DJ Rhum’1 – Musical Surgery (Review)

DJ Rhum'1, Reviews

French beatsmith and Shark Records representative DJ Rhum’1 releases his ‘Musical Surgery’ LP, and it continue his trend of uncut, rough and dark boom bap. An assortment of underground spitters contribute verses to the project, and the cohesive collection is one of the more under-the-radar releases of recent weeks.

‘Styles Upon Styles’ is a perfect example of the hard hitting, relentlessly raw boom bap on display here. Rhum’1 recruits frequent collaborators British wordsmith Samuel Tafari and dope spitter Seiza, who each bring banging bars over a gritty beat laced with strings and pounding drums.

Long Island lyricist Ixion Form and Toronto MC Swann Flu kill the epic vocals and piano lines of ‘Guilty Conscious’. Their gravelly tones, heartfelt delivery and passionate content build to a crescendo before cutting out to a mellow finale, and the recruitment of DJ Trickalome is the icing on the cake.

The brutal beat of ‘War Torn’ is the epitome of in your face and aggressive, and underground lyricists Xplicit Content contribute an exhilerating performance. The harsh tones and raw rhymes are a perfect match for the tense instrumental, and the combination of punchline heavy verses and orchestral production make this one a definite standout.

The piano-driven boom bap of ‘Paid Dues’ finds Rhum’1 showcasing a mellower style, and the melodic samples back duo Poet On Drugs, comprised of technical writers Rated R and J.A.I. Pera, as they spit with confidence, clarity and undeniable skill. The stacked ‘Throats Cut’ is a great penultimate track, and the vast array of lyricists on display is sure to keep this on any rap fan’s rotation.

‘Musical Surgery’ is an onslaught of hard-hitting beats and equally rugged rhymes, and the consistently banging drums keep the head nodding throughout. Some of the production is a little basic, and at times repetitive, but when the battle-themed verses keep coming at an alarming rate, it’s hard to imagine any other kind of soundtrack. DJ Rhum’1 knows his style and his audience, and he recruits some talented vocalists to complete the puzzle.

By Sam Bennett





Kryptik – Necessary Evil (Review)

Kryptik, Reviews

Glasgow’s Kryptik releases his new album, entitled ‘Necessary Evil’, and it’s a blistering eight track ride. With passion and grit evident in Kryptik’s vocals, and unique electronic influenced production (he used to be a Drum & Bass producer which perhaps influenced the beats he chose for this), ‘Necessary Evil’ is in your face and textured.


‘Fight Club’ sets the tone for the project. It’s cocky, aggressive and loud, the writing is well structured and the delivery percussive; it’s everything you want in an opener. With piercing, acidic synth lines and punchy drums, the production helps the overall picture, accompanying Kryptik’s vivid lyrics perfectly. ‘Out In Tha Streetz’ (which comes complete with an instantly recognisable vocal sample) is a dense and bassy track, with an intense beat and an impressive, convincing flow from Kryptik. His rhyme schemes in the second verse are phenomenal, with multisyllabic and internal rhymes in abundance.

‘Malevolence in my melody/Says it on the front cover, evil’s a necessity’ says Kryptik on ‘Tear Tha Roof Off’, and his imagery laden lyrics are descriptively so. The way he crafts his syllables in his writing is really effective, and the content creative. The rawness displayed on ‘The Shit’ is believable, and the left-field sonics of the instrumental keep it interesting. The delivery of the lyric ‘keepin’ it rugged up up on the summit’ in the hook is also right on point; in face his flow always sits right in the pocket. The pounding production of ‘Flame Thrower’ sets your head nodding instantly; Kryptik’s tone makes for a good partner to the electronically themed, pulsating soundscapes found across the album.

‘Necessary Evil’ is concise and impressive. The ‘dirty’ (sorry, I’m cringing at myself too) basslines and punchy drums back Kryptik’s hard hitting vocals, and his writing is always well structured and complex. It was a good call to make this a short project too; there’s not a huge range in the vibe on the tracks here, but at eight tracks the pace and aggression doesn’t get boring for a minute. Check this out.

By Sam Bennett