Review: "Soul Clap" Album by TNV (That New Vessel)

Detroit’s own TNV (That New Vessel) shows off an impressive blend of old school and contemporary hip-hop influences with his self-produced, latest album, “Soul Clap”. Leaning into the conscious hip hop revival that has been going on recently, it is nice to hear an artist that also incorporates the lighter gestures of that sound in a way that feels reverent.

Elements abound throughout the tracks ranging from R&B, old school Motown, itself a shout-out to his Detroit roots, and a whole slew of other items brought together with ease. By far the highlight comes from TNV’s assured vocals. Poised, polished, and with a degree of contemplation, these lyrics linger on in the mind long after the tracks have ended.

A whole slew of influences enters the fray. On the chilled-out side of the spectrum, TNV draws from A Tribe Called Quest’s analytical approach. Everything here does lend itself well to that tenor, from the cadence of his voice to the way he carefully chooses his words, making each one matter. Heavy funk flavors bring to the forefront the triumphant spirit of Marvin Gaye, for the samples have a tremendous poignancy to them, along with his exploration of the world around him.

“Soul Clap” the opener and title track, starts things up on a high note. On “All Gas No Brakes”, featuring Reggie Rocc, the song’s infectious groove and symphonic spirit stuns. Little pieces matter a great deal on the swinging “Trapped”, featuring William, for they cut to the bone. Warped, warbled bass rumbles through on “Not Today”. Economic rhythms roll on by with “Follow The Smoke”, featuring Jaooo, for there is a calm in the center. Noirish “Just A Vapor”, featuring Kelo, takes on a sly glide, for the heady mix engrosses.

Verses get carefully balanced on the fragile “Vanity”, with Kelo, again. Tempos get it twisted as “Fix My Crown” feels geometric in its design. Nice nods to the criminally underrated Venice Dawn’s “Something About April” emerge on the highly catchy “Trapped Remix”, featuring William Cata. Closing things off with a serious kick comes the finale of “Delilahs Web”.

Done with grace and style, TNV (That New Vessel) features an uncanny ability to tie together tight verses with ease on the “Soul Clap” album. Listen to this DOPE new project now.

Stream and Share “Soul Clap” on: Bandcamp | Spotify

Review: "Many Waves Later" Audio Visual Album by LIGHTS AT ELEVEN

Central Texas based producer LIGHTS AT ELEVEN explores a lovely, sunlit sonic realm with the blissful “Many Waves Later” audio visual album. A nice tuning into the aquatic world helps to lend the sound a sense of pure joy. The inclusion of samples throughout the work hints at a greater history, one that he holds nothing back on while he explores. Stylistically elements of dub, ambient, IDM, pop and more filter into the fray. By keeping it all timeless it proves to be impossible to pin down time-wise, for LIGHTS AT ELEVEN includes both old-school and contemporary references in how he chooses to sculpt the sound and the accompanying visuals.

The references have an abundance to them making sure to bring in pieces of Future Sound of London’s “Lifeforms” release. Similarly structured to that album, LIGHTS AT ELEVEN makes sure to incorporate a whole slew of different layers. On the more modern kick of things, the hypnagogic pop hints bring to mind some of James Ferraro’s looser, more carefree pieces. With the James Ferraro nod, they are both mysterious yet, at the same time, quite joyful.

Cleverly “When Can We Take Our Shoes Off?” takes that common question and transforms it into a surreal experience. Beats feature a nimbleness with “So Sudden”. “The Man From Sweden” brings a bit of Boards of Canada’s nostalgic lens into the fray. A jazz-like quality defines the wild trip of “Poet Vagrant”. Quite expansive “Como Ondas” washes over everything with a true giganticness. Tight grooves hold the attention with “Contra La Corriente”. On “Permanent Cellular Alteration” has a seedy underbelly. A fantastic buildup occurs on the heavenly “Under The Vapor Streetlights/Above The Breathing Blacktop”. Slow-moving with its gait comes “Speaking In Tongues”. Drums hit with a poignancy on the dazed “Soy Mal Pintor” with the electronics virtually getting torn apart in the background. Heavy hits of the drum give “Gitano” a hip-hop flavor. Reflection works at the heart of the energetic “Kerouac”. “Mas Muerto Que Disco” has a swagger to it. Tying it all together and bringing it home “I Go Where I’m Sent (In The End, You Will Understand)” ends things on a mystical kick.

The “Many Waves Later” project features the undeniable talent of LIGHTS AT ELEVEN in creating a universe entirely of his own design, both audibly and visually, proving to have a highly unique voice.

Watch, Stream and Share “Many Waves Later” on: YouTube | Spotify

Review: "Emcee" EP by DaRealMrLee

Poland based DaRealMrLee embraces a hazy disposition with the dazed environment of his debut EP “Emcee”. Everything here features a keen balance. Icy grooves are matched by fiery, blistering performances of the very aptly named “Emcee”. Like a true MC, DaRealMrLee takes the mike and runs with it. These pieces bounce off the walls quite hysterically at times. By allowing there to be a calm tempo, slow, steady, and deliberate, it serves as a background to the overall spirit of the sound, making sure it all works once taken in as a singular whole.

DaRealMrLee absolutely burns through these verses like some sort of possessed Busta Rhymes. The speed at which he travels is doubly impressive, for there is a chaos to his effect. Even as weird and mellowed as the productions themselves are, he brings about a bit of the sheer terrified energy of Danny Brown in terms of the pile-ups of wordplay. Incredibly skilled on the mike he burns it all down. Production-wise there is a vaporwave aspect to the sound for it glows with such radiant colors, and the beats hit with a half-remembered dream like quality, like Floral Shoppe gone rap.

The project opens up on an acidic tone with the giddy opener “EP Emcee”. After the small interlude of “Skit-Lenard says I’ll Chop Yer Ear Off Lenard” things hit hard on “Specialists”, featuring Joka B and Lucky Lyrics. Here there is a certain darkness to it, for the melodies waft on up into the air. “Laser Sight” features a chilled-out bass alongside intensely delivered bars.

Metallic clangs give “What Time Is It?” a rather eerie presence. Hyperkinetic wordplay blasts through with “Grafters”, featuring JLMz. With “Skit-HashTag Abuse” they go for a giddy strangeness. Cryptic “Room 316” with Ultra_eko is infused with pure uncut dread, as the threatening aspect never stops. “Ghost Racer Redux” has a driving pulse to it, veering unexpectedly. On “Skit- Block Em Bazza” the piece has a truly cartoonish aspect. Bringing it all home in a powerful muscular way is the intense “Skillers”, featuring $Doobie$Dinero$ and Bad Ape Music.

The “Emcee” EP features the exquisite charm of DaRealMrLee in crafting something that has a confrontational yet incredibly honest demeanor, transcending trends for something much more timeless.

Stream and Share “Emcee” on: Spotify | Soundcloud

Review: "Crimson" Mixtape by Omari Vel

Philly based artist and producer Omari Vel infuses a psychedelic whirlwind on the heavy trap beats of his mixtape, “Crimson”. A creative take on the classic hip-hop sound, the electronic flourishes ensures that there is a great degree of surprise throughout the entirety of the experience. Beyond the clear rap which reigns supreme, elements of hyper-pop, vaporwave, hard rock, and industrial among others helps to inform the nimble sound. Lyrics here rest right front and center, for every verse is thrown like a bomb. The multifaceted layers help to wind, unfurling the whole experience in a way that feels outright masterful. Every word is chosen with care making sure that they cut to the very bone.

The experience itself has a rather sun-drenched attitude to it. With a wide hybrid of influences, one of the ones that does seem to permeate much of the work is the unequally unpredictive nature of Frank Ocean at his most frenzied. So much energy and activity take place, with the sounds folding into themselves, that at times the atmosphere tends to draw a bit from classic 80s rappers such as Rammellzee, whose mixture of classical with hip-hop gets clearly referenced throughout. Nearly symphonic at times, Omari proves to have a deft ear for melody and groove.

An orchestra tuning up sets the tone on the crisp, hard-hitting beats of “Running Man” for the tempo is brought to the breaking point. Bass rumbles on through “Cali Ay”, feat. Rizu & Johnny Freshman, in a way that absolutely grinds everything into dust. On “Iron Will” Omari dives headfirst into this odd, trippy aural universe.

By far the highlight of the album “Iron Will” evolves in a way that is a pure joy. Wonderfully stately keyboards underpin the entirety of the regal “UltraViolet”. More informal “Patti B” has a twisted quality for the song is constantly stretched apart and reconfigured in wonderful ways, with the guitar work in particular containing such soul. Guitar gains a summery spirit with the spaced-out vibes of “Long Way”. With the intensity of “WOVI” feat. regothereshego, Omari ties all that came before together in a masterful fashion.

“Crimson” shows off an unusually tactile take, showing off Omari Vel’s pure fire flows.

Stream and Share “Crimson” on Spotify

Review: "Soul Glitch" Album by Blac Samurai

Chicago based rap artist Blac Samurai features fine philosophical flows that are pure fire on the lush “Soul Glitch”. Everything about this album offers a fully immersive unique experience, from the careful cadence of his verses to the cloudy, dreamy atmospheres that he sculpts with care. A neat mixture of trap meets vaporwave; there is an intensity to the album.

Melodies weave their way through the entirety of the album and it is best taken in as a singular whole in order to appreciate the ornate narratives that play off each other, for Blac Samurai’s rapping style goes for an incredible range from near dream-like states to retrospectives on a whole people’s history.

A deep understanding of hip-hop’s traditions and Blac Samurai’s willingness to mess with them results in a true swagger that giddily rolls on through. On the hip-hop side, his delivery takes on a bit of Yung Lean’s poetic word choice with such detail rushing on through. Beyond this, there are some of the unusual verses that recall some of Tyler, the Creator’s vulnerability.

Production-wise, Blac Samurai dives deep into rather experimental producers, with nods to D/P/I’s fractured beats. Clever sampling does recall a bit of Ahnnu’s early output, and there is a glimmering ambiance to the whole thing, drawing equally from pieces of jazz as well as house, resulting in a kaleidoscope of textures.

Heavy electronics and sci-fi sampling start things up on a high note with “Born Like This”. The rumble of the bass makes “Dreams” a rather sultry experience, complete with vinyl crackle alongside his surrealistic vocalizations. Virtually taking a page from Future Sound of London’s expansive discography are the found sounds of “Match (All Black) ‘21”.

Keyboard vamps give “Break” a futuristic flair. Various details emerge with “Tap In”, feat. T.E.E. Grooves go for a physicality with “All That” for it unfurls with majesty. Slow-moving the languid “Bag prt. II” explores atmosphere with a reflective stance. Bursting at the seams comes the sheer intensity of “New Heaven (On Me)”. A grand finale brings it all home for “The Matrix” references a disembodied funk.

The “Soul Glitch” album shows off Blac Samurai’s uncanny flair for storytelling mixed with a production style that has a fully lived-in, deep-rooted history behind it.

Stream and Share “Soul Glitch” on: Spotify | Bandcamp

Review: "SOLO": The Ballad of Solo Star Album by Solo Star

A sense of hope guides Solo Star’s uplifting, debut album “SOLO”: The Ballad Of Solo Star”. His lyrics have a poignancy to them, recited with such a personal, powerful message, and the tracks have a tremendous power with the arrangements going for a nimbleness.

With a contemporary quality to the beats, the Trenton, NJ based rapper incorporates elements of hip-hop, pop, easy-listening music, and even jazz. Eclectic to its core, the many pieces neatly fit together. By allowing the stories plenty of room to roam, Solo Star explores a whole universe one that has its own tenderness, and the characters within the pointed stories are given so much depth.

The realistic, highly thoughtful lyricism does justice to Kendrick Lamar’s output. Like Lamar, Solo Star ensures that the pieces possess an honesty to him. Elements of the low-slung funk/jazz inflections further lend credence to Lamar’s influence, in particular his earlier work. J. Cole proves to be an important reference point, for the flow has a similar intimacy behind it. Finally, the production has a crystal clarity to it, as the hit of the snare alongside the flourishing blooms of strings draw from Kanye West’s toiled-over productions.

Opening things up on a high note, “The Ballad” begins things off with an uncanny swagger. On “Highdrate” the mixture of pop and folk gives the song a bit of beauty about it, and Solo Star’s voice has a richness to it. Bossa Nova inflections skitter about on the playful “Star Power”, by far the highlight of the album. The usage of neon-hued beats further adds to the song’s appeal.

A rather lovely melody emerges on the confessional approach of “Nights On Fire”. Raw with a great degree of edge comes through with “Rugged (Interlude)”. Bass rumbles through with a physicality on “American God”. Hard-edged “T.A.T.O.” has a muscularity and fragility to it, never neatly settling into either. Full of a celebratory spirit, the carefree “Neon Nights” has a party attitude to it. Minimalism defines the rather low-key introspection of “The Glow”.

Solo Star’s “SOLO”: The Ballad Of Solo Star” revels in its uncanny ability to explore an entire lifetime. It is an incredibly great introduction to an emcee that we expect will continue to release DOPE music for years to come.

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Review: "Saved By The Bag" Album by ItsFee

Chicago based rap artist ItsFee displays true finesse and a sense of fury on the intense rush of “Saved By The Bag”. Trap, hip-hop, ambient, and R&B all come together to create this dense mix. Attention to detail feels impeccable. His cleverness in speeding up and slowing down his flow show off his unusually wide range.

On the hard side ItsFee raps with ease as the verses are spit out at a hyperkinetic speed. For the slower pieces, he shows off his clever storytelling, as the word choice features a great deal of wordplay. References abound and race through.

The references abound throughout the album, especially heavy on the classic side of things. With his velocity during the faster paced pieces, ItsFee touches upon the magic of Busta Rhymes in terms of how rapid fire his delivery can be. Many of the arrangements possess a degree of unpredictability as there is a geometric quality to the works, with the beats folding and unfolding into each other like Danny Brown’s most fevered dreams.

On “ItsFee 101”, ItsFee sets the mood for the work, featuring some sheer physical presence. Very clever usage of samples race on through, as the woodwind give it a symphonic quality. There is a degree of swagger with “MBT”, featuring NamedBran, as the whistling has an intensity to it. Layers intermingle giving “Paparazzi” a grandeur. Beats hit with such velocity on the pitch shifts of “Picture Dat”. Tempos get slowed down on the luxurious “Beat Beat”, with Keem Singing”, one of the highlights of the album.

Stripped down to the essentials is the thoughtful “I Do’s It”. Elements of tech enter into the fray with “On Elon”. Pure grit sculpts the wide-eyed “Feeling Myself”, featuring Double Ave & DB. Woozy to its core is the dreamy “Fukumean”. Poppy aspects move to the forefront on the communal “Remember”, featuring Aliana. Bringing it all to a close is the delicate “Got 2 Go”.

“Saved By The Bag” shows off the undeniably strong style of ItsFee in tying together old school and nu school influences in a way that is truly his own.

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Review: "Roses 4 Tha World" Album by Amarii Davu

San Diego based rap artist Amarii Davu crafts stories with pure soul on the intense journey of his debut album “Roses 4 tha World”. The lyrics work wonders for every verse has a perfect balance to it. Production provided by shrmpboy, Play Dat Beat Wee Wee, and Capx has a glowing presence to it and there is a gleaming quality to the arrangements.

Stylistically rooted in hip-hop, Amarii brings together pieces of R&B, jazz, and pop into a singular whole. The album work best when taken in one setting, as each track builds off the last. The guest vocalists seem to nicely solidify Amarii’s hybrid southern rap roots, and there is a sense of endless possibility built into the sound’s very DNA.

The references abound throughout the album’s musical journey, but perhaps the most obvious one is the playful attitude of Outkast. Akin to their work, there’s a cleverness to the narratives alongside the many different flows that Amarii employs throughout. Various pop culture snippets are woven into the sound as well for the sound rolls on through with such luxury. Pieces of the Odd Future approach, one that blends the autobiographical with the societal further adds to the appeal.

A bombastic intro “Wake Up”, featuring ‘lilah Monroe, stuns with its fiery presence. The beat absolutely snaps and the samples have an eclectic presence about them, with the harp in particular being a fine touch. Minimalism with a hint of mystery comes the cryptic claustrophobia of “Dollamarijuana”. On “Aquarium” the energy that races on in a delirious blur is a joy. With a bit of a tropical scope comes the summer jam of “WANT.”

Easily the highlight of the album “Too Close”, featuring Karla Felecia Scaife, brings a lush, luxurious tenderness to the sound. From the incredible keyboard to the catchy melody, it all blends into this stream of consciousness. Rather joyous “Healin’”, with Durand Bernarr, incorporates a hopefulness. Going for a classic funk is the stylish “Cognac”, featuring Lyric Reddick. Things have an origami tact on the multi-faceted spirit of “Dreamchasin’”. Bringing it all to an epic conclusion is the gigantic “R4TW”.

With the “Roses 4 tha World” album, Amarii Davu sculpts a powerful, living breathing musical entity that feels so inviting.

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Review: "Voxcore" Album by Voxcore

Voxcore aka Patrick Hansford imbues a soulfulness into his nostalgic self-titled debut album “Voxcore”. Full of such tremendous heart, he taps into the very core of dance music. Rather than have a hyper-active beat, his is a much more sophisticated take. Voxcore’s arrangements are soaked in a golden hue for his is one that feels positively ancient, even regal in the gallant processions.

A keen ear for melody guides these tracks forward because Voxcore makes sure to balance them with the utmost of care. Such great textures alongside a slight fondness for experimentation results in a serene experience. Every track builds off the last for they make sure that there is a bliss behind it all, one that is soaked in sunlight.

Voxcore goes for the Second Summer of Love element within the sound, as his is a gracious hue. References to L.F.O.’s early work dominates, from the acidic tinge that recalls Mark Bell’s sophisticated sound design to the gentle gallop of the rhythm, it falls into place quite wonderfully. Beyond this, the yearning quality of the work touches upon the childlike sense of wonder that early Boards of Canada’s output seems to explore. Quite delicate too, the beats have a poignancy to them for the album has a surprisingly large emotional range.

Neon-hued splendor radiates on the triumphant opener “Perpetuance” right down to the pitch-perfect wordless choir. On the more tech house poppy side of things is the dramatic quality of “Fabrication” where the construction has an 80s yearning quality. Full of energy “Orbit” bursts right at the seams with brittle snaps and snares adding to the giddiness.

On “Pulse”, Voxcore chooses a late-night noir quality to the overall spirit. Layer upon layer filters together on the longing “Her Song”. Delicate touches make “Fall” the true highlight for the evolution of the sound gives the song a living, breathing quality to it. With “LookaLike” there is a thoughtfulness to the way that the song sprawls and soars out into the infinite. Woozy warped cadences radiate from “Destiny”. Pulling out all the stops is the surreal trip of “Reign”.

On Voxcore’s self-titled album, he delves into the inner meditativeness that all good dance music possesses.

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Review: "Revelation" Album by Ultra_eko

South London’s Ultra_eko delves into a mysterious exploration of faith and hope on the alluringly dark “Revelation” album. Layer upon layer is applied, smeared across the sound. His voice is prominently displayed front and center. Over the course of the album an entire narrative comes into focus, one that has a splendid sense of surrealism. Melody, groove, tempo, these have a low-slung ethos to them. The sound itself alongside the rapping points to newer, more contemporary takes on hip-hop, for he moves the genre forward into something far more unique.

Nods to Dean Blunt’s trippy universe emerges throughout the project. The melted tactics used within each piece lends itself well to an almost dream-like state. An unhurried pace anchors the entirety of the journey, as the references to Yung Lean’s early works darts its way within the soundscapes. Done with the right amount of care and consideration, Ultra_eko also takes on some earlier hip-hop artists, most notably the confessional tenor of Biggie Smalls in terms of the sheer raw honesty of the lyricism. Every word is carefully selected to further add to the mood of the album.

The ghostly traces of the sample fade out as the rest of the opener “Dust to Dust” gradually filters into the fray, in a way that feels truly majestic. Nimble beats that have a geometric, bouncing quality to them, for there is a fire behind it. Bass rumbles on through “Fade to Black” for they take on a physicality to them. A night time, nightmarish presence underlies the eerie “Twisted Fate”.

Ultra_eko’s lyricism has a sharped edge for “Bad Egg” has a classic aura to it, one that touches the very soul. Chopped-up sounds filter on in within “Red Alert” as there is a woozy spirit. Romanticism frames the tenderness of “Pretty Girl”. Going for a minimalism and unease is the sprawling scope of “Messy Thoughts” where the snare has a halting presence. On “The Ark” the lyricism flows down as if cascading in a strong, powerful way. Neatly bringing the album to a fantastic, cinematic finale is the triumphant of “Book of Revelation”.

With so much fire and passion behind it, “Revelation” shows off Ultra_eko’s masterful poignant delivery. Listen to this incredible album ASAP and share it with those you know who want to explore the realms of the next level of Hip-Hop.

Stream and Share “Revelation” on Spotify

Review: "Off Days" Album by Lady Legs

Birmingham based band Lady Legs embrace a sun-drenched garage rock on the joyous jangle of their latest album “Off Days”. These are woozy, wild and wonderful journeys that delight in unexpected ways. Everything here has a dreamy aura behind it for they radiate such warmth and good cheer.

Beyond the gentle, Lady Legs know how to let loose with a wild-eyed animalistic fervor. Vocals have such tenderness about them for every verse is delivered for maximum impact. Interplay within the group has a fantastic quality to it, like a bunch of friends who have played together for years and know each other’s quirks.

Parallels to their work include the painfully short-lived Texas group Harlem in terms of their similar “go for broke” emphasis. Lady Legs race on through much of the sound, letting the beats flirt with the breaking point. On the kinder, laid-back tracs, they conjure up imagery of Mac DeMarco’s “Salad Days/Old Dog” period for there is a beauty to the way they bring color into the fray in rather delicate ways. Every track builds off the last and Lady Legs pay close attention to sequencing, making the album a gorgeous trip.

A neat little backwards effect introduces the album with gusto on the commanding presence of “Quit Bringing Me Down” which opens things on a high note. Doubling down on the speed is the Car Seat Headrest chaos of “City Slickers”. The funky fresh feeling of “Run with the Fade” is a pure piece of bliss. Grooves have a taut quality to them on “Not Right” as they let the energy bubble over.

Fuzzed-out guitars give “Idle Hands” a strange rural psychedelic mood, as they have a carefree attitude. Riffs intertwine on the thoughtful reflection of the title track “Off Days” where they tap into a pastoral beauty. By far the highlight emerges on “Thank You”. Part surf rock, part jazz, part indie pop, but all haze, there is a delightful atmosphere that runs through it. Effortlessly closing the album out is the sprawling ambitious “Slippin”.

“Off Days” shows off Lady Legs deft skill in crafting a universe full of playfulness, with infectious riffs and giddy lyricism.

Stream and Share “Off Days” on: Spotify | Apple Music

Review: "Wicked Machine" Album by Sharkorama

Chicago based artist Cody Knauer aka Sharkorama stuns on the heartfelt ode to 90s indie rock pop with the pitch-perfect “Wicked Machine”. There is a sense of nervous swagger about it, for the hyper-articulate lyricism works wonders alongside the playfully strange arrangements. A wide variety of twists and turns define the songs, for they have a loose, lo-fi aesthetic to them. With a deep understanding of rock’s history, Sharkorama mines this knowledge and places it alongside wry observational humor for a sound that is quite charming. Rhythms have a mellowed atmosphere about them, and the riffs that adorn much of it have a joyous attitude about them. Nothing overstays its welcome for these pieces are kept to the essentials for a style that has a timelessness to it.

The influences abound throughout the whole of the album. On the lo-fi kick, they tap into the spirit of early Guided By Voices, for there’s that same adoration for a raw, gritty, earnestness. Jokes race through, and their sense of humor works perfect for their underdog stories. Various rhythms and grooves recall a bit of Sebadoh’s first albums, as there is a delicate vulnerable side to what they do. Humor is an important part of the whole album, for music geeks will appreciate the subtle nods to the Beatles, Guns N’Roses, and a whole bunch of other bands thrown into the mix, referenced with pure love.

On the opener “Topic of Conversation” they introduce their droll wit, for the song unfurls at its own pace. Fuzzed-out in a delirious din comes the hazy atmosphere of “Wicked Machine”. Delicate to its core “When Will I Stop” has tremendously powerful wordplay. Going for an intimate approach “Don’t Trust the Warden” has a fire behind it. Rhythms have a loose, giddy attitude on the thoughtful and wonderfully titled “The Dishwasher Sound Like Bob Seger”. Sounding like a long-lost Red House Painters demo is the gentle demeanor of “Some Days I Feel Like Pete Best”. Things are held together by twine on the spirited “All My Favorite Bands”. With a reflective stance the meditative finale of “Warwick” brings it all to a close.

“Wicked Machine” has a wide-eyed kindness to it, for Sharkorama has truly lived this life of passion for music and it shows.

Stream and Share “Wicked Machine” on: Spotify | Bandcamp

Review: "SZN" Album by Desean

Evansville, IN based rapper Desean spits pure fire on the fierce flows of “SZN”. Stylistically he blends psychedelic, electro, anchored in a glistening hip-hop template. The album features incredible production for the sounds glow. Full of so much exquisite detail, Desean pushes the sound further out than most resulting in an experience that feels all-consuming.

By far the very heart of the album comes from Desean’s powerful lyricism, for he delivers each verse flawlessly. Highly thought he brings elements of navigating the oddity of relationships alongside pulling oneself up. Pop references adorn much of the album helping to capture the zeitgeist.

The angular, taut grooves draw heavily from Flying Lotus’s intricate sound design. With every beat polished and perfected, they hit with an emotional cadence. Desean’s flow moves quite quickly much of the time, a rarity with the slowed-down aesthetic that has become prevalent in a lot of hip-hop today. Thus, his style feels a bit on the old-school vein, akin to Busta Rhymes impeccable wild delivery. A lot of the album seems to neatly bridge the old-school and nu-school hip-hop scenes, taking the best bits from both.

On the opener “Szn Avenger” the bass hits with a vengeance, with the backwards sampling along with his speed works wonders. Things are pared back to the essentials on the jazzy kick of the title track “Szn” where Desean’s rapping has a poetry to it. A sense of the dramatic comes into focus with “Missed Calls”. Giddy melody on “Doing Me” has a confidence to it, for the song is a celebration of the self.

Beats have a brittle feeling with “Drip Gang” for the production has a raw intimacy to it. The highlight of the album emerges on the colorful “Ultra Instinct”. Here Desean takes the beats to a whole other universe, infusing melody into the groove giving the song a sense of optimism. Dreamy to its very core the finale “Zendaya’s Finale” has a cinematic sweep to it, bringing things to a wonderful close.

“SZN” proves Desean to be a true artist one who employs a wide variety of techniques to his album and in so, creating a work that feels so vulnerable, raw and real.

Stream and Share “SZN” on: Audiomack | Spotify

Review: "Off The Grid" EP by Kai Akili and Malik Ismail

Chicago based rap artist Kai Akili and producer Malik Ismail embrace a sound that feels simultaneously nostalgic yet futuristic on the lush “Off The Grid” EP. A neat trick for sure, the duo pulls it off in a way that feels so easy-going. The collection is rooted in hip-hop, yet brings into the fray elements of dub, pop, reggae, jazz, and a whole slew of other styles while remaining incredibly catchy. Together they create impeccable hooks that linger on in the mind long after the music has ended.

Kai and Malik offer a duality of sort in terms of how they create this sonic ecosystem. Each takes the path less traveled and it really does make all the difference. For Kai ’s rhyme schemes, he actually proves to have a playfulness and optimism behind it. Nods to Madvillain’s delicate and giddy storytelling, there is a true joy that comes to inform his narratives. His speed of delivery brings to mind some of Busta Rhymes’ spirit, a rare feat.

On the production side of things, Malik presents a psychedelic array of samples under his thumb. Within the field of the sampling itself, he draws from easy-listening standards that touches upon Daedelus’ bespoke worldview. Every single beat has a carefully hewn edge to it, going for a slightly tropical, even Bossa-Nova flavor to it.

A delicate shuffle introduces the collection on the trippy ethos of “Journey”. Here Kai and Malik double-down on the tempo, making sure that the layers whirl about in a fantastic glowing presence. Glitch effects work wonders on the dreamy-eyed presence of “Moon”, with the nimble beats adding to the sense of glee.

The desire to rise above inform the whole of the piece, making it the highlight of the collection, right down to the acidic tinge of the synthesizers out in the background. “Let It Go”, featuring Maushéa, has a luxury to it, for the song’s hypnotic groove cycles through in a soothing wash. Pure chill radiates through the light and airy finale of “Too Lovely”, featuring Zhane and Glory Randall.

The “Off The Grid” EP shows Kai Akili and Malik Ismail working in unison to sculpt a sparkling piece of art. The EP is DOPE and deserves your full attention right now.

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Review: "Demons and Love" EP by Emeril Picasso

Austin based rap artist Emeril Picasso goes for an intrepid trip of a flow with the pure fire of his newly released “Demons and Love” EP. The raw grit and soul of the project has an intensity to it. His verses are balanced for maximum impact for he offers vignettes from a life lived to the absolute fullest. Arrangements do a perfect job in framing these pieces, never too hard, always hitting in a dazed, hazy way. With a duality of sorts, both going for those quiet moments along with a sense of defiance, the whole of the EP intermingles to become something truly surreal at times.

The vulnerability Emeril shows draws from some of Drake’s own emotional output. Akin to Drake, there is a tenderness to the way that the tracks evolve. On the harder side of things, his delivery has a graceful, luxurious pace to it with comparisons to Biggie Smalls’ confidence undeniable. Bridging both elements of old school and contemporary hip-hop, Emeril crafts a sound that is informed by the past yet very much of the present. Production here has a nimbleness to it for the whole of the album has a great evolution to it.

Psychedelic sampling introduces the album with “Trippin’”. Right from the beginning a voice says “Picasso got that heat” and they aren’t wrong – he goes hard. On “Don’t Matter” there is a Boards of Canada meets Flying Lotus quality to the arrangement, as the angular groove works wonders. Quite pretty “Make It Work” goes for a cleverness, one that explores the ins and outs of relationships.

Easily the highlight of the album comes from “Naples”. From the delicate melody to the remarkable lyricism, there is an entrancing quality to it. “Chaplin Interlude” has a triumphant spirit. Bass hits with a heaviness on the swagger of “Bliss”. Hyperactivity takes hold with “Wake Me Up”. Layer upon layer merges into “Mean That” as the speed of his delivery shows off a different side of his style. Neatly bringing it home is the power of the title track and finale “Demons and Love”.

“Demons and Love” shows off Emeril Picasso’s impeccable storytelling with narratives that linger with the listener long after the EP has ended.

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Review: "Far From Nothing" EP by Tru Esco

Memphis based rap artist Tru Esco filters out negativity on the impeccably optimistic vibes of “Far From Nothing”. With an uncanny knack for storytelling, his narratives reflect upon the trials and tribulations that come from being self-made. He cleverly takes the best pieces from old-school and contemporary hip-hop.

For the old-school style, the samples have a laid-back quality to them with beats that have a classic cadence to them. Production-wise, the sound absolutely shines for the bass lines and gentle melodies go for a bit of an introspective kick.

Tru Esco’s ability to convey what it means to rise above one’s circumstances does draw favorably from Jay Z’s work, for, like Jay Z, there is an ambition that helps to guide it along. With moments taken directly from his life, Tru Esco’s vocal delivery has much more of a southern rap quality to it. Fully laid-back, his delivery has a mellowed atmosphere about it, with references to Andre 3000’s eclectic work alongside the more recent output of T.I. and J. Cole’s expressive abilities.

On the opening “Far From Nothing Intro”, Tru Esco sets the tone for what follows. “Feel It In My Soul” takes things to the next level, for the soulfulness of the track is a pure joy to behold. Just the right kick of triumph permeates the swagger of “Highs & Lows” for there is a defiance to his lyricism.

Going for a nostalgic vibe is the expressive scope of “Do Ya Feel Me”, featuring De’Jon & Yung Titan, as the snares are full of emotion, as the verses are balanced for maximum impact. A fantastic sample brings a tremendous energy on “Straight Wit No Chaser”. The 70s cadence of “Reflect”, with Alozie, serves as the highlight of the album, for the song has a kindness to it, one that celebrates success. Elegance defines the careful “Ambition”. So much space gives “So Many Nights” a vast sense of contemplation. With “On My Way”, Tru Esco brings it home, featuring a finale that ties it all together, leaving the listener full of auditory goodness.

“Far From Nothing” is a triumphant project, showing off Tru Esco’s ability to create fiery flows alongside looking on the bright side of things.

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