiring indie-dance and electronica that helps build an intriguing album that’s more a fluid soundclash than dazed collision.

Germany’s DJ Obsolete lays down jazzy failsafes in the field of pleasantly mature, springtime-in-the-90s boom bap, with features from Blabbermouf, Gee Bag, Warpath and Nomadic. ‘The Mandela Effect’ pays careful attention to expectations of the headnodders panel, and keeps it swift and to the point. Inviting you to wallow with them in sour times, the dejection of Dove Rock and Jackson Jones’ ‘A Pretty Way of Saying Ugly Things’ points loops downwards and posts spiritedly accepting lyrics peering over the fence, way too smart for being moored in the back of beyond. Gritty, windswept drama on a countdown to D-day, you shouldn’t expect anything else from the John Does also known as The Incredible Disappearing Man. On their eponymous album, grimly determined rhymes keep their head, buffeted and taunted by beats bound by the hands of fate.

For those up for some “unapologetic nerdcore boom bap schizophrenia”, Dngr Eyelnd open ‘A Lovely Room of DEATH’, a destination plastered in warning signs yet one where the madness is kept methodical, an intimidator honouring beats and rhymes protocol by arguing that “if this ain’t real hip-hop, then Taylor Swift is classic rock”. Make your reservation now. The tumultuously grungy Moodie Black and their symbol for ‘Lucas Acid’ fill the moshpit with feedback and threats, death rattles and loud, industrial spite; not a place for smiley faces. ‘Bulletproof Luh’ comes cultish – an at-odds flow from Mach Hommy stone-facedly seeks a ride or die chick, over far more adventurous, self-produced sampledelic beats.






Mixtapes

He’s been there, done that, got the T-shirt and now has the Presidential cap to match. DJ Yoda’s ‘Make Mixtapes Great Again’ is his usual long shot of heavyweight hip-hop, TV and pop nostalgia, declassified secret weapons and mischief closing the gaps in between. Expect Prodigy in combat with Bob Holness, KRS-One duetting with Bobby Brown, Paul Barman taking a sleigh ride, a 128K version of ‘Forgot about Dre’, Huey Lewis and The News, and so on and so on.

This month’s moving pictures: C.A.M. takes to the streets, Quelle Chris & Jean Grae take it to the arcade, 4orce and King Kashmere take a hike, and the late Craig Mack shows who’s boss.













The Quarterly Playlist chosen by Dominic Valvona, Matt Oliver and Ayfer Simms



A reasonable assessment of the last three months, the Quarterly Playlist features an eclectic selection of ‘choice’ tracks from the Monolith Cocktail team. From across the musical spectrum, songs from the far east sit alongside glittering pop; traversing meditations share room with hip-hop and the Kosmische.

The inaugural revue playlist of 2018 features Plastic Ono Band sultry protest pop from U.S. Girls, fragmented reeling breakbeats from Cut Chemist and friends, Motorik mooning from Station 17, electrified dance jazz from Hailu Mergia, mystical cosmic cumbia from Sonido Gallo Negro, a cappella paean to Nelson Mandela by the Afrika Mamas, direge-y garage rock from the Moonwalks and 38 other equally interesting and varied tracks from across the globe.


Tracks in full:

‘Incidental Boogie’  U.S. Girls (review)
‘Look At Your Hands’  Tune-Yards  (review)
‘Well Who Am I’  Band Of Gold
‘Die Cut (Theme)’  Cut Chemist feat. Deantoni Parks  (review)
‘(((leapfrog)))’  MC Paul Barman  (review)
‘Addis Nat’  Hailu Mergia
‘Ein Knall’  Station 17 feat. Harald Grosskopf and Eberhard Kranemann  (review)
‘The Timeless Now’  Nonpareils
‘1001 Nights’  Ouzo Bazooka  (review)
‘Fresh Product’  Awate
‘Anything Goes’  Andy Cooper feat. Abdominal  (review)
‘Efrati’  Fadaei
‘Black Sambo’  Skyzoo  (review)
‘Kingz & Bosses’  Slim Thug feat. Big K.R.I.T.  (review)
‘That Jazz’  Coops  (review)
‘Cumbia Ishtar’  Sonido Gallo Negro
‘A Casa De Anita’  Camarao
‘All That We Are’  Brickwork Lizards  (review)
‘Hlala Nami’  Hot Soul Singers
‘Le Château’  Fishbach  (review)
‘Into Space’  Sailing Stones
‘Illogical Lullaby’  Hatis Noit  (review)
‘Also’  Astrid Sonne  (review)
‘Reptile’  Soho Rezanejad  (review)
‘Remain Calm’  Tony Njoku
‘Air Rage’  Lukas Creswell-Rost  (review)
‘Embers’  Flights Of Helios  (review)
‘And The Glamour Fell On Her’  Brona McVittie feat. Myles Cochran and Richard Curran (review)
‘Same Old, Same Old’  The Cold Spells  (review)
‘Winter Bound’  Hampshire & Foat  (review)
‘Vidsel-Sthlm, Enkel’  Bättre Lyss  (review)
‘Akokas’  Tal National
‘The Border Crossing’  Dirtmusic  (review)
‘I’ll Be Ready When The Great Day Comes’  John Johanna
‘Diego Says Hello’  Modulus III  (review)
‘Communion’  Park Jiha  (review)
‘De Roda’  Rodrigo Tavares  (review)
‘You Get Brighter’  John Howard  (review)
‘Tata Madiba’  Afrika Mamas  (
review)
‘In Between Stars’  Eleanor Friedberger
‘No Place Like Home’  Life Pass Filter’  (review)
‘I Don’t Wanna Dance (with My Baby)’  Insecure Man
‘Israel Is Real’  Moonwalks  (review)
‘Men Of The Women’  Peter Kernel  (review)
‘We Have Always Lived In The Palace’  Sunflowers  (review)

MATT OLIVER’S ESSENTIAL HIP-HOP ROUNDUP





Singles/EPs

No time to celebrate 50 Cent becoming a bitcoin millionaire or Snoop releasing a gospel album, or Mos Def and Talib Kweli touting a Black Star reunion produced by Madlib. Right about now, groggy jazz from Jazz T and bleary digs from Lee Scott make potent points on ‘Ceiling’/’Urn Money’, matched by sweet and sour remixes from Pitch92 and Sleepwalker. The superior, subliminal sales technique of Genesis Elijah primes ‘How to Lose Fans and Alienate Listeners’ as a bestseller and puts a police cordon around the club. Weighing in at a headbanging ‘310 Pounds’, Juga-Naut and Mr Brown use the devil’s horns as their finishing move. A good heart these days is hard to find, so Ty giving you the benefit of his 20/20 vision is like a shot from Cupid on the breezy seesaw ‘Eyes Open’ featuring Durrty Goodz.





Wise-past-midnight pair Summers Sons are ones to cling to when the next weather warning comes calling, ‘Undertones’ an EP of sticky jazz drifts keeping it moving while remaining perfectly still. In the same postcode, Fanshore & Tropic’s touch of the ‘Reaper’ finds Hawaiian flutter in the Big Smoke, and the softly spoken stream of Coops’ ‘That Jazz’ means now he’s gonna rip you apart. Thug paradise, J Rocc-style, is to blend Mobb Deep and Sade into a whole new bunch of quiet storms. Tasked with the smooth operation of hijacking every 80s wine bar ever, six ‘Thug Ballads’ copy-and-paste their way up for coffee.





Underground bout of the year is found on the comic book crash course ‘Nautical Depth’, where Czarface and DOOM cause forum frenzy with pay-off lines galore and a bassline drilling into your ears. Apathy has also been busy doing dream team deals, appearing with Pharoahe Monch on the Pete Rock-made ‘I Keep On’, then swinging hard over ‘The Order’ of DJ Premier. On the move and on the loose, Sav Killz’ ‘Thundercats’ calls to the wild for some rough and tumble sent cartwheeling by Dirty Diggs. Credit to PHZ-Sicks for turning Sisqo’s most infamous panty raid into a hard hitting address causing ‘Riot in My Memory’. Moodie Black’s punishing industrialism lead by guesting gatekeeper Ceschi sews ‘Lips’ shut; dangerously atmospheric, as hell’s gates remove their padlock. Fake news gets a brick of actual fact to the face, unexpectedly from People Under the Stairs, playing the role of upset press blowing ‘Dog Whistles’.






Albums

Dr Syntax and Pete Cannon are back in full effect, opening up essential dialogue on ‘Let’s Talk’. Ever the polite pop culture vulture, Syntax thumbs through school photos and double-barrels the handbook of how to be an upstanding citizen and a hip-hop A-Z, with Cannon’s bruising beats keeping it cheeky, including one of his infamous Commodore-sponsored jungle jump-ups. Entertaining each and every time, the double act should be kept on speed dial in case of emergencies.





The main pastimes in the 20-strong Brighton borough of ‘Wizville’ are savagery and thrill rides. Ocean Wisdom stretches his rep with that 0-to-60 flow causing heart tremors, playing with the pitch control on the beats to alter the shades of black and blue he leaves the scene with, and placing guests Method Man, Rodney P, Roots Manuva, Jehst and Dizzee Rascal as almost incidental. Just when you think he’s showing signs of flagging, the assault rages on, maintaining Wisdom’s impressive ascent and already giving 2018 plenty to ponder.

 

Farma G’s wistful beats introduce ‘The Sentimental Alien’ to the modern world. Wishful thinkers and regal peace seekers from the Task Force intel, make it easy for handpicked emcees like Recognize Ali, Ric Branson, Smellington Piff, Anyway Tha God and Dirty Dike to dirty up a sound tinted a fine shade of rose. The custom brand, don’t-care daggers flung by Lee Scott and Black Josh create the monster that is the B-Movie Millionaires. With Sam Zircon behind the camera and keeping things eerily sluggish/sluggishly eerie, ‘Attack of The 50​,​000 Ft Sweg Lawds from Outer Space’ is a slumping battle royal of a snuff flick, a beast showing how it “put two and two together and got triple six”. The cure for a sub-zero February is having Pupils of the Clock waiting on you, enterprising Cornwall pair Tok and Lazy Eyez forging a clear path through crisp beats nudging the drowse button and sixth sense connections on ‘Timeless’. No danger of them following through on the declaration that “when we’ve got nothing left to say, that’s the point that we’ll call it a day”.





From the moment he draws first breath on ‘Weather or Not’, Evidence embarks on a masterclass. The man himself states “there are no wasted words”, inspiring under grey skies (the Dilated Peoples man is always better when there’s a storm afoot), holding your attention, and making you feel he’s dismissing (though not dissing) you as he lays everything bare with no discernible change in temperament. The forecast? One of 2018’s best.

Putting “the sublime in the subliminal”, Skyzoo’s ‘In Celebration of Us’ is some of the smoothest psychology and concrete consciousness you’ll hear this year. Written in the streets, penned to stir and examine the soul with his conversion of gunfingers to quotation marks, and cornering both the lounge and the late night creep, Skyzoo raises a glass with vitamin-rich articulation undercut with provocation, and making it look easy while his does it. One to be toasted over and over.



After Adrian Younge offered you ‘Twelve Reasons to Die’, Apollo Brown gives you another dozen dirty deeds to hold your head high by/duck down to. Repackaged as ‘The Brown Tape’ with Ghostface Killah exacting sepia-toned revenge, Wu-Tang Clan members to the right (wild for the night), and Brown providing his own gentlemen’s agreements regarding dead body disposal, it’s a classy sister dynasty mixing noble finesse and brute strength. With Sonnyjim selling you glamorous 70s crime and circling the block like a vulture, Chicago’s Vic Spencer puts his business card in the shop window for the rest of the year on ‘Spencer for Higher’. Top of his CV: the perfect voice for completing a schemes and hustles to-do list, and spitting with a charm happy to chew you up and spit you out.





You can’t keep a good man down, and Planet Asia, riding beats like a son of a gun about to clean up town, gets you wise to the ways of ‘The Golden Buddha’. That West Coast flow is still in fine fettle, sounding typically parched but never found dousing his disdain for non-believers and those slow on the draw. Still a deadlock breaker you can trust.

 

Room temperature boom bap sending you to the land of head nod, Klim Beats adds to the instrumental handbook focusing on jazz and funk. Hip-hop to do your spring cleaning by, though you’ll do well to come up as spotless as the Ukrainian’s ‘Natural’ sound. Looking to goad emcees into action, Badhabitz unveils a bulk of soul flips and darker omens. Staunch kicks and snares earning top dollar throughout, ‘Beat Library Volume 1’ makes itself easily available for your ears.

 

Under the name of an end of level boss with an Esoteric twang, Rock Mecca fights for the right to earn the freedom of ‘Ironworld’. To a flood of swirling symphonies within touching distance of Armageddon and pyrotechnics bankrolled by Hollywood, Vast Aire, Roc Marciano, Kool Keith and Canibus all try on knuckle dusters for size. Those unable to stand the heat will quickly be directed to the kitchen door. Now for the new album from Ugly Duckling’s Andy Cooper, in three easy, foolproof steps: grab a microphone, despatch a bunch of funk breaks hula-hooping or celebrating Mardi Gras, and invite Blabbermouf and Abdominal to challenge the rules on tongue-twisters. Doing what he does best, that’s ‘The Layered Effect’ for you.





For your eyes only: Cut Chemist versus the photofit, and hooray for Hozay.







MATT OLIVER’S ESSENTIAL MONTHLY HIP-HOP REVIEW

 

A happy new year to all freshly affiliated and dyed-in-the-wool Rapture & Verse rapscallions, climbing off its seasonal sickbed by thinking Eminem’s ‘Revival’ would be the antidote (it isn’t, by an unimaginable distance), and surprised that in the era of health and safety, you can still buy a GZA ‘Liquid Swords’ reissue complete with mini toy weaponry. Hopefully last month’s comprehensive Monolith Cocktail round-ups have put you in the picture as to 2017’s ins and outs; while we catch up with December’s overspill, there’s always Skillz and Uncle Murda squabbling for your retrospective vote.






Singles/EPs

After worming his way into the inner circle of Madlib and DOOM, electronic/house superpower Four Tet doesn’t fluff his audition remixing ‘Madvillainy’, a satisfyingly clean alternative bringing its own worldly daredevilry to the original’s boggy waddling. ‘No Excuses’ asserts Big Cakes, and the seven, Queen’s English-get-the-money tracks don’t pull their punches, making a convincing argument to go for second helpings. More international assassination from Endemic Emerald sends his latest platoon into battle, with Scorzayzee and Tragedy among the stripes-earners, while his string sections get the streets surrounded, the granite-and-gasoline ‘Black Bag Operation’ taking the opportunity to dump rubbish.





Liquid refreshment from Moka Only & E.d.g.e. comes ‘Lucid’ to a fluorescent twittering of too cool-for-clubs synths. Noteworthy for the useful mantra that “rap always overgrown, the grass need a mow y’know, too abstract to be quotable”. The trife life sticks close to Muja Messiah, taking on Roc Marciano’s sweat-trickling gangster leisure time; ‘Saran Rap’ is a half dozen street codes with eyes wide open that would relax if the stakes weren’t so high. Illogic re-enters his astral plane to tell everyone about ‘The Beauty in Evolution’, fastening his seatbelt and hanging out the window with a mix of dubby, jazzy instrumentals and rhymes trying to keep a lid on sounding awed.

Straightforward instructional from Slim Thug throws itself into the front row as he sorts ‘Kingz & Bosses’ with Big KRIT, pleasingly muted in measuring for crowns and emperor’s robes. The sledgehammer sound of BigBob pulverising a piano allows Sadat X and Big Twins to carefully take aim and open fire on the enjoyably unequivocal

roach-stomper ‘The Truth’. When the streets are watching, it’s ‘All Eyes On Us’, with Jamo Gang – Ras Kass, El Gant and J57 – bristling at the wheel of a related, get down or lay down steamrollering.




Albums

Completing his Michigan trilogy, Dabrye’s ‘Three/Three’ invites over a glut of underground hip-hop firebrands, but taps a sign that reads ‘respect our neighbours’ every time one takes to the booth. A stylish, steady holding it down, passing pure hip-hop, neo-soul and electronic routings rarely trespassing into the reds, with DOOM, Guilty Simpson, Ghostface, Danny Brown, Nolan the Ninja and Jonwayne standing for a fine album that doesn’t shout so from the rooftops.





High Focus maximise their strength by mix-and-matching two of their topmost chefs souring their latest specials board. Never a duo for soft centres, Jam Baxter and Ed Scissor spray disarray to decorate ‘Laminated Cakes’, their gateaux filled with mercurial gall and grit, and with Ghosttown providing the tough base and sprinkle of hallucinogens that aren’t exactly melt in the mouth. As they make you head nod like there’s a guillotine blade eying up your scone, Pierce Artists are the ‘Kings Returning’ to a hard-backed throne. Unlike the nation’s cricketers, Elliot Fresh and Deeq determinedly dig in, don’t waft at anything airy-fairy and never take their eye off the ball, to Rack Mode keeping perfect line and length on the beats. Part superhero, part vicious dental plan, ‘Teeth Ledger’ has Datkid and Bailey Brown flexing the sort of infectiously perturbing superiority that comes easy. Hood rat rhymes do obnoxious as matter of fact, and beats shrug in the face of catastrophe while waiting for the night bus: both have got a garrison of goods to set wintry nights ablaze, anchored by the supreme head-trolling ‘Whos Dat’. Another slow release slug to your chest from Bisk, with Sam Zircon assisting the leech-like tactics, makes it rain with ‘Saucemoney’ – perfect for when the sun refuses to come up.

Oh No cherrypicking from cool Cali stronghold Now Again is a funk/soul think tank that sounds played by ear, and whose good-paced trolley dash of sounds masks meticulous programming. Keeping a queue of mic antagonists waiting while mentally composing a posse cut’s posse cut, the dustiness of ‘Oh No vs Now Again 3’ is dredged in gold and will reactivate your head. Cutting through early year frostiness is Pete Rock and his ‘Lost Sessions’ finding sunshine on the horizon. Of casual instrumental majesty, the MPC finds the balcony view to its liking once given plenty of breathing space. No need to pass the aux here. The first hip-hop signing by The White Stripes’ Jack White is inauspiciously named New York emcee SHIRT – sartorially scruffy (and a search engine’s nightmare), but with enough raw, nomadic swagger to have you recognising the ‘Pure Beauty’ within.





David Begun continues to meddle in the affairs of Nas and Madlib, ‘Nasimoto: The Even Further Adventures’ playing God with the Gods and bootlegging to a boss standard. Fresh perspectives that push all the right, corresponding buttons. The crux of Masta Ace’s ‘Son of Yvonne’ gets renovated by a host of European producers that do both proud to earn their place in the album’s family portrait. Funky on the low but full of that all important snap that makes Ace tick, the tight-knit promise to never from the beaten track claims a companion to complement and rival the original.

Playing street games and getting results, Religion’s ‘The Demo Reel’ rigs up cop themes crossing the wrong side of town until reality starts to distort. Mists paint the scene from the ground up and freaks come out at night for loops and kicks that will work your neck blue, allowed a seldom spring in its step. For those still walking around in a post-Christmas fug, ‘The Top Left: Skeleton Staff’ from Mistah Bohze will shake you by the collar and out of your resolution-dodging malaise. Bulky from first to last until you’re swamped, and including a crafty reinvention of ‘Kernkraft 400’, the Glasgow emcee ploughs through on his own can’t stop-won’t stop manifesto.





“This is not trap, we don’t mumble neither: closed mouths don’t get fed”. Redbaren 907 and Deep of 2 Hungry Boys are ‘Unbreakable’, and you soon believe them: a won’t flop beats and rhymes unit (‘Barz Flows and Delivery’ hammering the point home), dishing out a one-two you can reliably gain muscle to. With the globe circling the drain, KXNG Crooked presents blow by blow coverage from the disaster zone with a flow to make you put your foot through the TV. ‘Good vs Evil 2: The Red Empire’ is iron-fisted intensity not sugar-coating narratives (despite some carnal urges) for anyone; despite the bleak pictures he paints, you trust the KXNG, whose force relegates beats to a footnote, to repair the job in hand.



Mixtapes

Everything worth hearing from Jeru the Damaja – a higher 90s heyday than most – gets its laundry aired on the ‘Dirty Rotten Mixtape’, Chrome and Donnie Propa in charge of putting together the best wrathful mathematics going. On the surprisingly lightweight ‘Emperor Nehru’s New Groove’, giving brains not too much to worry about, Bishop Nehru is on cruise control when flaunting shiny wares for the club and lounge: smooth operations hanging at the shallow end. Bruse Wane declaring ‘The Batman Should’ve Been On It’ transitions between classic beat loans and original album prep, swooping like charity gala attendee by day before night shift vengeance takes over. The bat signal is fairly strong with this one.





No videos this month. Go catch up with a boxset instead.

You can check out all Matt’s past roundups here

And all his reviews/roundups/selections from 2017 here

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