Leaf Dog – Dyslexic Disciple (Review)

Leaf Dog, Reviews

As a member of a variety of incredible groups, as well as being one of the most sought after beatmakers in the United Kingdom, not to mention a classic 2011 LP ‘From A Scarecrow’s Perspective’, Leaf Dog is one of the most respected and talented artists out there right now. 2017 finds him standing out on a solo tip once again with ‘Dyslexic Disciple’, released through the UK powerhouse High Focus Records, and featuring appearances from some of the finest vocalists in the country.

When your minute and a half long intro is released as a preview for the LP on YouTube some weeks before the full length drops, and people are as gassed over it as they would be a structured single, you know you’re doing something right. The anticipation for Leaf’s sophomore solo effort has been huge, especially with the abundance of quality material he has given us since 2011s ‘From A Scarecrow’s Perspective’, and the follow-up gets underway with a bang. ‘Big Ego’s’ is a soulfully driven track with melodic keys spliced between the crunchy drums and soaring string samples; Leaf is a superbly skilled beatmaker, but he is no slouch with the pen either, as he delivers raw and honest opinions throughout the ‘Dyslexic Disciple’ album.

The raw, punchy ‘Know Myself’ is an early highlight. The confident delivery, the identifiable lyricism and the smooth, flawlessly executed instrumental are the ingredients of this flavoursome dish that blend together seamlessly, making for a perfect showcase of the signature Leaf Dog sound.  The crisp, soulful and reflective vibe of ‘Today’ is classic, golden era influenced hip-hop at it’s best, and the distinctive style of his subtle production is wonderfully engaging with soaring strings and emotive vocal chops. Joe Corfield contributes an inventive, silky instrumental for the jazzy standout ‘All In One’; the intricate plucked guitar and crisp drums are a perfect backing for Leaf’s energetic, charismatic lyricism.

Fellow RLD representative Smellington Piff appears on the emphatic ‘Pro Cultivation’, and smokers around the country will be keeping this one on repeat for months to come as Leaf and Piff deliver intoxicated verses at an insanely high potency. The rousing call to MC’s around the country on the single ‘My Scene’ is dope too; the anthemic horns and head-banging percussion makes for a definite standout, and the message is sure to inspire upcoming lyricists to continue on their quest to produce quality British hip-hop music. Revered LDZ MC Dabbla accompanies on the lively ‘Good Times’, setting up a strong selection of collaborations to close out the ‘Dyslexic Disciple’ album in stunning fashion.

‘Last Laugh’ features fellow Brother Of The Stone BVA along with the legendary Jazz T, and the stuttering, old-school beat is a fitting backdrop for the authentic, hard-hitting vocals and sublime cuts. The following track ‘The Reminder’ also features BVA; the chemistry the two spitters have is instantly apparent and unrivaled by their peers, and this is a prime example. If that wasn’t enough though Leaf recruits the off-kilter extraordinaire Kool Keith to deliver a characteristically entertaining verse over the raw self-produced instrumental, and surely this is the cherry on the cake. Don’t speak too soon though; the album closes out with the breathtaking cypher entitled ‘The Legacy’. It features a selection of the finest writers in the UK scene, and Leaf can also boast that he had both Phi Life Cypher and Task Force on the same track in 2017, and who ever thought that would be possible.

 Banging beats, a unique voice and clear hip-hop enthusiasm and appreciation runs through the ‘Dyslexic Disciple’ album from beginning to end, and the high standard that the High Focus label holds itself and its artists too continues with this emphatic release. Leaf Dog has produced a quality LP here, and the resources he pools (both in terms of rappers and producers) make for a cohesive album that is sure to satisfy any boom bap aficionado. Stop whatever you’re doing and go and support this release, and please Leaf, let’s not make it another six years before the third one.

By Sam Bennett

@TheRealPP

@LYTEWORK

@MCLeafDog

http://www.facebook.com/LYTEWORK

http://www.high-focus.com

Advertisements

Jam Baxter – Mansion 38 (Review)

Jam Baxter, Reviews

With his fourth full length studio album, revered MC Jam Baxter delivers creative lyricism and imaginative angles in abundance on ‘Mansion 38’, the latest release from the insanely talented High Focus Records. The LP is orchestrated by the versatile producer Chemo, and the pair continue the groundwork they started on Baxter’s last album ‘…So We Ate Them Whole’, but things get a little more gloomy this time round.

Opening with the anthemic and traditionally vivid ‘Down’, the tense, overcast and encapsulating ethos of the album is instantly apparent. Chemo’s synthetic, glitchy production moves seamlessly with Baxter’s unique structure and dense lyricism. ‘Dumb’ features Trellion and Lee Scott, and the combination is as witty as you would imagine. Trellion has been on an incredible run recently, and the slow-moving boom bap is perfect for the cleverest dumb bars you’ve heard since the last Trelli verse you clocked. The double-time flows and sparse beat is a brilliantly successful formula for the cinematic ‘For A Limited Time Only’. The Contact Play MC blends a mixture of weird imagery and complex, layered writing with a cocky, street-smart vibe that makes his material wildly entertaining.

The trapped out ‘Soi 36’ is an absolute banger; the single from the album exemplifies Baxter’s flawless ability to mix an unashamedly leftfield vibe with a current, accessible presentation. Lee Scott appears on the flawless ‘Titanic 2’; the bouncy, pounding instrumental, skippy, imaginative flows and cutting, satirical lyrics make the swagged-out track a standout. The charisma on display here from two of the UK’s leading artists is a testament to the talent on offer from the crop of MC’s active right now, and High Focus is a well oiled platform for these wordsmiths to shine. ‘Just Us’ is a characteristically off-kilter introspective cut, and Jammothy’s rugged lifestyle is described in great detail over a bouncy Chemo soundscape. The use of the word ‘shmerkle’ in a bar also deserves respect in it’s own right.

‘Bulletproof’ is a highlight, and the silky piano-based beat is perfect for Baxter’s smooth flow and eclectic bars; he drifts from topic to topic seamlessly and with an underlying gritty undercurrent to his writing. Fellow CP spitter Dirty Dike accompanies on the crisp ‘Chateaux In Toulouse’ which also finds fellow Dead Player Dabbla killing his verse, as is always the case for the veteran MC. The collaborations sprinkled across ‘Mansion 38’ are utilised excellently, and the album maintains it cohesion throughout, and the gifted Chemo must get a lot of the credit for that. The sophisticated ‘Teeth Marks’ is expertly executed with complex lyrics lacing the sporadic drums and haunting synthwork, filling the space with finesse and masterful precision.

‘Mansion 38’ is a exhilerating album that gives a fascinating insight into one of the most creative and talented lyricists of our generation. Jam Baxter has been quietly growing his stature in the UK scene (possibly the cringiest sentence on this blog yet), with a string of quality releases, and this LP solidifies his place as one that is surely to continue his ascent with future work. As diverse as they come, Baxter is such a clearly gifted lyricist, and Chemo such an amazing producer, it’s really no surprise at all that this is an early contender for album of the year.

By Sam Bennett

@TheRealPP

@LYTEWORK

@ActualJamBaxter

http://www.facebook.com/LYTEWORK

http://www.high-focus.com

Fliptrix – Patterns Of Escapism (Review)

Fliptrix, Reviews

‘Patterns Of Escapism’ is Fliptrix’s sixth solo LP, and it finds him partnering with RLD beatsmith Illinformed for the entire project. The mature, intellectual lyrical style is perfectly suited to the raw, soulful production style, and this is an album that stays true to the ethos of real hip-hop from the moment you press play on the first track. The High Focus founder rounds off a very productive year for the independent giant with his own project, and it once again proves why HF is one of the most revered and respected labels in the country.

0008571252_10

The album gets underway with ‘Astral Paining’; the beat kicks in with a smooth, classy loop and crisp, jazzy drums and Fliptrix sounds mature, experienced and powerful with a commanding delivery and intricate writing. Imagery, metaphors and a reflective outlook are some of the main ingredients in Big Flipper’s style, and they are exemplified brilliantly on this opening track. The title-track follows and it’s another resounding beat with skilfully executed bars; Fliptrix opens the tune with “I stay spitting ’cause i’m outspoken/I’m at the pub outside in the rain smoking/Mans are on the inside clucking getting coke in/It’s been a long fucking day like the summer solstice”. Illinformed is a wizard on the buttons too, with effective, emotive samples and hard-hitting percussion providing an exhilarating backdrop for the ferocious bars.

Veteran UK hip-hop artist Kashmere accompanies Flips and Illinformed on the banging ‘Smoke Lingers Away’. With an authentic nineties influenced beat infused with chopped vocal samples and one of the punchiest kicks you’ll hear all year Fliptrix and King Kash go to work on this one, resulting in one of the LP’s standouts. The raw ‘The Lion’s Den’, with it’s groovy bass and interplaying samples, is another highlight, and ‘Thunder Clouds’ too is a flawless, tasteful cut that pays it’s due respect and homage to the classic music that has so clearly influenced both rhymer and producer. Respected rhymer Life MC accompanies on ‘Diamond Tone’, and it also features DJ Sammy B-Side on the cuts, but it’s Illinformed that shines on this one with a beautifully orchestrated instrumental that draws on a simplistic vocal loop and mellow piano keys; subtlety is a key tool in the RLD beatsmith’s arsenal, and it’s used perfectly here.

The upbeat, anthemic ‘One Time’ is a huge track; with it’s screwface-inducing sample chops and intricate lyricism the partnership and chemistry that Illinformed and Fliptrix draw from is energetic and enthralling. Ocean Wisdom appears on the fantastic ‘Burn It’, with it’s hard-hitting, simplistic bassline and jazzy piano keys which are silkily sprinkled across the crisp boom bap banger, complimented by uptempo, energetic lyricism from both the High Focus veteran and the hugely exciting newer addition to the label. Smoked out single ‘The Chronic’ is a classic Fliptrix banger, and Verb T, Leaf Dog and BVA join on The Four Owls standout ‘That’s You’. The star-studded feature list continues on ‘High Focus’ as Verb T and Dabbla accompany Flips on a track that represents the independent label to the absolute maximum.

The album’s intensity and cohesive vibe continues with the oustandingly raw ‘Disorientated’, which is laced with expertly chopped brass samples and thumping percussion; Illinformed proves himself as one of the best producers in the country with his work on this release. The rapid-fire, intricate schemes of ‘The Poltergeist’ make for an exhilerating listen, and Fliptrix’s savage, commanding delivery makes the track a late highlight. ‘Spread Peace Around’ is a fitting album closer; the soulful beat and positive message fit with the running theme of the LP, and serves as one last piece of evidence for the collaboration between Big Flipper and Illinformed being one of the most successful partnerships of the year.

There’s very little left to be said; pretty much every track on here is a straight up banger, and the rhymes and beats are on point from front to back. The album is cohesive and consistent with a variety of themes and topics, always delivered masterfully by one of the most skilled writers in the scene. As we reach the end of the year, we can look back on a number of fantastically dope High Focus releases, and 2017 is sure to bring us more of the same.

By Sam Bennett

@TheRealPP

@LYTEWORK

@MrFliptrix

http://www.facebook.com/LYTEWORK

http://www.high-focus.com

Dabbla – Year Of The Monkey (Review)

Dabbla, Reviews

Dabbla is one of the most formidable rappers on the circuit. He’s been a staple figure in our homegrown scene for years and represents a number of crews (LDZ, Problem Child and Dead Players), but 2016 is finally the year that he stands on his own two feet for an entire project. ‘Year Of The Monkey’ is released through High Focus Records, and features appearances from Dirty Dike, Cobes, Jam Baxter and more, as well as production from Ghosttown, Sumgii and Naive.

a1443835615_10

The LP opens with ‘Everything’, and from the moment the jazzy keys and Dabbla’s tight, precise flow and witty content kick in it’s clear that this is going to be one very impressive project. Tom Caruana produces the following tune, entitled ‘Supermodified’, and Dabbs delivers his lyricism with his signature bounce; the multisyllabics, humourous content and sheer speed of his MCing is wildly entertaining. ‘PterdactILL’ is an undisputable banger, and Ghosttown exploits his penchant for off-kilter eastern samples for the fantastic production.

‘Cheers’ is preempted by some guy telling Dabbla that ‘it’s all about dubstep’, and the track itself is uptempo, bouncy and ferociously energetic with a deep, hard-hitting bass. By now you’ve all seen the excellent visuals for ‘Randeer’ and the quirky cut is still a great addition to the tracklist here. ‘Incomparable’ features flawless rhymes and great production, as well some pretty weird imagery being conjoured up by Dabbla’s writing; he spits “2Pac isn’t dead you mug and Biggie’s on the moon/they got Jimi Hendrix on the decks and Whitney on the spoon”, and who else could drop that on a track and make it sound as good as it does here.

‘Penis For The Day’ features Dirty Dike and Dubbledge, and it’s a dope mix of styles and flavours over a slow-moving, groovy beat contributed by Naive. ‘Stupid’ is another well-received single from the LP and the skippy flows and percussive delivery from Dabbla makes for a really strong cut. ‘Spin’ is a nice collaboration with fellow LDZ representative Cobes, and the tongue-twisting patterns and unorthodox rhythms are expertly executed over a glitchy instrumental. These two spitter’s sound perfect on a track together, and if this solo album isn’t enough to satisfy your fiend for Dabbla material, a new LDZ project is also rumoured to be on the way.

I’m not going to go into any detail about ‘Get It’ which features Ocean Wisdom but to say both MC’s performances are outstanding, and if you weren’t impressed with Ocean’s impeccable rapid-fire lyricism before, there’s no doubt  that you will be after hearing this. Jam Baxter appears on ‘Vomit’, which is produced by Ghosttown; what is so good about this cut is that it doesn’t sound like a Dead Players leftover as the trio deliver an upfront and in your face stomper with this one. ‘Butterfly’ is a little more restrained than the majority of tracks on here, but not too many MC’s can pull off a 6/8 time-signature with the ease that Dabbla does here. The LP closes out with the amazing ‘Life Line’ which takes us on a journey from Dabbla’s birth to the present day and beyond in an amusing and impressive fashion.

‘Year Of The Monkey’ is fantastic. There’s not a weak track, weak verse, weak beat or anything at all weak on this LP. The rhymes are on-point, and the vibe of the beats create a cohesive vibe for the LP; with a variety of producers (some of which take the production in some pretty weird directions) Dabbla ties these tracks together with his unique and memorable style. The LP drops tomorrow, so get up early and go and get it.

By Sam Bennett

@TheRealPP

@LYTEWORK

@BigDabbla

http://www.facebook.com/LYTEWORK

http://www.high-focus.com

Philly B – Let It Play (Review)

Philly B, Reviews

Producer Philly B releases his new album ‘Let It Play’, which features Jam Baxter, Dirty Dike, Dubbledge and Dabbla, amongst many more. The album showcases Philly’s versatile production style, which draws from a range of influences to create a diverse and interesting soundscape.

a0530160995_10

The uptempo frantic drums and soulful vocal samples of the opening title track are a perfect match for the percussive deliveries and tight flows from Dabbla, Son Of Light and Dubbledge. Each MC compliments the production with their fast-paced and complex verses. ‘You Suck’ follows, and Dabbla kills it on this solo track; his witty, tongue twisting style sounds excellent over the quirky sample, and the LDZ MC’s clarity is always impressive.

‘Belonging’ is a highlight from the album; the posse cut features Dabbla, Stig Of The Dump, King Kaiow and Jam Baxter, and the simplistic instrumental and hard hitting snare back confidently delivered lyrics from each rapper. The restrained and subtle production on ‘Never’, which features Contact Play representatives Jam Baxter and Dirty Dike, make for another standout. The vivid verses are well structured by both MCs, backed by reserved drums and cool sample work.

‘Love’, which features Mikey D.O.N. of Krispy 3, is dope. The summery vibe and crisp drums show Philly B’s skilfully versatile talent behind the boards, complimented brilliantly by Mikey’s vocal. The final track is ‘Money 2 Da Rescue’, and this is my favourite track by far, not only of the album but of the year as a whole. The electronically driven production is a perfect match for Dubbledge and Dabbla’s relatable lyrics (Dabbla’s verse will ring true with a huge amount of heads), which paint a scathing view of our society with wit and passion.

‘Let It Play’ is an excellent project from Philly B. The scope of the production is wide-ranging, and the lost of features extensive and well selected. With a variety of styles explored in terms of vocalists and instrumentals, Philly has dropped an exhilarating project in ‘Let It Play’, and play it you certainly should.

By Sam Bennett

@TheRealPP

@LYTEWORK

@PhillyBDriven

http:/www.facebook.com/LYTEWORK

http://www.phillydriven.com

Dead Players – Freshly Skeletal (Review)

Dead Players, Reviews

Dead Players, a trio consisting of rappers Jam Baxter and Dabbla, and Ghosttown handling the production, release their second full length album ‘Freshly Skeletal’ through High Focus Records. With their 2013 self-titled debut LP, Dead Players carved their uptempo, no holds barred niche and delivered impressively. This follow-up continues that trend, but with a somewhat darker overall vibe.

Dead Players - Freshly Skeletal Front Cover

Starting the album off is ‘Oh Well’. The track is perhaps a little slower in pace than to be usually expected from the ultra-energetic trio; Dabbla and Baxter announce their return with cocky and confident microphone presence and complexly structured lyricism, and Ghosttown’s haunting, mysterious production is as up to scratch as ever. The Dead Players have such a unique and forward thinking sound, and this is a testament to the depth of High Focus’ versatile roster. ‘Billa’ is more what I expected; the resounding and frantic production and the aggressive in-your-face spitting creates a high octane track.

‘Nah’, the follow-up to ‘Yeah’ from their first album, is a prime example of Ghosttown’s production talents. Flipping abstract samples to create energetic anthems such as this shows his creativity and skill, and Dabbla and Jam Baxter are two of the only MCs on the circuit who could tackle some of the production on this album with such pace and precision. ‘Call Us Now’, the first single from the album, shows the Dead Players’ charisma and humour, as well as the sheer unstoppable force of Dabbla’s percussive flow. His work in LDZ has always impressed, and his clarity and accuracy on a rhythm is second to none.

Jam Baxter’s imagery laden detailed writing is as sharp as ever on ‘Freshly Skeletal’, and the glitchy, intense ‘Ringing’ is a perfect example. Both Baxter and Dabbla’s authoritative presence makes this LP convincing and entertaining from front to back. ‘Infinite Limousine’ is a fantastic posse cut, featuring Sox, Ocean Wisdom, Illaman and Orifice Vulgatron; the line-up is exciting as it is, and the rapid-fire back-to-back exchange of bars is witty, lively and lives up to expectation. ‘Cooked’ has another exceptional beat from Ghosttown; his resources for sampling are unique, and Dabbla and Jam Baxter’s intricate rhyming are in-the-pocket at all times.

‘Freshly Skeletal’ is another energetic showcase from Dead Players. Dabbla’s work in LDZ has made him a longtime favourite of mine, and Baxter’s solo work is incredibly original in its own right, and together they bring an eclectic sound to the Players. Ghosttown’s production is excellent throughout the album; his unique touch makes the album cohesive and exhilarating. High Focus have smashed it out the park, as per usual.

By Sam Bennett

@TheRealPP

@LYTEWORK

@DeadPlayers_UK

@ActualJamBaxter

@BigDabbla

http://www.facebook.com/LYTEWORK

PRE ORDER ‘FRESHLY SKELETAL’ ON CD: http://bit.ly/1NLOIIW
PRE ORDER ‘FRESHLY SKELETAL’ ON LIMITED EDITION VINYL: http://bit.ly/1MIwfOC
PRE ORDER ‘FRESHLY SKELETAL’ DIGITAL: http://bit.ly/1NLPp51
ORDER ‘CALL US NOW’ ON iTUNES: http://apple.co/1JpcYu8
ORDER ‘CALL US NOW’ ON BANDCAMP: http://bit.ly/1MIwARz

Dirty Dike – Sucking On Prawns In The Moonlight (Review)

Dirty Dike, Reviews

First off, what a title. Dirty Dike’s fourth album, his third on High Focus Records (every review I try to find a new way to big them up but you must get the picture by now), is the latest installment in a productive year for the Cambridge rapper. Well, Cambridge musician. With recent projects with Rag N Bone Man and Lee Scott highlighting his talents in the production sphere, and an album with Ocean Wisdom set to be the next in the list later this year, Dike has been expanding his arsenal. This album features a maturer outlook, still with his trademark brand of lyricism, and a couple of production credits too.

Dirty Dike - SOPITM - Front Cover

The opener, ‘Great Attempt’, is a storming start to the album. With a dark, restrained beat backing complex rhyme schemes from Dike, who both exhibits the familiar character traits we’ve come to associate synonymously, as well as a more serious side in a reflective, self-referencing verse. His flow is melodic and musical, and Fliptrix takes the track on a story-telling tangent, using great imagery in his writing. The depth to both MC’s verses is perfectly suited to the cinematic piano based instrumental, produced by Sam Zircon and Naive, and when the drums finally kick in after both Dike and Fliptrix have finished their verses the impact is big. Dike marks his return to the microphone with a bang.

‘Alcoholic Tosser’, produced by fellow Cambridge musician Chairman Maf, who released the quality instrumental album ‘Paint’ last year, is the second tune. The infectious, almost spooky beat, complete with the sound of a creaking door, is really memorable and the crisp drums back Dike’s cocky delivery emphatically. ‘Ain’t Got A Clue’, the first single from the album, marks a return to Dike’s signature lyrical style; aggressive and witty with a healthy serving of attitude. The production on this track, handled by Joe Corfield, is a turn away from his past work though, with a clear electronic influence that helps take the track to the next level.

‘Isleham Swamp’, the second single from the album, is also produced by Joe Corfield. The subtle instrumental backs pensive and retrospective musings from Dike. It’s a world away from ‘Return Of The Twat’, and Dike shows this different perspective and style across ‘Sucking On Prawns In The Moonlight’. The Remus collaboration, entitled ‘Take Over’, is a definite highlight; with an Eastern influence in the Sitar laced beat, as well as incredibly punchy drums, this track marks the first in four adjacent tracks showcasing Dike’s production talents.

‘Me & You’, featuring Jam Baxter, is my favourite track on the album. The beat is catchy and classy, and the theme of comparison is executed in a witty manner by both Contact Play MCs, with melodic deliveries and genuinely funny lyrics. ‘Crystal Cindy’ and ‘Feast’ are both insightful songs, each dealt with skilfully, honestly and passionately. This openness continues on the penultimate track. ‘Hold My Hands’ is slow-paced, with great sample work and production from Klagen. Dike’s electronic influence and direction on this album is refreshing, and it’s a stylistic change that works brilliantly. ‘Remus, Ocean Wisdom, Jam Baxter, Lee Scott and Dabbla join Dike on ‘Posse Gang Eight Million’. Both the previous cypher cuts on Dike’s last two albums have been quality, and the grimy beat and up-tempo verses make the album close out with an absolute bang. I said that at the beginning right?

‘Sucking On Prawns In The Moonlight’ is a fantastic release. It marks a new chapter in Dike’s sound and direction. The album is a lot more personal than his previous work (Sloshpot EP aside), and the change in emphasis is one that is successfully executed, and it remains interesting from start to finish. The style of the album musically is exciting too, with textured instrumentals, with a variety of moods and vibes explored. Dike’s writing is sharper than ever. I could go on but I reckon that’s probably enough compliments for one day.

By Sam Bennett

@TheRealPP

@LYTEWORK

@DirtyDikeSMB

http://www.facebook.com/LYTEWORK

http://www.high-focus.com

Problem Child – Confessions Of A Normal Human Being (Review)

Problem Child, Reviews


Problem Child, comprised of Illaman, Dabbla, Dubbledge & Sumgii, have arrived with their debut full length project, and its 15 tracks are guaranteed to give you all the energy you need for the day, and more to spare. Sumgii contributes bass heavy, frantic production, with the 3 MCs demonstrating their furious flows on every one of these energetic tracks. 

artworks-000086205027-y5wcqm-t500x500

Confessions Of A Normal Human Being is packed with uptempo, grime and dnb influenced instrumentals, and Illaman, Dabbla & Dubbledge smack the beats to pieces consistently. Dabbla’s ‘Night time socialist, I’m slight bipolarish’ is just one of the standout bars on ‘Fireman Sam’. The hypnotic synth lead line on this track, as well as a deep swelling bass, provides an aggressive backdrop for the ferocious flows of 3 UK MCs who have long been active in the scene, releasing consistently heavy music.

‘Fully Fledged’ uses the beat heard on Problem Child’s SBTV cypher video, and Dabbla absolutely smacks it to pieces. His work in Dead Players & LDZ has always caught my attention, since his flow consistently matches whatever beat he is spitting on perfectly. Dabbla also specialises in witty punchlines and multisyllabics; he possesses every tool necessary to be an incredible MC.

The first single from the album, ‘Sheep’, is a straight up, dubstep influenced, lose all your inhibitions stomper of a song. Dubbledge always brings a certain swagger to a verse, and has always had an excellent presence throughout his career. His versatility has always been outstanding, and it shows once again in his work as part of PC, sounding just as at home over the more uptempo production of this album as he does on straight up UK hip hop. All 3 MCs tear this track apart, Illaman’s verse being a standout in my opinion, and Sumgii is an absolute monster for this beat!

“When life gives you lemons…motherfucking smoke them!’ says Illaman on his solo cut ‘Woddle’. This album stands apart from so much other UK hip hop out there, since it is unashamedly filled with songs perfect for wilding out too. The more conscious side of the genre is all well and good, but it’s so refreshing to hear an album packed back to back with tracks that will undoubtedly get you amped up beyond belief; and every so often a bar comes along that is so in tune with this vibe it’s uncanny, such as Dabbla exclaiming ‘I get pilled out my face raving to fast trance’ on the fantastic ‘7 Days’. It certainly seems like Problem Child are describing a completely opposite week to Craig David’s track of the same name!

This is a very sick album. Sumgii is an incredible producer; he’s been behind some quality beats for Piff Gang and LDZ, amongst others, and he provides the soundtrack for this whole album, keeping the energy levels at a very high level, even without considering the ferocious flows of Dabbla, Illaman & Dubbledge. Problem Child are promoting the party vibe, and this album should definitely be the soundtrack to your next session!

By Sam Bennett

@TheRealPP

@ProblemChild_UK

http://www.potentfunk.com