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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Danny Lover – The Church Restaurant Official Soundtrack (Review)

Danny Lover, Reviews

Canadian musician Danny Lover blesses us with his latest full length project; ‘The Church Restaurant Official Soundtrack’ is a ten-track release fresh for 2017, and he partners once again with prolific underground British label Blah Records for the LP. Danny’s eclectic, experimental style has won him the attention of listeners across the globe, and this project is sure to capitalise on and further increase the stature he already enjoys.

The eery piano keys that punctuate the off-beats on ‘Secrets’ are a masterful touch on an early reminder of Danny’s super-swagged out style. The raw, slurred vocals are effortlessly delivered over the under-water vocal samples and shuffled drums, and the Blah Records MC exhibits his truly unique technique the whole way across the LP. Revered Sheffield lyricist and Bad Taste Records representative Trellion appears on the gorgeous, soulful ‘Skinny Pimp’. Lover and Trelli are both renowned for their super-slow flows (if you’re not a fan, Danny’s calling you out on here), and the smoked-out vibe is expertly handled.

The rising trend in cinematic, subtle beats with no drums is a welcome new tradition in hip-hop, and Danny seamlessly delivers his vivid lyrics on a simplistic string-based production on the emphatic ‘Lex’. It’s not easy to make this sound so fluid, and it’s a true testament to the Canadian spitter’s ability and natural charisma that this is one of the album’s finest. ‘Rare Nirvana’ features fellow Blah heads Salar and Lee Scott, and the witty, sing-a-long chorus is partnered with verses packed with banging punchlines from the dope line-up of MC’s dropping with precision over a dreamy instrumental. The penultimate tune ‘Rose Garden’ is a mellow, jazzy number; the dusty drums, gracious sax and melodic vocal blend to make a stunning cut in the closing stages.

The consistent, absorbing vibe on ‘The Church Restaurant Official Soundtrack’ makes the album wonderfully hypnotic; Danny commands a great vocabulary, and encompasses vivid imagery, slick punchlines and a charismatic demeanour that makes this latest release a resounding achievement. Blah Records have done it again, and with a few more months left in the year, the prolific label is bound to have a couple more things up it’s sleeve.

By Sam Bennett

@TheRealPP

@LYTEWORK

@PoppaXanny

@BlahRecords

http://www.facebook.com/LYTEWORK

http://www.blahrecords.com

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

 

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

Strange U – #LP4080 (Review)

Reviews, Strange U

High Focus are back, and kicking off 2017 is Strange U, one of the most dynamic, exciting and off-the wall weird groups we’ve heard for a long time. Veteran MC Kashmere partners with equally revered producer Dr. Zygote for an album that is wildly entertaining, vividly imaginative and downright banging from front to back.

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‘Terminator Funk’ is a bouncy, hard-hitting opener, and Kashmere’s precision and enthusiastic delivery is sublimely delivered over a glitchy, instrumental laced with off-kilter cymbals and textured synthesizers that are as frantic as Kashmere’s perfectly executed flows. Blah Records representative Lee Scott appears on the raw single ‘Bullet Proof Mustache’, which is complete with references that are both insanely amusing and undeniably strange, a theme that is a common characteristic of both Strange U and Dr. Scott’s material, so it’s no surprise this track is as successful as it is.

The outlandish imagery and creative punchlines continue on the brash, relentlessly thumping ‘Shots’; the aggressive, in-your-face tone of the album is matched with plenty of unorthodox, futuristic content. Zygote’s grimey bassline and crunchy drums back King Kash as he drops with effortless authority over a tough instrumental. Leftfield samples and instrumentation continue on the blistering ‘Cimmerin Shade’; Zygote expertly crafts cinematic, electronic production that pounds and pounds with crisp drums and inventive synth-work.

‘Grizzle’ is a potential highlight; the funky production with a deep bassline and brilliantly inserted sound effects create a space-age soundscape and Kashmere’s braggadocio raps and laced with quotables only he can bring; “nephilim brains on large barbecues” is a surefire case in point. The ecologically aware ‘Eden’s Husk’ features a traditionally impeccable verse from legendary UK lyricist Jehst, and the thought-provoking, social commentary is delivered in typically eccentric Strange U fashion. The assault of surreal lyricism continues, and the quirky production and bizarre sci-fi-themed verses of ‘Hank Henshaw’ is another compelling cut from ‘#LP4080′; the LP is inspired, and is further testament to High Focus’ increasingly extensive and always impressive roster.

‘Mumm Ra’ is an enthralling, crisp banger that exudes raw attitude and charisma from both producer and MC. High Focus head-honcho Fliptrix appears on the wonderfully sparse ‘Illuminations’, and the entertaining, energetic flows from both Kashmere and Flipper make it a late highlight. ‘Waste Of Space’ is an instant headbanger, with funky double-bass riffs and powerful drums, and the album closes out in sublime fashion with ‘Zuul’, which also features legendary Nottingham MC Cappo who drops an absolutely huge verse on ‘#LP4080’s finale.

There’s not a moment on here that doesn’t hold your attention, and Kashmere and Zygote’s unashamedly weird and off-kilter creation is one that will have you repeating again and again. There’s a great blend of social commentary and hard-hitting bravado in the lyrical content, and the relentless tone of the production allows ‘#LP4080’ to maintain a very impressive level of cohesion and consistency. High Focus have got off to a fantastic start of the year with this release, and with Jam Baxter’s ‘Mansion 38’ just around the corner, 2017 is going to be a very exciting twelve months for the independent powerhouse.

Black Josh -Ape Tape (Review)

Black Josh, Reviews

Blah Records haven’t stopped working this year; 2016 has been filled with an abundance of dope projects from the independent powerhouse, and Black Josh’s highly anticipated LP ‘Ape Tape’ continues the trend. The Mancunian MC has a diverse style, and has been building his buzz steadily through some successful projects such as the ‘Smoking Kills’ EP, as well his work with 0161 crew Levelz, and this is a concise release to close the year out.

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Josh kicks things off with ‘Yung Ratchet’, which is preceeded by a vocal intro from our evening’s host, Manchester legend Chimpo; the trapped out production and cocky vocals are executed with confidence and undeniable energy, and the incredibly simplistic ‘yeah, yeah, yeah, yeah, yeah, yeah’ chant in the hook is guaranteed to nestle itself in your ears in the days after hearing it. Cult Mountain feature on ‘Gezuntight’, and it’s is an early highlight; with swegged out lyricism, wavey flows and a slow-moving, looming beat this is classic 616 material, and the kids are bound to be hooked on their unique sarcastic take on synthesized ignorance. Milkavelli, Lee Scott, Trellion and Black Josh all come correct on this cut, with far too many quotable lines to count.

‘Lo Fi’ has a clear traditional, nineties influence, and Josh recruits frequent collaborator and fellow Mancunian MC D’Lyfa Reilly for the smooth, laidback Clay-produced track. The raw, energetic follow-up ‘Henne Boize’ is a standout from ‘The Ape Tape’ with crisp drums, funky bassline and an infectious sample-loop; Black Josh’s ability to deliver witty lyricism and flow with precision (bars) over various styles of production is very refreshing, and this makes the project consistently entertaining, and keeps the listener on their toes. The more restrained approach continues on ‘Riches’, before the project closes out on the excellent ‘Late Night Walkin’

‘Ape Tape’ is an eclectic project; it’s polished and enjoyable from front to back, and Chimpo’s hosting is certainly entertaining. No matter your stylistic preference, this release is guaranteed to have something to your taste, and Black Josh’s skill is such that even the most traditionalist boom-bap aficionado will be bouncing to the sounds of tracks like ‘Gezuntight’. Shouts to Blah for delivering the goods once more; we’ve still got a few months left this year, can they fit any more product in before we welcome in 2017? We’ll have to cross our fingers and patiently wait for the Cult’s plans to become apparent.

By Sam Bennett

@TheRealPP

@LYTEWORK

@BlackJoshAPE

@BlahRecords

http://www.facebook.com/LYTEWORK

http://www.blahrecords.com

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.

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

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