Review: Dr. Dre's The Chronic gave rise to such heavy-hitters as 'Nuthin' But A 'G' Thang' and 'Let Me Ride', but what about its many "reimaginings" over the years? With The Ghronic, released in 2023, West Coast rappers 38 Spesh and Conway The Machine can't be said to have laid down their own version more so than they did treat the Dre touchstone as a starting point, dropping a nine-track array of similar G-funk whistling lowrider bumps, readapted for the contemporary New Yorker, and yet with fresh lyrical themes and subject matters. Reissued two years later on green vinyl, after an initially white-sleeved run, the productions are ever clean and the flows lackadaisical. Features from Lloyd Banks, Che Noir, Benny The Butcher and Elcamino cement the bluffing rep of a brag-heavy machine duopoly.
Review: Long Island's Aesop Rock takes listeners deep into the everyday moments that blur the line between the real and the surreal on this, his 11th LP. Self-produced, the album's intricate beats and complex structures provide a perfect canvas for his expansive lyricism. Tracks like 'Movie Night' and 'Send Help' explore this liminal space, mixing reflections on the mundane with eccentric, dreamlike imagery. The production pushes boundaries, channeling a sense of both experimentation and coherence, while tracks such as 'Black Plums' evoke a quiet, wistful nostalgia. Aesop balances cerebral exploration with emotional depth, pulling the listener through his introspective world with both precision and spontaneity. Hailing from New York, his work continues to reflect that city's blend of chaos and contemplation, navigating between complexity and raw instinct. The album's guest featuresiLupe Fiasco, Armand Hammer, Open Mike Eagle, Homeboy Sandman, and Hanni El Khatibiadd distinct layers to the project, each bringing their own energy to the sonic landscape. '1010WINS (feat. Armand Hammer)' and 'Charlie Horse (feat. Lupe Fiasco & Homeboy Sandman)' are highlights where the collaborations are seamless, blending each artist's style with Aesop's own. Throughout, the work showcases his most technically accomplished efforts to date, weaving together complex ideas with an instinctive flow that makes for an album as ambitious as it is enthralling.
Review: Ladbroke Grove favourite AJ Tracey's highly anticipated third album arrives after a three-year hiatus and reaffirms his place at the forefront of rap. The record explores themes of ambition, resilience and living life to the fullest, reflecting AJ's journey from humble London beginnings to UK rap's pinnacle. Featuring viral hit 'Joga Bonito' and chart-topping track 'Crush' with Jorja Smith, who contributes two very different, equally stunning parts to that single, this is the sound of an artist who is still growing and joining his craft. His wordplay remains sharp and with and fuelled with fun cultural references and is sure to be heard banging from car radios, Bluetooth speakers and plenty in between all summer long.
Review: On their second release, Atelier Kamikazi continues to deliver raw, collaborative lyrics drawn from their experiences as street kids in Kinshasa, the capital of the Democratic Republic of the Congo. Like their debut on Seismographic Records, the group reflects on the harsh realities and surreal beauty of life in the city as they resist corrupt politics, challenge religious hypocrisy embodied by a figure they call "Priest Cat's Heart", and confront the dangers of "Bomb," a potent street drug. With vivid metaphors and unflinching honesty, they warn against its use while affirming their true tools for survival: words, wisdom and Loketo-the liberating hip-swing of Congolese dance.
Hey DJ/I Can't Dance (To That Music You're Playing) (3:15)
Boo Is Booming (3:20)
Boo's Boogie (3:20)
24 Hours (3:29)
Valentine's Day (4:40)
Doin' The Do (King John 7" mix) (4:08)
Doin' It To Def (4:32)
Don't Know What To Do (3:47)
Shame (5:04)
Mumbo Jumbo (3:40)
Leave Me Alone (4:44)
Review: Betty Boo's irreverent blend of pop, rap and dancefloor sass took UK charts by storm in 1990, and her debut album Boomania here returns by way of a deluxe edition digging as deep into that exact era-defining sound as can possibly be dug. Originally launched off the back of her breakout appearance on The Beatmasters' 1989 single 'Hey DJ / I Can't Dance (To That Music You're Playing)', Boo's first full-length reached number four on the UK charts and went platinum. This expander reissue compiles 12 originals and 14 bonus cuts, including multiple versions of the four hit singles, from the King John and Peter Lorimer mixes of 'Where Are You Baby?' to Vince Clarke's Oratonic mix of '24 Hours'.
Review: Mike Mitchell is an American drummer from Dallas, Texas, who records as Blaque Dynamite. He plays across jazz, hip-hop and fusion and has worked with greats old and new like Erykah Badu, Herbie Hancock and Kamasi Washington. As a solo artist, he has dropped two albums in the last two years, and Stop Calling Me from 2023 is one that now makes it way to vinyl. It is a wild ride between intense jazz workouts that recall Sun Ra, smoky deep house that taps into Detroit and downbeat explorations like 'I'm Not Trippin'' that are densely layered, textural and infused with a new kind of soul.
Dance (feat Phoenix Cruz & Charles Hamilton) (5:24)
Happy (feat Kota The Friend & RAP Ferreira) (2:25)
Knowledge (feat Triune & Tristate) (3:16)
Bible (feat Propaganda & PCH) (2:52)
Human (feat Homeboy Sandman & Asher Roth) (3:07)
Loser (feat Cashus King & Stik Figa) (3:10)
Joy (feat Fashawn & Choosey) (3:26)
Review: Los Angeles MC Blu reaches a reflective milestone with his latest, produced in full by Dallas-based August Fanon. Known for his cerebral delivery and dusty crate-digging beats, Fanon provides unfiltered soul loops - no drum programming, no frills - that frame Blu's verses with raw elegance. Across eleven tracks, Blu revisits themes of ageing, selfhood and faith, delivered in tight verses with a clarity that's unhurried but never static. 'Happy' enlists Kota The Friend and R.A.P. Ferreira for a loose meditation on gratitude; 'Simple', with Sene and Chester Watson, blends memory and melody with ease. On 'Love (1-4)', Blu assembles four different perspectives - Wyldeflowher, Geminelle, Yah-Ra and Lexxus - weaving them into a gospel-centred suite before Noveliss lands the closing verse. 'Bible' is stark and spoken, while 'Human' sees Homeboy Sandman and Asher Roth wrestle with vulnerability. Fashawn and Choosey close the set on 'Joy', trading lines like letters from a calmer future. The tone remains introspective but never heavy: even at its most spiritual, the record feels lived-in and warm. It's not a revival or reinvention - just a seasoned voice, quietly confident in its next chapter.
Review: Released in 1992, Grrr! It's Betty Boo marked a stylistic and personal evolution for Betty Boo, arriving two years after her platinum-selling debut (also reissued now through the Betty Boo estate). While it didn't replicate the commercial heights of Boomania, it still delivered a memorable top 20 single with 'Let Me Take You There' and offered a flurry of follow-ups including 'I'm on My Way', 'Catch Me', 'Thing Goin' On' and 'Hangover'. With its bold visual identity referencing Tigra cigarette packaging and a dedication to her late father, the album hinted at more introspective themes beneath the tongue-in-cheek flair. Critics noted its playful absurdity and inventive rhyming, while Madonna later lamented its lack of recognition, calling it "horribly ignored". Sad to say, this would be Boo's last album before stepping away from music some years.
Review: Released on June 28th, 2004, Afrodisiac marked a major shift in American r&b queen Brandy's sound as she moved away from longtime collaborator Rodney "Darkchild" Jenkins and embraced producers like Timbaland, Kanye West and Warryn Campbell. The record focused on Brandy's personal growth while addressing relationship woes and self-reflection in tracks like 'I Tried' and 'Who I Am.' The standout song, 'I Tried,' samples Iron Maiden's 'The Clansman' and features Brandy's most raw and emotional performance. The shift resonated with fans for its gritty, more relatable edge and remains her most well-received project.
Review: New York emcee Hassaan Mackey (Rawkus 50) delivers sharp, unfiltered lyricism, packing rhymes with onomatopoeia and raw street wisdom. Set to blackout beats by Detroit producer Apollo Brown (The Reset, Brown Study, Gas Mask, Clouds), we've the ideal backdrop here: deep bass set to the the crackle of well-worn vinyl. The result is a record on which we're given much more than our Daily Bread. Lyrical picturebooks of faded spirit photographs return like plasmic ghosts, each booing line steeped in a mood of eerie reckoning. Atonement lingers in every note, experience weighs heavy, yet a fierce hope burns through.
Review: More Chaos marks American rapper and record producer Ken's fourth studio album and shows a bold evolution of the distinct style he introduced on A Great Chaos. A pure solo effort with no guest features, the record sharpens his voice both lyrically and sonically and the production is handled exclusively by a close-knit circle of trusted collaborators, all of whom he's cultivated and refined across previous projects, and who give the album a cohesive, focused energy. With More Chaos, Ken expands the emotional and sonic range of what he's done before while staying true to the intensity that first defined his work. It's a sharpened vision well worth tuning into.
Review: Tom Caruana's Salsa Verde marks the seventh chapter in Def Presse's Crate Diggers series with KPM, built around exclusive access to the exalted library music production house whose reserves have fuelled hip-hop samplers, among others, for decades. A seasoned producer and multi-instrumentalist with a now 25-year track record, Caruana takes to the craft with easy motor automaticity, handling drums, keys, bass, and guitar himself, all while using samples for colour and melody rather than structure. The result is a rich, boom-bap-rooted album inhumed in live instrumentation, plus contributions from UK and US MCs. Caruana merges subtle humour, reflections on social media, and a refined, not overwrought showmanship.
Review: Chilean-born, Bristol-based Shanti Celeste has always brought a unique colour and emotion to her often bass-heavy sounds. She's a party-starting DJ, too, but delves into whole new realms with her wonderful sophomore full-length. Romance sees her exploring themes of love and friendship through shimmering pop textures and emotionally resonant songwriting. Her vocals take centre stage for the first time and lead single 'Thinking About You' is a heartfelt tribute to a late friend with a glowing groove and airy falsetto. Crafted between Bristol and London, the album features collaborations with Batu and harpist Miriam Adefris, whose delicate touch enhances its celestial tone and following last summer's acclaimed 'Ice Cream Dream Boy,' Romance is a luminous return and smart evolution.
Review: Childish Gambino's return last year with this album was a bold one showcasing his signature eclecticism and willingness to experiment. The album opens with suspense and builds anticipation before diving into dense vocals and rich rhythms. While the intensity can be overwhelming at times, it's clear Gambino is exploring new sonic landscapes, and thankfully the likes of 'Steps Beach' offer a refreshing moment of calm with Gambino's angelic voice shining through. Featuring artists like Chloe and Jorja Smith, the collaborations add an interesting dynamic that expands the album's depth. The LP concludes on an open-ended note and make this an ambitious and intriguing release.
Review: Cola Boyy tragically passed away in March 2024 so Quit to Play Chess is his final album. He was well known and loved for his unique blend of neo-disco, funk and innovative musical styles and gained fans worldwide from Coachella to Paris. Following his EP Black Boogie Neon in 2018 and debut album Prosthetic Boombox back in 2021, this album is his grooviest yet as it blends hip-hop, r&b and drum & bass while featuring collaborations with Andrew VanWyngarden of MGMT, Jared Solomon and Nate Fox, who has worked with Chance the Rapper. These 12 inventive, passionate tracks are a fitting, boundary-pushing farewell to Cola Boyy's musical legacy.
Review: Flexing the full spectrum of roots music and featuring vocals from an epic range of singers from Omar to Liam Bailey, Nia Chennai to Tills; Green Lanes is the debut album from Jamie Rodigan and Aaron Horn's impressive Crate Classics project and it sounds every bit as fresh as it did when it landed digitally last year. Here on long-awaited wax it's been given a new coat of arms by way of some exceptional remixes from three artists who have spectrum flexing tenures themselves. Originator Congo Natty brings the teachings, pioneer Potential Badboy goes old testament on 'More Time', 'Missing' keeps it dreamy and soulful while Tyke get ruff on 'Westside'. An essential accompaniment to the full narrative.
Review: Cult American hip-hoppers and legendary stoners Cypress Hill played live at San Francisco's iconic Fillmore on August 16, 2000. Now available on vinyl for the first time, the set captures the legendary group's explosive live energy as the band were in top form and delivering raw, high-octane renditions of their biggest hits. What better way to relive classics like 'Insane in the Brain,' 'Hand on the Pump,' 'Cock the Hammer' and 'I Wanna Get High' than on vinyl? Those gems sit alongside deeper cuts such as 'A to the K,' 'Riot Starter' and '(Rock) Superstar' making this a great blend of those for singing along to and those for the head.
Review: This new live release from Californian hip-hop veterans Cypress Hill captures their full-scale collaboration with the London Symphony Orchestra, recorded in July 2024 and reworking their landmark Black Sunday album alongside key tracks from across their catalogue. Conducted by Troy Miller, the performance adds sweeping arrangements and new sonic dimensions to classics like 'Insane in the Brain', 'I Ain't Goin' Out Like That' and 'Hits From the Bong', while tracks like 'How I Could Just Kill a Man' and '(Rock) Superstar' are reimagined with widescreen drama. The orchestra doesn't dilute the impact i instead, it sharpens it, with strings and brass accentuating the menace and clarity of DJ Muggs' original production. 'Dr. Greenthumb' and 'Illusions' sit particularly well in this new context, showing how elastic the group's material can be without losing its edge. It's a new release that avoids the usual crossover pitfalls i the arrangements are built with detail and respect for the original tracks, and B-Real's delivery stays sharp throughout. A rare example of a classical-meets-rap performance that feels earned, not novelty i and a reminder of just how deep this group's catalogue runs.
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