Bisk – Rawson’s Creek (Review)

Bisk, Reviews

Prolific London lyricist Bisk drops his latest offering, the thirteen track project ‘Rawson’s Creek’, continuing a steady stream of stellar releases. The latest collection clocks in at a total playing time of just under twenty five minutes, and it’s packed with short, to-the-point tracks laced with Bisk’s signature confident style over a selection of beats contributed by some of the most talented producers in the scene.

The funky bassline and crisp drums of the opening track ‘Out Of Sight’ set the scene for the understated, subtle tones that play throughout the project. Bisk’s relaxed presence makes his verses easy to listen to, and he spits with a clarity and experience that has been improving with each release, and boy has there been a lot of them. The punchy, soulful Illinformed production ‘Fuck’ is a well-executed track too; Bisk switches his flow up to a pacey, aggressive approach, and his performance is blistering, powerful and gritty to the core.

The dusty, sparkiling piano patterns and grandiose vocal chops of ‘Manic’ are brilliantly executed, once again by RLD beatmaker Illinformed, and Bisk’s cocky lyricism is on top form. Sheffield producer Morriarchi contributes a superb beat for the intricate, punchline infused ‘Nautical’, and the short runtime of the majority of the tracks on here make the LP encapsulating, not giving your attention to wander for a second. ‘World Champ’s groovy double bass is accompanied by dope lofi sound effects, and the glitchy, experimental sound is a perfect match for Bisk’s stream of consciousness bars.

The London MC recruits fellow Blah lyricists Lee Scott and Salar for the slow-moving, mellow highlight ‘La Sombra’. The sophisticated production across the ‘Rawson’s Creek’ project make the release thoroughly entertaining, and Bisk’s consistent quality is incredibly impressive. The raw loop and cutting delivery present on ‘Goodnite’ and the hard-hitting, Lee Scott produced penultimate banger ‘Reset’ make for a class end run of tracks, and round off a concise project that is packed with swagger from beginning to end.

Another month, another top quality tape from Bisk; ‘Rawson’s Creek’ is a short-knit, cohesive release that showcases a brilliant selection of producers, who allow the creative MC to expertly demonstrate his organic, effortless sound throughout the project. 2017 has seen Bisk deliver some memorable projects, and ‘Rawson’s Creek’ might just be the best yet. Having said that, as we’ve still got four months to go, there’s guaranteed to be a couple more in contention by the time the year’s out.

By Sam Bennett

@TheRealPP

@LYTEWORK

@BlahRecords

http://www.facebook.com/LYTEWORK

http://www.blahrecords.com

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Bisk – Yasuke (Review)

Bisk, Reviews

Bisk returns with yet another project for fans of the underground lyricist to fiend over; the brilliantly consistent and dedicated wordsmith drops ‘Yasuke’, a six-track EP produced entirely by veteran rapper and producer Lee Scott. The subtle, lofi production is matched with smoked out, gritty verses from Bisk throughout this succinct project.

Blah Records veteran Salar accompanies on early highlight ‘Nina’; the slow-moving, dark flavours of the instrumental are perfect for Bisk’s hushed, menacing tones. Salar’s cocky delivery and hard-hitting quotables are on full display too, and the collaboration is a testament to the longstanding quality of the Cult’s material. The Blah camp has been ahead of the curve since it’s inception, and it’s great that those so important to it’s early success are still putting in the work. ‘The Art Of War’ is a crisp, jazzy cut and Bisk’s intricate writing, creative references and raw vocal are endlessly entertaining. It’s no surprise he’s one of the most hotly tipped MC’s on the circuit right now.

The stuttered snare drums and complex lyricism of ‘Ronin’ make it a memorable track; the building intensity and aggression are enthralling, and Bisk sounds so comfortable as he laces the off-kilter beat with his precise, recognisable flow. Salar appears once again on the dusty banger ‘Tzunami’. The simple loop allows the Liverpool and London spitters to weave seamlessly across the chopped samples, and the attitude and confidence on show make for one of the best tracks from the ‘Yasuke’ EP. Precise internal rhymes and hard-hitting punchlines of ‘Ravioli’ make it an energetic closer, and the concise project is masterfully executed and undeniably entertaining from start to finish.

Serving as a prelude to a full length Bisk project with Lee Scott as the sole producer, ‘Yasuke’ is another dope release to add to the growing catalogue. Bisk’s versatility and creative style makes him a truly distinctive artist, and the sheer abundance of quality material the London MC is bringing to the table makes him one of the most interesting characters in the scene. Blah Records already carries a formidable reputation, but with releases and artists of this stature on it’s roster, the collective is only going to continue grow.

By Sam Bennett

@TheRealPP

@LYTEWORK

@BlahRecords

http://www.facebook.com/LYTEWORK

http://www.blahrecords.com

 

Bisk – Gutter City (Review)

Bisk, Reviews

London MC Bisk is one of the most consistent and entertaining writers active right now. He’s been releasing a steady stream of quality projects, and ‘Gutter City’ is the latest in the ever-growing catalogue. Released through Radio Juicy, the eighteen-track album features Stinkin Slumrok, aptly credited on the front cover, featuring on five of the songs on here, alongside a selection of top drawer lyricists. If you’re familiar with Bisk’s work then you know that this is going to be good, if not then strap yourself in and turn up the dial.

‘Guttercitysh!t’ features Stinkin, and the looming, murky beat is comprised of pounding, lo-fi kicks and haunting sound effects. Bisk and Slummy both deliver verses packed with charisma and unorthodox swagger, and this LP is a memorable showcase of their dynamic flavours. ‘Wildcheese’ is a definite standout. The slow-moving cut features intense verses from Jack Danz and Slumrok; the eclectic styles on display are flawlessly balanced, and the production is impeccable too. Bisk’s skill is perhaps best exemplified over gritty, off-kilter production; a perfect example is the brilliant ‘Mynigga’. The track clocks in at under two-minutes, and the prolific, dexterous vocal is executed with an effortlessly mellow delivery.

‘Smoke’ is a track that has been doing the rounds on soundcloud, and from the moment the raw loop kicks in it’s easy to see why. Slumrok, Sniff, Danz and Bisk drop flawless verses laced with witty punchlines, and the melting pot of styles and accents results in a clear-cut highlight. Jack Danz once showcases again his penchant for cutting, hard-hitting quotables here; he spits “Modus operandi. We treat a rock of mandy like some popping candy”. I mean, come on. Bisk recruits Blah veteran Sly Moon for the jazzy ‘Coldsagfunk’. The reverb drenched snare and crisp hi-hats back the two lyricists as they spit with a silky demeanour and smooth flows on this classy track.

The glitchy ‘SwampaZe’ features West Yorkshire duo The NorthaZe, and this is a collaboration that was meant to happen. Bisk, Kosi Tides and Swish move seamlessly over the bouncy instrumental, and the leftfield approach makes this a brilliantly exuberant track that illustrates the wealth of talent on display. ‘Ere’ is a characteristically dark banger, and is a fantastic ending track (not including the outro ‘Uzi’); the sparse drums and screwface-inducing bassline are a winning formula, and Bisk’s menacing delivery is the final piece of the puzzle.

‘Gutter City’ is a cohesive body of work, and Bisk’s unique style is captivating for the duration. Dope collaborations and seamless production are key ingredients, and the standard of writing on display here is tremendously impressive. This isn’t a stroke of luck though; Bisk’s discography is packed to the brim with heavy releases, and if the recent past is anything to go by, there’ll probably be another banging project from Bisk online somewhere before you’ve finished reading this review.

By Sam Bennett

@TheRealPP

@LYTEWORK

http://www.facebook.com/LYTEWORK

http://www.radiojuicy.com/album/gutter-city

Bisk – Don’t Piss It Off (Review)

Bisk, Reviews

There’s no stopping Blah Records this year; the longstanding independent label continues its incredibly productive schedule with the release of ‘Don’t Piss It Off’, an LP from London MC Bisk with production handled by North London beatsmith Formz.

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The LP opens with ‘Slippin’, and the gloomy, slow-moving instrumental backs Bisk’s signature gritty, cocky lyricism and murky flows as he drops hard-hitting punchlines in creative bars laced with vivid imagery and drenched in swagger. ‘Big City’ features veteran Blah MC Lee Scott, and the crisp, jazzy drums and haunting piano lines are perfect for Bisk’s braggodious approach, and Lee’s witty verse is an absolute killer, and finds the Runcorn lyricist spitting quotables such as “lost in me own mind/The Higgs boson was in me pocket the whole time” and the genius closing bar “why? It’s just the letter after X”.

‘Cult De Sag’ is a banging posse cut; the track features Danny Lover, Salar and Sleazy F Baby and the four Blah heads go back to back cramming in short, energetic verses. The track lasts just over two minutes, but the concise format definitely works in it’s favour. Sheffield based MC Sniff appears on the lazy, ultra-chilled ‘Beazy’; Formz’s low-key production and the intoxicating vocals from both rappers make this track a highlight of the ‘Don’t Piss It Off’ LP. Closing out on the subtle piano based ‘Marooned’, the concise, cohesive project is yet another one to add to Blah Records ever-growing discography; the independent label is enjoying one of it’s most consistent and creative periods in it’s decade long history, and Bisk is one of several new additions to the roster that has been killing it for the past year or so.

With one of the most impressive work-rates in the game, Bisk is one to keep tabs on. ‘Don’t Piss It Off’ is the latest in a healthy run of projects for the London MC; with Formz at the helm of the beats, Bisk is free to let loose with his razor sharp pen-game, bringing a unique and distinctive outlook to the table, executed with flair and finesse across the album’s ten tracks (discounting the intro and outro). Something tells me it won’t be too long before we hear from the Blah MC again, but until then ‘Don’t Piss It Off’ is sure to remain in rotation for the foreseeable future.

Sleazy F Baby – All Blahk Tracksuit (Review)

Reviews, Sleazy F Baby, Wordz

Blah Records continue their incredibly impressive streak of releases this year with ‘All Blahk Tracksuit’, the new project from Manchester MC Sleazy F Baby. With a select few in-house features and a unique sonic direction, Sleazy is representing for a new generation of rappers. This takes the traditional hip-hop sound that is so often the standard formula for UK artists, and fuses it with trap-inspired flows and quirky production.

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Opening the LP (after an introduction from Black Josh) is the title-track, and if you weren’t prepared for the rowdy, hard-hitting and unashamedly weird sound showcased across the whole of Sleazy’s debut LP, this track is guaranteed to put you in the right mindset. The simplistic but energetic instrumental backs the Mancunian MC as he drops bars with wit, intensity and a ferocious delivery. The trap influence is clear, with skippy flows and stuttering production, both of which are touches found across the entirety of ‘All Blahk Tracksuit’. ‘From The Bits’ follows, and the more traditional sounding cut is a hard-hitting anthem, with a brilliant accompanying video. The raw attitude Sleazy exhibits with effortless finesse is packed with dope quotables and relentlessly ignorant content; ‘this the might have fucked your baby-mother flow’ being just one small segment. It’s incredibly entertaining and the beat is an absolute banger too.

‘Y.N.I.F’ is dope; the crisp drums, weird samples and in-your-face attitude from Sleazy combine to make it a standout from the ‘All Blahk Tracksuit’ mixtape. The off-kilter double-bass riff and invasive, experimental jazz flips make for one of the most memorable beats on the entire project, and the Manchester MC drops his bars with precision and passion. ‘Sleazy’ is another brutally delivered cut; the aggressive and energetic flows and deliveries sound sick over the bassy, modern production. Any heads who are of the opinion that hip-hop in the UK sticks purely to the traditional, boom-bap ethos needs to check out ‘All Blahk Tracksuit’ for a refreshing and enjoyable perspective.

Fellow Blah MC Stinkin Slumrok joins Sleazy on the wavey ’21’, and Slumrok’s verse is charismatic and outlandish, which has come to be expected from the North London spitter. ‘Rob The Plug’ features upcoming rapper Bisk, and the gritty production is both dusty and synthetic, a combination which appears throughout the project, and it goes a long way to making it cohesive and consistent. ‘Ignorant Shiznit’, featuring Black Josh, is a late highlight, with a gloomy atmosphere executed smoothly over the subtlest instrumental on the entire release.

Wildly entertaining, relentlessly banging and instantly recognisable, Sleazy F Baby has dropped a very impressive debut project. This off-kilter direction fits perfectly with the Blah aesthetic, but he’s certainly carved out his own niche with the ‘All Blahk Tracksuit’ release. The beats are heavy, and the same can be said for the bars, and any hip-hop head is going to thoroughly enjoy this one.

By Sam Bennett

@TheRealPP

@LYTEWORK

@SleazyFBaby

http://www.facebook.com/LYTEWORK

http://www.blahrecords.com

Morriarchi – Buggzville Sessions (Review)

Morriarchi, Reviews

Blah Records continue their insanely productive 2016 with the release of ‘Buggzville Sessions’, the full length LP from longstanding and respected producer Morriarchi, with features from a who’s who of the best in hip-hop from the British Isles, as well as Canadian MC Danny Lover also making an appearance.

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The menacing ‘Hush Ya Beak’, with it’s glitchy drums and screeching samples, is a perfect opener; it serves both as a reminder or as an introduction (depending upon your familiarity with Morri’s work) to his distinctively gloomy, hard-hitting sound. The shrouded-in-mystery MC Rox Slicken appears on this first cut, and he absolutely destroys the unorthodox beat.

‘Campbell & Algar’ is a slow-moving, swegged out banger from two of the UK’s finest lyricists. Jehst and Lee Scott collaborate on what is a long anticipated pairing for rap fans the underground over, and it doesn’t disappoint in the slightest. This is witty, sarcastic hip-hop at it’s genius best; Lee’s savage bar claiming just how much of the pie is his is a standout, and Billy Brimstone’s ‘Why everybody wanna rap hella fast? I’m in the bath with a copy of The Telegraph’ lyric is simply incredible. Only Jehst could make such a simplistic segment of writing sound so poignant.

Welsh Collective Squid Ninjaz are represented by MC’s Hekla and Joe Dirt who appear on ‘Roach Lyfe’. The gritty, grimey and smoked out production, which comes complete with hazy switch-up’s that compliment the lyrics as they hammer through the system, is absolutely fire, and the hard-hitting lyricism is silkily executed. Morri’s remix of Bisk’s tune ‘Pimpfunk’, which was originally produced by Lee Scott and was released on Bisk’s ‘Raw Shit’ EP, is up next. The smooth, cinematic, Tarantino-esque production takes Bisk’s raw, passionate vocal to an entirely different place from the upfront, hard-hitting original version.

Sheffield veterans Trellion and Sniff appear on ‘Buggzville’ and the leftfield, tripped out beat is perfect for both Northern lyricists’ cocky, laidback styles. Trellion’s verse shines, with some characteristic quotables; ‘I’m way iller anyday/but I don’t know shit about shit, who the fuck’s J Dilla anyway’ is just one of many. The Danny Lover solo track ‘Kapcha’ is the highlight of the LP, with the phased, affected bluesy guitar samples perfectly combining with Danny’s lazy flow and infectious delivery.

The album closes out with a Bisk solo track, entitled ‘No Phone Calls’; the simplistic, subtle production backs the Blah MC’s savage tongue as he delivers relentless screwface-inducing bars with a mixture of passionate realness and comedic flourishes.

‘Buggzville Sessions’ is quality through and through; the dark soundscape created takes a few listens to properly comprehend, but the vibe Morriarchi creates is thoroughly original and leaves a lasting impression long after Lee Scott’s adlibs on the final song have faded from the speakers. Blah Records’ talented roster is represented heavily on this release, and with Sleazy F Baby’s solo project due for release very soon they show no sign of slowing down.

By Sam Bennett

@TheRealPP

@LYTEWORK

@Morriarchi

http://www.facebook.com/LYTEWORK

http://blahrecords.com

Onoe Caponoe – Spells From The Cyclops (Review)

Onoe Caponoe, Reviews

2015 saw the release of ‘Voices From Planet Cattele’, Onoe Caponoe’s debut project through High Focus Records, which was produced entirely by the legendary Chemo. A year on comes his next release, ‘Spells From The Cyclops’ which finds Onoe experimenting with a variety of influences, genres and sounds, and it’s a trip that should be taken by all.

Onoe Caponoe - Spells From The Cyclops - FRONT COVER

From the word go with the two short skits that introduce ‘Spells From The Cyclops’ it’s clear the Onoe’s weirded out, trippy vibe is still as strong as it ever was. The slow-paced ‘Cyclops From The Forest’ is a spaced out journey that encapsulates the vibe of the project perfectly, and it certainly prepares you for the next hour or so of leftfield hip-hop at it’s finest. The following track ‘Side Effects Of Star Controlling’ is equally cool, with it’s jazzy keys and drum loops backing Caponoe’s unique, individual lyrical approach, as he drops a smooth, unorthodox flow with winning results. ‘Ghost Surf’ is another excellent cut, and the bassy, hard-hitting trap influenced tracks are just as successful as the more experimental tunes found across this latest release. Onoe moves across the normal lines of beat and bar divisions with ease, constantly demonstrating a calculated but unashamedly abstract perspective on the microphone. Bisk and Stinkin Slumrok appear on the gritty, grimey ‘Money To Live In The Swamp’, and the glitchy, harsh production makes for a forward-thinking banger with three very talented UK vocalists doing their thing.

‘Jellyfish Gurl Part 2’ is a definite highlight, with manipulated vocals, mellow synths and crashing drums combining for an odd but entirely enjoyable four minutes. The smoked out ‘Love From A Ghost’ is intoxicating, with it’s haunting, slow-moving production and calmly delivered lyricism from Caponoe; it’s a welcome break from some of the more experimental tracks on ‘Spells From The Cyclops’, Onoe is still far from your cliché hip-hop artist on this song, but if the more extremely unconventional material isn’t entirely your thing this one is sure to be a favourite. The lo-fi ‘Ghosts In Ma Hallway Part 2’ is also another cool trap influenced joint, but it’s the following cut ‘On The Run In Tokyo’ that steals the show, and is perhaps the most polished cut in this style on the whole album.

With a host of other projects in the pipeline, Onoe Caponoe is continuing to carve his own niche in the hip-hop scene, which is so often stagnant and unimaginative. ‘Spells From The Cyclops’ is very strange, there’s really no getting around that, but Onoe grabs you and pulls you into his own dimension, not letting go until the final seconds of ‘Blaze My Zoot’. Go and cop this, get immersed in the world of the 169, and keep your eyes glued to http://www.high-focus.com for all the latest.

By Sam Bennett

@TheRealPP

@LYTEWORK

@OnoeCaponoe169

http://www.facebook.com/LYTEWORK

http://www.high-focus.com

Bisk – Free Morphine (The Interlude) (Review)

Bisk, Reviews

Blah Records continue their relentless spree of hard-hitting, unique hip-hop releases with this free download project from upcoming London rapper Bisk. ‘Free Morphine’ is an EP produced entirely by respected beatsmith Morriarchi, and it features appearances from Sheffield MC and frequent Blah collaborator Sniff, as well as UK veteran Lee Scott.

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The deep, gloomy sounds of ‘Samuraifly’ are a perfect reminder to Bisk’s style. His stream of consciousness lyricism is delivered in a gritty, precise manner, and his content is equally aggressive and witty. Bisk reminds me somewhat of Cracker Jon, in that he can move between topics so effortlessly; he’ll drop some unapologetically vulgar bar, or spit a braggadocios line, and follow it up with some intelligent analysis or self-deprecating observation in the same scheme. The slow-paced ‘Purplevalley’ is a smoked out, intoxicating cut which features Sheffield based MC Sniff, and the Bad-Taste Records representative joins Bisk on a crisp beat with some really dope change-ups.

‘Sonatine’, which features subtle backing vocals from Lee Scott, is a highlight; Bisk’s unorthodox, fluid flow is a joy to listen too, and Morriarchi’s mellow film-score esque instrumental provides a smooth, silky backing which gels with the calm vocal perfectly. ‘Free Morphine’ closes out with ‘Endcredits’, and this ending track is another slow moving, gloomy affair; Bisk’s hypnotic, tight flow and charismatic delivery sound dope over Morriarchi’s haunting production, and the chemistry evident across this seven track EP makes it a cohesive and thoroughly entertaining project.

To think that this EP is just acting as an ‘interlude’ between ‘Raw Shit’, which dropped earlier this year, and whatever Bisk and Blah Records have stashed to release next, is a scary prospect. Just how much dope music can the young artist have stocked up? 2016 is sure to be a big year for Bisk, and the independent powerhouse that is Blah is going from strength to strength, and they were never weak to begin with.

By Sam Bennett

@TheRealPP

@LYTEWORK

@BlahRecords

http://www.facebook.com/LYTEWORK

http://www.biskit.bandcamp.com

Bisk – Raw Shit (Review)

Bisk, Reviews

Blah Records continue to be one of the most relevant and consistent record labels in British rap music; Bisk brings us the latest release from the independent powerhouse, a seven track EP entitled ‘Raw Shit’, which includes production from Jack Danz, Reklews and Morriarchi and guest appearances from Lee Scott and Stinkin Slumrok.

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The sinister opener ‘Uno’ is a perfect introduction to Bisk’s gritty and charismatic style, laced with hard-hitting rhymes and gloomy outlook. ‘Swampfroot’, produced by Sam Zircon, follows, and the raw beat matches Bisk’s slow-paced, effective flow and slurred delivery. Bisk brings multisyllabics and a variety of rhythms to his rhyme schemes, which he always keeps tight in the pocket.

‘Runt’ features Lee Scott and Stinkin Slumrok, and is produced by Jack Danz; the instrumental absorbs you with it’s leftfield instrumentation, and the three Blah heads demonstrate why the camp commands the respect it does. ‘Glass Jaw’ is a standout; the majority of the ‘Raw Shit’ project sticks to a gloomier formula, but this cut takes a more traditional hip-hop direction, with the soulful bassline and crisp drums. Bisk’s lyrics tackle his vagrancy, his flaws and his day-to-day life, and his writing is laced with dope imagery and witty bars.

‘Lunatic’ is a simplistic, intense and hard-hitting track; Bisk comes through straight up bars over a restrained, smoky boom bap beat, courtesy of Sheffield MC/producer Sniff. Sometimes it’s the way you say stuff rather than the stuff itself that makes a banging rap song, and Bisk is an MC that possesses the capability to drop lines in a way that forces appreciation; on ‘Pimpfunk’ he spits ‘I lost my save so I started off a new game/I go sleep Batman and wake up Bruce Wayne’ and ‘thinking ’bout my troubled past/blowing on a big spliff laying in a bubble bath’; switching from introspective lyricism to unique humour in the space of two bars.

‘Raw Shit’ is a dope introductory project for a lyricist who is clearly going to enjoy a bright future under Blah Records. The label has specialised in slightly weird, raw rap music for the best part of a decade, and with a new generation of rappers like Bisk and Stinkin Slumrok in their ranks alongside veteran heads like Lee Scott, Salar others, they really do have all their bases covered.

By Sam Bennett

@TheRealPP

@LYTEWORK

@BlahRecords

http://www.facebook.com/LYTEWORK

http://www.blahrecords.com

Cult Of The Damned – Cult Of The Damned (Review)

Cult Of The Damned, Reviews

Longstanding fans of Blah Records will remember the Children Of The Damned clique, and 2015 brings the reincarnation of the legendary posse. Cult Of The Damned features a mixture of old school and new school Blah heads, and their first release is this four track EP.

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The self-titled opening track, and first single, is the perfect way to introduce the crew. It’s a back to back onslaught of bars over a gritty instrumental, and is a throwback to the cypher’s found throughout albums like ‘Tourette’s Camp’ and ‘Brick Pelican’.

‘Sugar Water’ features jazzy samples and crisp production; the vibe of the music is a perfect bridge between the original Children Of The Damned material, and the gloomier sound exploited in recent years.

MCs like Black Josh, Bisk and Stinkin Slumrok fall in line next to veterans such as Tony Broke, Bill Shakes and Lee Scott. ‘Stinky Posse’ is a crunchy, murky closer; the diverse range of MCs in the Cult line-up is consistently entertaining across the four tracks.

I have a feeling this is just a glimpse of what’s to come from Cult Of The Damned. It’s definitely an exciting prospect for any longtime follower of the Blah movement, and this EP is a must for any hip-hop head.

By Sam Bennett

@TheRealPP

@LYTEWORK

@BlahRecords

http://www.facebook.com/LYTEWORK

http://www.blahrecords.com