Morriarchi – Buggzville Sessions (Review)

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.

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

Herrotics – Fathead (Review)

Manchester collective Herrotics deliver a blistering, noisy, abrasive and impassioned release with ‘Fathead’, which dropped recently through UK hip-hop powerhouse Blah Records. The album takes you through an industrial journey, with the force of the production never lapsing, creating a mood and vibe that is consistent, cohesive and will keep you coming back time and time again.

The spacey, left-field soundscape created in the background of ‘Dumb’ is a prime example of the weird, wonderful and persistently entertaining style that Herrotics have mastered. ‘Tape’ follows, and is one of the standouts of the project for me, with dope vocal samples, emphatic electronic percussion and distinctive Mancunian swagger.

The up-tempo, abrasive ‘Rab’ is great, with cutting, harsh synthesizers and a bouncy drum pattern and crisp kicks. ‘Soge’ is potentially my favourite track however. Maybe the more soulful, boom bap side is simply more in my comfort zone, but that doesn’t take away from the more experimental cuts on ‘Fathead’, as the diversity shown is refreshing, along with the stylistic choices.

The pacey, on point flow displayed over the hard hitting drums and infectious riff of ‘Doze’ make it another highlight of the album. Herrotics certainly have an individual take on British rap music; this is incredibly individualistic, carving its own lane amongst a vast amount of samey acts. The album finishes with the title track, and the hard hitting, gritty drums make this one another favourite.

‘Fathead’ is dope. With a consistent theme and sonic experience, Herrotics and Blah Records are definitely onto a winner with this one. The production, whilst definitely on the experimental, electronic side of the spectrum, will also keep your head nodding, and the raps are first class too. Also, the album is very much on the short side, at only eleven tracks, with just one being over three minutes, and this definitely has a part to play in the overall enjoyment that can be found when listening to ‘Fathead’ in one sitting. Get this in your life.

By Sam Bennett

@TheRealPP

@LYTEWORK

http://www.facebook.com/LYTEWORK

https://www.herrotics.bandcamp.com/

http://www.blahrecords.com