A Few Words With Priya Panda

Fuck me in the ass and call me Alice. The studio is getting a lot of action this week, one is very happy with it. Priya Panda, of Diemonds, came in to talk shit and stuff. Ya dig?

What's the script. For our readers who may not know who you are, introduce yourself.

Hey dudes and duderellas, I'm Priya Panda and I sing in Diemonds.

How did Diemonds come about?

We came to be because of our shared love for classic rock n' roll. I started the band and baby, it’s been a long, wild ride, but I wouldn't trade it for the world. We’re the strongest we've ever been.

Were you involved in any other acts previously?

I personally wasn't, no. I've poured my heart, time and energy into Diemonds. I'm a firm believer in sticking to a project and watching it come to life.

Were Diemonds initially part of a scene? I wouldn't be inclined to associate them with any scene anyway.

Not really, but Toronto has an incredibly strong, hard working, and supportive network of underground hard rock and metal bands and fans. Is it a scene? Probably not, but we’re all huge music fans so we check out each other’s shows and like to pump up the projects of our peers. When one band is doing well, I feel like it’s one small step overall for Toronto rock and metal so it’s a good place to be in a band... If you can make ends meet. It’s a constant struggle.

I'm assuming you have quite a liking for hair metal. Who were your main influences growing up?

Growing up I liked the Beatles and Neil Diamond but after I discovered Guns n’ Roses it sort of set the course for most of the music that really drove me to make music myself. RATT, Skid Row, VAIN, Motley Crue, and KISS come to mind.

From certain band promo posts on Facebook I understand you like the herb?

That would be an accurate assumption. Roll up the moon and the stars and inhale the creativity and the goodness.

Do you go organic and smoke the homegrown, or support the corporate industry and buy it from suppliers?

I don’t have any connection to any suppliers whatsoever. I like to support small, local businesses no matter what it is I’m buying whether it’s coffee, vintage clothing or records.

Favourite dinner for when you're touring?

Mozzarella sticks. This is a direct result of touring America for years as a pretty strict vegetarian.

Do you believe sex sells?

Yes.

Being pleasing to the eye can help an image. Do you think it has helped the band get recognized?

I think our art, photos, and design all kind of tie into one another and it’s deliberate. We take pride in all the images and posters and merchandise we put out there with our name on them. Our music, our lifestyle, our personalities is something we try to tie into everything we release. And hopefully it looks cool as fuck too.

Has any weird shit ever happened with fans?

Absolutely it has. There’s a pretty traceable reason for this and that’s social media. People who you meet at shows or on tour or in life all get to stay in touch in a way that didn't happen before for bands and musicians or actors or other people putting themselves out there. That makes certain people take liberties that they wouldn't have been able to in the past. The constant personal messages and emails can make it seem like they know you or are developing a relationship in their mind that doesn't transpire in the real world. There’s been a few scary close calls, but for the most part we have the best fans ever that have come through for us through thick and thin. And for the record, I love staying in touch with people who want to talk. I like to shoot the shit and chat music and life. I fuckin' despise creepers, though.

It seems you guys have met quite a few of your heroes. Do you still lose your shit when you meet them?

Hell yeah I do. Oh man, of course I’m floored when I meet people I’ve idolized my entire life. Meeting people who made music that compelled me to make music is a surreal experience. I don’t think the thrill of being in the same backstage area as Slash or David Coverdale will ever wear off.

   I do get really starstruck when some of my favourite singers come to see us perform though. Dudes like Davy Vain, Stephen Pearcy, and Marq Torien have gone out of their way to come see us or treat us like gold. It’s beyond flattering. I can’t even begin to explain how much their music changed my life.

Where do you get your lyrical content from?

Life. Mine or someone else’s. People’s stories. Someone’s gotta tell them. The new record has a lot of focus on the struggle to find your place in a world that has shifted so drastically for us compared with the generation that came before us.

Where does your wardrobe come from?

Second hand stores and thrift stores pretty much make up 95% of my wardrobe. The whole band enjoys tour thrifting which is great for me. I still wear some vintage Toxic Vision and some Tripp NYC I got at Trash and Vaudeville in NY but other than that, it’s all just a mish-mash of children’s section miniskirts, 80’s bikini tops, cowboy boots and assorted broken-in leather.

Favourite colour and why?

White because Vince Neil used to wear it head to toe in the early Crue days, which is something I tried to do in the early Diemonds days until I toured for the first time and everything was gray in 48 hours.

What's the furthest place a tour has taken you?

India!

… Ireland any time soon?

Yes, please!

Manatees or Dugongs?

To be honest, I had to look up Dugongs, but I think I prefer the manatee, based on what? I don’t know.

Anything set for release the coming year? Or any projects lined up that wouldn't be traditional rock n roll?

The new record is coming out on 4/20!

Have you an interest in approaching other genres, maybe solo or with the band?

Oh yeah, I’m a huge fan of new wave British and Canadian mostly. Duran Duran, Depeche Mode, Pet Shop Boys, all that shit sits well with my black little heart.

How about tribal-funk-step?

Probably not. Leave that to the experts.

Thank you very, very, very much. Anything else?

Smoke Beer, Drink Weed, Listen to Diemonds.

Script.

If you don't like Diemonds, I don't like you. Here's some vids. Peace.

A Few Words With Ghosttown

Talkin' shit and gettin' hit, had Ghosttown in to the wonder-emporium for a quick few words. Big up and wreck yourself. Check it.

What's the script? For our viewers who don't know who you are, go ahead and introduce yourself.

Ok, I'm Ghosttown, I'm a beatmaker and producer who lives in Hackney London.

Do you have a certain way to produce beats, like start off with a clear idea of what you want to do? Or drag and drop and go from there? Do you deliberately try to add variance on your tracks?

Some of the time I start with drums if I don't have a clear idea of what I want to do. A lot of the time I hear a beat in my head or at least a vibe and try to get it down quick before it goes away. I don't really try to stick to a particular genre but the main thing is I got to be able to imagine a good vocal on top after the 1^st bit of the beat is down otherwise I'll scrap it and start again.

Your Soundcloud showcases a lot of unique beats. Nice profiler by the way. There's grimy, dirty, dinky, dubby, bit of reggae. Do you have a favourite style?

Not really... hip-hop I guess cos it's so diverse.

You have an EP on the way with Baxter and Scissorminge, with whom you've worked with before on many occasions. Was making the EP easy? Well, not easy in the traditional sense, but... easy?

Well, it's been in the pipeline for a couple years... We were making it at the same time as the Dead Players thing but we're all busy so it's just taken a long time to finish it. But yah, for me it was easy cos the beats were there already.

When is due for release? Can you give us any hints, like track names, anything?

Well, I don't really deal with that stuff but I heard a rumour that it might drop for free to avoid waiting for release schedules... It's been ready for a while so hopefully it will drop before next year. But don't hold me to that.

Main DAW to use?

Cubase.

You support found sound?

Yes I do.

Have you any interest in rapping?

I have done in the past and may do in the future but not right now.

You're working with Bahia too, seems quite a distant style from what you're used to. Where did this come about? Any info on this EP, style etc?

She's a friend so we just linked up and made some tracks. The EP is quite diverse and now it looks like the tracks might be integrated into a solo album for her featuring some other producers from all over the world. It's dope. The tracks I've done on there are like a fusion of two step garage and RnB... also there's a couple of reggae tracks but I dunno if they'll make it to the final cut of the album.

From your releases hinting towards dancehall grooves it's no surprise that you have Yosef [Madcon] in doing an EP. It's a big colab for you, no?

Yah, it's a collab between me, him and Son of Light... The project is called Underbelly... I'm excited about that one.

How often do you use the Vengeance sample packs?

I don't think I ever used them but I have a lot of unlabeled stuff that people have given me so it might be in there.

Would you have a favourite artist to work with?

Outkast.

Is there an artist you've wanted to work with since you started? Or a dream colab?

Outkast or Busta.

Boom Bap 14, what the fuck was it like? Dead Players seemed to get nice reviews.

Yah, it was sik, big ups to Ivan for making it so sick. I highly recommend that festival if you are a die hard hip-hop fan, or you just want a good party for a weekend, its wicked.

Vinyl or digital? Choose wisely.

Digital.

Do you like chicken medium-rare or well done?

I don't eat meat. But if I did it would be well done.

Favourite Miley Cyrus song?

Wrecking ball.

But in all honesty, would you like to colab with her? It... might work.

I would.

You know that shops here do coconut aftershave? How sick is that?

That is sick.

Have you ever been working with an artist like 'this is well bad'?

Plenty of times.

On a scale from 9-10 out of 10, how would you rate Christina Aguilera's Back To Basics?

Dunno if I've ever heard it!

Denied. Anything else you would like to include?

Yah, biggups to all my friends and family!

Script.

You can hear Sir's production in the following places:

Soundcloud: https://soundcloud.com/ghosttownbeats

A Few Words With JackKnifeJ

In light of the album review previously posted, JackKnifeJ came into the virtual studio machine to give a few words on some subjects dear to me.


What's the script? To our beloved listeners who, God forbid, don't know who you are, introduce yourself.

I'm super producer extraordinaire JackKnifeJ.

How, and when, did you start producing?

Back when I was 16 I was a half decent footballer who got a terrible knee injury, so to occupy my brain while recovering from surgery I got a copy of a music program called Reason from a neighbour, and have had a love/hate relationship with production since then.

Would you have a main influence?

I think anyone who listens to 1988 will hear I've a vast amount of influences from a load of genres, but back when I started out I wanted to be Dr. Dre, and if he wasn't too busy selling headphones I'd still consider him my main musical influence. His attention to every little detail in the way produces (and mixes music down, particularly) is something not a lot of producers in any genre can match.

How did you and Lethal Dialect meet? Are you his main producer, as I see you did work on LD50 and LD50 II?

Myself and LD know each other close to a decade now through gigs and other events to do with hip-hop here. Back when we started out the circle of people making hip-hop in Ireland was tiny so everybody practically knew everybody. No, I wouldn't be his main producer, a producer from Dublin called GI did the majority of the LD50 part 1 and 2 albums. I did a few tracks from both albums, Get To My Dreams is probably the best known track I did. We were meaning to work on a project for as long as we have known each other and making 1988 was the perfect time to do that.

If you've read earlier blogs you'd see I'm not too big on the Irish hip-hop scene. What's your opinion on where it is at the moment?

I've gotten to a stage where I really don't know who's making what, and what's going on in the hip-hop scene here. I genuinely don't pay any attention to it anymore. I was too involved in it for too long before the "mainstream" started to slowly latch on, so now I take a backseat and just concentrate on my own stuff.

Is there still the deep divide between the crews?

I think that's half the reason I'm in the backseat. The whole notion of "crews" having "beef" to me isn't something I'd be willing to talk about, nevermind participate in! I think any beef in Irish music circles is silly, the country is too small and the music scene is too small for it.

Lemons or melons?

Lemons baby! That's what I marinade my world famous chicken wings in.

Lyons or Barry's?

Neither. I'm a lover, not a fighter, and answering that could leave me in trouble with certain folk.

Favourite track off the new album?

My favourite track changes all the time... At the minute it's Brave. There's so many reasons for that; first, the track is dedicated to, and about, Lethal Dialects uncle who can be heard on the vocal snippet during the track which was recorded just before he passed away. The first two verses were written before he passed on, the last after he did, so there's a great sense of meaning to the track. LD's lyrics are so deep, and then of course being from Donaghmede having Damo Dempsey on music I made was amazing. Getting to work with John Reynolds wasn't bad either.

When you started producing the album, had you clear ideas of where you wanted it to go? It sounds like there's recurring samples and themes throughout, was it intentional for this to happen?

The album definitely sounds exactly how I wanted it to sound. I wanted to give Lethal Dialect a "sound", I hate listening to albums and they sound like a "Now 68" album. We needed 1988 to be as cohesive as possible. The whole slowed down ambient approach was to try make the lyrics stand out a little more and easier to understand. I was finding a lot of Irish rap gets lost in heavy accents and heavy drums, and casual listeners can be put off by it. Also, the album basically being sample free meant I was able to dictate the feel of a track using chord progressions and live instruments which again would appeal more to a casual listener.

Is there anything you feel could have been done different?

The fact that the bottle of Pepsi Max I have in my hand here cost more than it cost to make 1988 says a lot for the album, but I would have loved to have a label budget like all these other hip-hop acts who we have to compete against. Maybe we could have pushed harder to implement certain things; we would have liked to have string sections etc... But who's gonna sign two Irish lads who make hip-hop?

There's been some rumours, are you ghost producing for the new U2 album?

I have a 100 yard barring order from Bono because I was caught pulling the balls off myself in the Dalkey Hills while listening to The Joshua Tree, so I can confirm the rumours to be false.

Favourite Irish act, any time, any genre?

Easy... Damien Demspey.

If you could be any type of building, which and why?

I wouldn't fancy people living inside me.

Got ink?

Absolutely HATE tattoos and everything about them. Never fancied a picture of a fighting Irish leprechaun on my arm at 80 (shout out to @RedserMMA for rocking one with style).

Do you think you've a strong sense of home? If so, do you think it's projected in your music?

I love where I'm from, wouldn't live anywhere else in the world. There's a certain madness around my way, and the Northside of Dublin in general, that you just don't get anywhere else, and it's defo projected in 1988 through the old school dance elements that were a huge part of growing up for me and LD.

Favourite loungekore act?

JackKnifeJ.

You have a few gigs lined up for the album, yes?

We're launching it Friday 24th October in the Opium Rooms, Dublin. After that the tracks will be heard when LD hits the road with Damo Dempsey all over the festive season.

I would expect a break, but producing is infectious. Any projects you're working on at the moment?

Nothing concrete lined up at the minute, although I've had a few offers. Really want to see how well this goes down before I decide on what to do next.

Favourite pub in Dublin?

Kyles in Coolock Village... It's a kip but it's my kip.

Last question. Aguilera, yes or no?

My misses would have my balls on a plate... Yes.

Anything else?

Don't do drugs and stay in school.

Script.

   
   1988 is out now through iTunes, I believe, and Bandcamp, or you can get a physical copy at the Opium Rooms later in the month if you wish. I'll post links below. Didn't like the interview? Great, opinions are always respected. Call Joe Duffy. Script.

Duh Bundcump: http://lethaldialect.bandcamp.com/

Lethal Dialect - 1988 - A Few Words

Fuck.

   If words could describe just how great this album is, I am yet to discover them. Incredible is not the word. What started off as listening to a Dublin rapper because the accent was a novelty has graduated into something so much more. Lethal Dialect (hereby called LD) has grown so much in three albums, it is simply astonishing. The emotional content in 1988 is something else, and one can really feel it. I don't believe in national pride or any of that lark, but something about the album seriously evokes emotions within. Seeing LD evolve into this album makes one feel a sense of pride in knowing him, listening and being able to relate. I really, really fuckin' liked this album. 

   The artwork itself is plain and simple. Nothing too deep; let the music speak for itself. With 'Lethal Dialect X JackKnifeJ' written above, it is all the album needs. Less is more, certainly. 

   Kicking straight into a phenomenal introduction to the album, School Dayz Are Over is the perfect beginning. The chords are just perfection on ice. The synths are deeply peaceful, and really flow. That automated snare is a big difference to what LD's music usually consists of, which marks a new artist. The first lyrics of the album are '1988...', simply making it the perfect song for the starting point. The hard accent is back, much missed, and that chugging in the back, which I can't really place, is just perfect to keep the song going. Six minutes go by too quick. 'LD50 is the artifact' is a strange way to approach it, but it definitely is. The overall theme is quite 'happy', for lack of a better word, which again marks a change in the artist. The lyrics are very personal, if that would be the correct word. It's all things that have happened to him, narrated as if he's talking to himself and not an audience. A much different style indeed. The rhythms and flow keep building up, then dropping, then building up. It's the perfect intro, nuff said. A step away from traditional hip-hop, Lethal Dialect has found his own style. It's so far apart from Irish hip-hop that it would be hard to place it, aside from the accent. Those chord progressions are just pure gorgeous. With an outro of over a minute long, we truly are left wondering what the fuck just happened? Taking a few minutes to sit back and wonder, this is one phenomenal fucking introduction to an album.

   At this point, 13 'Til Infinity would be well known among us Irish hip-hop heads, but nonetheless its placement on the album is perfect. A lot about this album is perfect. The harmonious intro, coupled with the sound of rain, is tranquil. The bass and voices in the background have depth, kudos on the production. Featuring a breakdown with a bare suppressed kick gives quite a different feel, then back into the guitar and hats resolves the piece. Resolve, mothafucka. The song, with resolves all over the gaf, really feels complete. Another breakdown into pure silence adds a very strange and unique dimension. The sheer depth of this silence is baffling, and somehow makes it sound enormous. The loudest silence on the album, for sure. The lyrics keep the same personal themes, with ideas and happenings intimate to him, and the outro of lyrics coupled with the lady talking is a pleasant touch.

   In the same light as previous, Headstrong (ft. Jess Kav) would be well known at this stage too. A fade in with alluring chords, the ambient crashes in the back are glorious. One would feel that flow is sacrificed to give more power to the statements being made, and while this isn't a bad thing, it surely is a different light being shed on LD. The hats in the back really keep the flow going throughout, and Jess Kav is a wonderful feature. The momentum of the groove is kept going with the brassy samples brought in, and there's a certain air of sentimentality about the song. The rhyming scheme is a tad off, but it works so well that one wouldn't even notice. Perfection. The song fades out, then in comes a message machine. Now there's an Irish accent. It sounds like fuckin' Eircom.

   Another one with Jess Kav, 26 Laws is a simple beat, but effective. With straightforward chords in the synth line, the ambiance is incredible. One can easily see by this stage just how much LD has changed and progressed; change is good. Sentimentality is rife here, and ends with talking. A perfect touch.

   A common feature through LD's albums is the idea of being a dark horse in the game, and Still A Darkhorse exemplifies this. The introduction to the tune describes how criticism is more important than support. One gets the feeling LD has been through quite a lot to be here with us tonight. The use of the very thin snare makes it sound unique and different, but those synths keep the familiarity. The hats come in to give the beat a more straightforward feel, and the hard accent is back. Sorely missed. Noticeable is the piano samples brought in, although they could have been there all the time and were just made more prominent. The vocal tracks in the back are bliss, although if they are samples or live recorded is hard to tell. They work. Coupled with the (I presume) reversed cymbals which just flow around the listener, the song is a perfect example of epic on a stick.

   What album, especially in LD's field, would be complete without the comical interlude. A quiet chuckle was had upon initial listening. Oh, the meandering chuckles. That opening door has frequencies higher than a radio on static, and kills when you have headphones on, kid. Gotta laugh at Crackpipe Joe, haha. Maybe a stab at the narrow-minded ideas of the industry, as one can see with the album having no radio singles, but the office-clerk-man knows what he's dealing with, even though he won't say it to LD's face. A strange look at two-faced industry reps, it's funny nonetheless. Chuckles.

   Back to the game face, Set You Free has a marvelous vocal intro, although I can't tell you who it is. Sounds like I've heard it before though. A very slow beat, consisting of a few trap hats, the kick is also quite suppressed here, although I'm sure there's a more technical word for it somewhere. The synths, again, keep swirling in the background, and although a common feature throughout the album at this point, the production of said synths is exceptional. There's a sample there, or a synth, that has this strange sound added to it, sounding half noise, half like the sound a fan makes, that makes it real hard to focus on. A fantastic use of such a bizarre sample is great for a change, keeps the listener focused. Individuality of the track shines through when LD starts singing as opposed to rapping, again showcasing very clearly the diversity of his abilities. I'm in love. Some dramatic guitars here, some brassiness over there, the song fades to talking, with LD giving an account of choosing music over a previous lady. Ending with a laugh gets rid of the sad vibes though, always a plus.

   Moving away from laid-back in the shack, Beast-Mode, with 4Real, is a lot harder. The only other rapper featured on a track, it can't but sound individual. Whether it was deliberate that 4Real was the only other is questionable, but I can't answer. The main riff consists of like a modulated scream or something, variance being key. It's interesting, to say the least. 4Real has a strong accent, so it suits the track well, and has a solid voice. The brass samples in the back are strange; I feel they should be the main riff, not bouncing around in the back. Kind of off-putting. But that's just being a pretentious asshole. Keeps you on your toes. Still, variance is always appreciated.

   The last feature from Jess Kav, Energy, suits her well again. She is a fantastic addition to the album, being virtually unheard of (for me anyway) up to this point. A slow intro and long fade in, the chord progressions are very nice. A slam into the drums keeps you awake, and the hollow snare with a bit of delay sounds big. It's peaceful, but with a sort of underlying feeling of anxiety. The unsettling atmosphere can be disconcerting, but fock it. Ambiance is key here, and the mellow synths remind me of Leftfield's Song Of Life. Don't hear it? Don't give a fook. It truly is an emotional journey, making me tear up. Not really, but almost. The themes are deep, and Jess Kav's vocals are exemplary, only adding to the emotional content. On top of this, the drum track reminds me of the first album in the way they are produced. An exquisite touch, if I do say so.

   The last song of the album, Brave, with a guest appearance from Damien Dempsey (a big name for the album), looked a bit daunting at 12 minutes. How and ever, needs must, and it certainly did not feel like it. There's a hidden track there, but we'll get to that in a minute. Synths and (presumably) chimes open up the track, as does a scrappy beat (complete with a weird 'fft' sound), setting the scene. Unreal groove, boy. Dempsey sounds unusual, his unique style contrasting with LD's. The song resolves every once in a while, then drops with some white noise fading out, making the track sound like one big LFO. It really sets the groove; you can't help but bob with the flow. The whole song is dedicated to (if I remember right) and old friend of LD's, although I could be mistaken. The song stops, then talking about getting to your dreams is introduced, and the beat drops back in, with the addition of claps on top. Again, variance is key. The chimes really have a magnificent resolving chord progression (fuck yeah, pretentious talk). The track takes a turn into some acoustic guitar-work by Dempsey, coupled with lovely vocals. The finest bongos are introduced, keeping the rhythm going. I'm not entirely sure where the breakdown came from, but it sounds like the logical progression. Around 7 minutes the track ends, falling into total silence. I was expecting another build up but alas, I was fraught.

   Waiting, waiting, the song is dead silent for about a minute, then around 8 minutes she kicks back. Some soft synths doubled with a phonecall, a sweet ass drum groove and funky bassline is a peculiar way to finish the album. Do I hear a reference to Carlingford lake-sides? A touch of home about it. The bass, being layered with a very high frequency synth, or heavily filtered guitar, is a perfect example of the diversity of Crackpipe Joe's production skills. The whole album up to this point seems perfect, ie: each song follows the next perfectly. Brave is the closer, it resolves the album; makes it feel complete. We don't expect any more. This hidden track changes all that, it skews this fact entirely. It ends the album on a different note, and we need something more after it. The perfect closer? I think so. Fade out. Fin.

   Fuck me running.

   Sicker than sick and doper than dope, the album exceeds any expectations at all. To see LD grow over three albums in such a way, and to find his own style, with JackKnifeJ, is just astonishing. Perfection doesn't describe the album. On his way to great things, it's nice to sit along for the ride and spectate. It's a proud moment for him I'm sure. Fuck the FAS course for two years.

   A step ahead of the rest in the Irish scene, LD truly is going places. The scene lacks definition, something that comes naturally to LD. The album is an immense piece of work, and sentimentality prevails throughout. Reminds me of other Irish acts such as Young Wonder. Personally, I feel like working with one producer is a bit limiting in the sense that you are restricting your artistic abilities, but at the same time, as shown here, there's a contrast. LD and JKJ bring out the best in each other's styles; it's a marriage made in heaven. Not being too well acquainted with JKJ, I'm happy I met him this way. Excellence at its finest, for a tenner, you're essentially buying the lads a box of fags. You can part with that, I'm sure. Links below. This album is perfection, oh yes.

Averagity rating: come on to bits, well well well above average.

Links:

Bandcamp: http://lethaldialect.bandcamp.com/album/1988

A Few Words With Lee Scott

Lee Scott isn't exactly what one could call the average lyricist in the game these days, being a bit stranger than most. Dark lyrics, dark beats, he's not really all there. Nonetheless, he's a respectable old fellow. To coincide with the release of his new album Cactusowlmoongoat, with one of the greatest album covers of the past ten years, I had him into the non-existent studio for a chat. I'll post links below for all the media covered, or most of it anywho.

What's the script. Introduce yourself to our listeners who don't know you.

Hi listeners who don’t know me, my name is Lee Scott I am a 74 year old rapper from Las Vegas and I represent sweg.  

Who would you consider is your main influence?

Sean Michaels and Jesus (my cat).

Morriachi and Illinformed seem to fit your style well. Would you have a favourite producer to work with?

Depends to be honest, all the producers I work with are extremely talented. I can’t say I have a “favourite” just because I like to switch it up a lot. Sumgii definitely gets a shout out though!

Do you prefer rapping or producing? I presume rapping at this point, but has it always been like this?

For years people just didn’t make them slow cold saggin beats I wanted to rap to so I was just making them myself. I've pretty much always fucked about with beats though, I was always trying to make my own original shit. I enjoy both, right now as I don’t have all the equipment I would like I have mostly just been leaving the beats to other people. I enjoy both though. I love the whole art form.

Do you have a decent recipe for pasta sauce?

Nah I don’t. Only thing I know how to cook is Scouse.

Why did you release the beats album without rapping over it?

Most of them beats were just taken from albums I've released, with the odd exclusive. Just thought people might want some of the instrumentals. Sorry.

Boom Bap 2014 looked insane. What was it like?

It was good man, I’m not really some festival guy to be honest but yea I enjoyed it. Boom Bap is always really boss to perform at. Lots of fans and you definitely appreciate the love! It’s getting better every time too, especially in terms of the line up. CAS and people like that are definitely good editions. Getting Ghostface and them is obviously mad sweg too. Shouts to Ivan and the squad.

CactusOwlMoonGoat – love the album cover, where the fuck did the name come from?

It came from the stars one night whilst I was trying to catch a barn owl with a ball of string and a dart. No shit.

How you find Dike as a producer? I always think he's more of a lyricist, but his beats seem to be popping up everywhere these days.

Well, I see him in a different light, obviously he’s a fuckin rapper and shit and a very talented performer but I've got to know him a lot more through the production. I honestly think as a producer he’s one of the absolute best. His shit is all vinyl based and usually that seems to go hand in hand with these mega purist guys who refuse to think outside the box but that’s not the case with Dike at all, he’s got a wide variety of influences and can flip mad styles. The album he has produced for me is different to other shit you've heard from him, it’s some absolute butter. Crazy steez! His next solo album is going to be fucked up too! Shout outs to Dike!!

Where the fudge you get your lyrics from?

My fudging brain and everything that goes on outside of it that it registers whether consciously or sub consciously. Shout outs my brain! Ok, really I got an elite team of Manatee ghost writers.

What's your favourite type of tea?

Just your regular Dave from the worky site type tea with 2 sugars, only with Lactofree milk, making it absolutely not your regular Dave from the worky site type tea but almost, sorta, maybe. Probably not. Love me. Sweg.

Fave bevvy?

Too many you know, right now I’m drinking a lot of Guiness Foreign Extra but I like a lot of different shit. I live in Blackburn at the moment and Oranjeboom is like a quid a can so that get’s laced too.

Ellesse, ellesse means what exactly? And what inspired ending with this track considering it's a different producer? It works well.

Ellesse is a clothing brand that was big in the 90’s. The track is a play on the Versace song by Drake. This is like the working class English version of the Versace song. The producer is Reklews who is one of the heads of Blah. He runs a lot of shit behind the scenes now and has been putting in work for time and has made some of the best beats on Blah and in this country as far as rap music goes. The beat is insane, mad original style. I ended the album with that joint just because it felt right. I end most of my shows on that joint too, so it made sense to me. A lot of the choices are just based entirely on feeling.

Craig Mack is sick. Where did the lady in the video come from? What's the inspiration for the video. It's like the Blair Witch Project!

I have no idea to be honest, she just sort of appeared. It’s inspired by them low budget old exploitation horror films from like the 70’s. It should of been 100 times more gross but we was on a time limit due to extremely busy schedules, we done it all ourselves with an early 90’s VHS camera.

I feel you personify the 90's house scene with your style. Explain.

As far as fashion and all that, that’s the shit we used buzz off back in the day. Bucket hats and tracksuits, Helly Hansen, ellesse and all that.

What season of TOWIE (The Only Way Is Essex) are you on at the moment?

I only got a TV 3 weeks ago but I’ll make sure to catch up with it in HD, it sounds profound.

Do you partake in the consumption of marijuana, or just take Oxys?

Nah I don’t do either.

Lemons?

Yeah, go ed.

Where do you get ideas for your videos from? They look like terrible acid trips! Yes He Did is fairly encapsulating in this sense. 

All sorts of places man, I don’t know, the cosmos? The part of my brain in which ideas are created? I bought a full British woodland camo tracksuit with the idea of filming in the woods and then the kiddas from Broken Antenna done the rest.

Tunnel Deep has got to be your most memorable and catchy tune, if that. What's with the burning (hopefully) goat in the vid?

Whoever you thought the Greatest Of All Time was, is now burnt. Making way for the cult.

You've come a long way since Wrong Bootleg Demo EP (2006). Can you take us through your inspirations, ideas, etc of the album? Also, what is the Wrong House?

Everything is inspirational to me. Just life in general, whatever I’m doing, everything inspires me. A lot of the shit is just tangents that grow and grow, it’s art, I don’t know how to explain this type of thing to be honest with you. The Wrong House was an old place I had in Tuebrook, Liverpool, it was a wonderful place full of junk. 20 computers, a shit ton of music equipment, all sorts of madness and gadgets. Telly’s stacked on top of Telly’s. It got burnt down though, R.I.P The Wrong House!!

If you could take the form of any type of fish, which and why?

Well, I mean, I’d take the form of a Great White Shark obviously just cause it’s fuckin dead ‘ard. You’d be mad to be any other fish really init?

Do you like cats?

Yes. Cats are Gods.

You're approaching the Irish scene and doing a show in Limerick in the near future. Of all the venues in all the places in all the world, why Limerick?

Ask all the other promoters who work with all the other venues in all the other places in the world. The team from Limerick are the only people who approached us.

Anything else?

No.

Script.

Scott is hitting up Dolans of Limerick on the 15th of November. For a tenner in, you couldn't ignore it. For anyone interested;
http://www.boards.ie/vbulletin/showthread.php?s=68473e34b8f1f3dc600ce2844d0a5689&t=2057308768

Bandcamp links: 

Cactusowlmoongoat:
    http://blahrecords.bandcamp.com/album/cactusowlmoongoat

Stupid Poignant Sh!t:
    http://leescott.bandcamp.com/album/stupid-poignant-sh-t

Sunday Top Five Hash One

It's Sunday evening, I'm all out of Zelda, and I have no ambition to achieve anything more than indulge in society's finest hippity hop. Behold the top five indulgences brought forth to me this fair eve. Also, for extra hard-earned brownie points, Leaf Dog just issued his album on vinyl. Could I be happier? No. Well, maybe if I was trollied.

Numbero Uno: Leaf Dog - Before The Days

The sickest hip-hop banger I've heard since ever, that flute/thing riff going throughout the song is a Summer classic. 'Oh yes' is the only thing you can say when you're sunburnt to a crisp, your Ribena is halfway through, and this song appears on the system. Bob your head, it's fucking sick to the core. Diamond D's verse is fucking old school. His lyrics are top notch, and it's a verse you can learn off and impress the ladies with. Leaf Dog kicks in with that voice you hate to love, shaky to bits. His lyricism is at its best I reckon, making the most appropriate reference to TMNT I've ever heard. You'll be walking around the upper side of town shouting 'I'm from a lower class, I smoke a load of grass, and the only bar of soap I've seen is a lump of hash' until you get deported. Beaver is on form too, with more hooks than a... I won't. Sicker than a plane to Lourdes, you gotta check it.

If you like Diamond D, check The Hiatus. If you like Beaver, big ups, check his whole catalogue.

Numero Two-o: Skinnyman - I'll Be Surprised

Coming into contact with this tune through Sektion Red's feature on Boom Bap 2014 was the best thing to happen to the author since toasted sliced bread. An old school English banger, you can really connect with it. How? I don't know. I don't question these things. It's a serious heavyweight, and you can hear the feeling in the lyrics. Talking about shootouts and such, one could say it's the English answer to the ghetto anthems from acts such as NWA or Nas, but I wouldn't agree. It's too individual. Sporting pre-historic snapbacks makes him look like the mother of creation. It's a hard hitter; that's the bare-bones centre. Excellence.

You dig it? Check Council Estate Of Mind.

Nombre Tree: Lord Lhus - Cunt Control

Not entirely sure why I didn't know about this song until know, but hey, check yo self. Shared on his facebook page, Lhus loves promoting. Not a bad thing; it works. With DJ Cammy vocals on the intro, one could be initially dismayed. It's worth the wait though. Feminism has no place here. Talking about 'taking dick like a lady', it really does showcase the talent of the younger Lhus. I could understand if you don't like hearing repeatedly about Lhus' little member, but the comedic value is enormous, no pun. However, do not come (no pun) running trying to give out. Each verse gets better, with girls having to shower before being eaten out. Lhus truly is a genius; how you think he got the name Lord. The video is hilarious too; the pictures are brilliant.

թիվը For: Lord Lhus - Ground You Walk Upon

Every time I see 'Prod. Dirty Dike' I always feel it should be him rapping, talking about opening his nose and putting coke up it in an English accent. But then again, he surpasses all expectations each and every time. This feature is incredible and suits Lhus perfectly. Words cannot encapsulate how much respect I have for Lhus these days, or how much he truly deserves. Facebook statuses include asking the public about their favourite European rappers, and listing one from each country. Can you do that? I can't. Pushing the boundaries for rappers in underprivileged areas (in the sense that who really wants to listen to songs in other languages?), Lhus really supports the artists. This one features PSL (whom I believe is from the Netherlands, although I may stand corrected), and with that catchy vocal melody and haunting drum samples, it gets stuck in your head. The foreign rapping is really appropriate here, and it showcases each rappers talent perfectly. Respect to Lhus. 420.

The song that essentially got me into hip-hop was Lhus' installment with Al'Tarba, Jace Abstract and Dike, entitled '3 Amigos'. Dike has also produced for Ed Scissortongue on the Theremin EP if you're interested. Internationally speaking, The Sadists, with Droogz Brigade from France is a nice one.

Last and least, عدد 5: Merkules - L.A.S.H.

Hailed as the white Biggie Smalls, one can immediately see the similarities. Aside from image, the flow of Merkules is incredible. Truly like BIG. I heard he's from Canada, but I can't find it and I'm too lazy to try harder so let us assume he is from Canada until proven wrong. The flow is ridiculous. Snak The Ripper has a strange scrawny white-boy voice, and that dum dum dumdum riff is infectious. The lyricism truly is something else (a fat dirty mothafucka, you mad coz your chick look like Bilbo Baggins), and originality is always appreciated. With less shame than a politician, the video is hilarious. I'm not sure where the idea for a half-naked Merkules with a plunger on his head came from, but it cracks me up. Action Bronsen has that lyric 'I got no shame to show the chest at all', so I reckon Merkules and Bronsen get together to form a supergroup.  Maybe, maybe not. Someday. 

You dig Merkules? Check his bandcamp at http://merkules.bandcamp.com/

If you do not agree with the views expressed in this article, we take complaints very seriously here at the headquarters. Please piss in an envelope and mail it to go fuck yourself. Script.

Links:

Deepinthewoods66 - A Few Words

Here. Weirder than weird, freaky, funky, kinky? Maybe. Possibly even arousing. Not to me, but hey. If I was to explain the allegory the music portrays, it would be the time you were out digging in the garden and unearthed a fresh corpse of a house-pet. Stood there staring, with a rising feeling in your gut, but unable to turn away. Something enthralled you. The anxiety, fear, excitement, arousal, disgust. Everything and anything combined and put into voice; this album personifies these feelings. This album, in its entirety, in its existential eroticism, in its feelings, sight, name, everything, is not your average album. This album is a dead dog.

   Beginning with Self Help Tapes, appropriately with a directional tape introduction, the blissful guitar really sets the wrong tone. Repetition of the snares gives a steady rhythm, and the sweet beat is accompanied by an off-kilter flute (?) sample that drives your ears mad. In contrast to this, the bass and guitar are in unison, and give you something you can hum along to. Somehow the flute blends in, although I suspect some wizardry as to how this works. The groove of the song is sick, although the vocals make the song quite odd. Odd to bits. The rhythm of the vocals really gets into a trance as the song continues. Reminiscent of Gorillaz. It's like walking the existential forest path high on some berries you just picked. It isn't exactly the kind of song I'd play at my club night, but that beat with the hollow snare really is great. With a fade out to just the flute, you're left wondering what the fuck just happened. A common thought throughout later features.

   Everything Is The Way It's Supposed To Be is a nice beat. With a bit of talking, the strange breathy sounds in the background add a lot of space to the track. The heavily modulated vocals are down-pitched quite a lot, reminding me of Odd Future. In contrast to the introduction to the album, this one is a lot more industrial. The chorus is strange, actually pretty much everything is, but the vocal line is quite hard to discern. Laidback paranoia, that's where it's at.

   Into Kill The Snake, the synth intro and splendid bass really set the groove. The heavy reverb on the vocals add depth, and that synth keeps drifting in and out, like some out-of-conscious presence. With slow modulation on the synth, we get very captivated in the relaxing atmosphere, then BAM. Out of nowhere there's this slam of a distorted guitar, slamming chords with perfect delivery. Then back to chill, and we're left holding our ball-sacks, wondering were we violated. Through the laid back section in no time at all, then slamming again into that blissful noise-guitar, it's a slammer. With the feedback fuzzier than 70s muff, you better recognize.

   Born Out Of Science, including another unique bizarre guitar track and heavy (what I assume are) bongos, keeps the extraordinary vibes going. Those bongos add a very deep spatial aspect to the song, and it sounds shamanic, almost. Instead of run-of-the-mill lark, the guitar kicks in just strumming nothing, with so much distortion that Varg would be happy. Not expected, but the high synths add the only melodic feature to the track, I wouldn't be humming it walking down the street. Storming through a breakdown with the bongos and massive distortion, the song fades out to some manipulated jacks being fiddled around in sockets.

   For anybody who doesn't like noise, Something To Dance To is what you've all been waiting for. The promising name delivers with a real funky beat, a bit of latin salsa guitar, some cheering in the background, and the mood of a fiesta. Ford style. It's the kind of song that you'd find washed up, malnourished, beaten down on Sesame Street. Just bouncing around with a smile on your face, but suicidal underneath. Listening to it, we're just waiting for shit to get seriously fucked up. The vocals aren't much but they suit the track perfectly. The existential forest path must have reached a clearing for a while, I can feel the sun on my face. Another few foreign words, and a bit of repetition of the verse, the song is a groovy funktastic piece of art. The Eddie Murphy samples at the end are so fucking appropriate. So appropriate. Goddamn genius, mudufaka.

   A drop in groove, but by no means relaxing, Oh My God keeps the heavy vocals pitched down to subsonic frequencies and lets the momentum flow. Another outstanding performance from the odd flute thing, and the guitars and drums are just fucking about. The vocals are quite unusual, far-out maybe, and I can't really tell you what this song is about. It's cool though.

   Mutha Fuckin' Nightmare, with an appearance from Jay Doolin, definitely has the old-school vibes. That introduction is sick, with a perfect kick sample, and just enough overdrive on the drums to not completely fuck them up. The scratching only adds to the feel, and the distorted bass keeps the rhythm funky. Always keep the funk up.

   Beware/Nuclear War opens with some repeated vocals and a delightful synth line. The phazer vocals are a change after the previous installment, and they mix well. Although quite a chilled installment, there is still that feeling of anxiety, keeping the listener on edge. The chimes add a different dynamic to the tune, and are a bit more closer to the radio-friendly edge.

   Although debatable if she does, She Wants More Pets showcases the talent of the producer, with the cleanliness of the guitar tracks shining through. The drums are pretty obviously recorded live, instead of the usual programmed fragments, and this really gives a different air compared to the album up to this point. The chords are relaxing, making it out to be a bit of an interlude.

   With the usual down-pitched vocals, and a harder intro than Tiesto, Leave That Shit Behind is a Western classic. It sounds straight out of a Clint Eastwood feature. Deeper than my feelz for the Titanic, the breath in the background gives space. A real journey through the desert, the hard drums suit it perfectly.

   The laughing from Leave That... leads seamlessly into I Can't Believe You Wanted To Be Crazy, and with a name longer than anything Manic Street Preachers ever produced, it remains a fair tongue twister. The chime (or ding) samples are a deep contrast to the previous uses of them, and they're a lot darker and more sinister. The beat is sweet as, sounding like a big build up. A build up to what I don't really know, but a build up all the same.

   A working class anthem, I Got Bills To Pay reminded me of something out of Scooby Doo, with the creepy synths. Lots of hats, some breathy vocals with a lot of delay, lots of space; the song even features a guest appearance from hip-hop heavyweight Daffy Duck. You don't believe me? Check it.

   First ideas about Mic Check, featuring Vinny McCann, were proved wrong, and it sounds like an old school classic straight out of a Dave Chappelle installment. The guitar has a perfect full-bodied sound, and the vocals are almost inaudible, which make them out to be more an instrument. Not a bad thing. The Western feel is present again here, and all things considering, and no offence to the artists affected, I don't think I'd play this at my club.

   Stacy Remix keeps the old-school style. I can't verify if it's a remix of Stacy, but hey, it works. The synth is lovely, and the phazer really adds a wonderful component. At the end, however, she changes and it becomes fair haunting. Boo. Oh, ah.

   The ending to the album sounds so promising, and bejesus it delivers. I got so startled. Raped By Demon Aliens is the one for the club, radio, nursery, wherever. It's more radio friendly than Avicii could ever aspire to be. The feedback intro and heavy chugging guitar are an excellent example of stoner doom; the only doom. With the ideal sample of a woman discussing some alien abduction stuff, the music appears to be getting faster. The guitar builds up, up, up, then drops back to the original riff. Harder drop than Martin Gherkins. Combined with the inharmonic squealing distortion sounds of the guitar, the fuzzy feedback and conversation about the occult are terrifying. Cymbals come through on the drum track, and the guitar changes a little, but that haunting chugging keeps going. Some phazer guitar plucking shines through, adding a new dimension. The guitar stops, and the woman describes being raped by demon aliens. A strange ending to an album. I'm so startled.

   All in all, the album is a journey. Through what I don't exactly know. Maybe the existential forest of life, man. There is a lot more to hear in the tracks than just a few channels with drums, guitar, vocals, etc. The depth of tracks is incredible for such a homemade release. It's not simple one-hit wonder stuff. The vocals, as stated before, are much more an instrument in the sense that the lyrics don't really matter, as far as I can see. I can't make out what they're saying a lot of the time, so even if they do matter, they didn't to me. Links below. Bonus points as it's a free download. Always take free stuff. A wonderful feature, but I'm just so startled.

Averagity rating: Above average. Oh yeah.

Bandcamp: http://deepinthewoods66.bandcamp.com/album/deepinthewoods66

Bil Next & Paro - Weedmasons EP - A Few Words

I'm not joking when I say I meant to write this blog near on three months ago. Procrastination is a wonderful tool of the masses. But alas, here I am, three months wiser and ready to fuck. Well, you know what I mean.

   Being a recent release, this EP sounds fresh as frozen chips. Released on the first of January (14), it might not be as recent as one could hope for, but then again some of the releases from the Prophets crew are older than your parents. Maybe.

   Kicking straight into 33rd Degree, the EP starts off hard. As chill as a cucumber, the string intro and the falling chimes are gorgeous. It slides up and down your spine, and you can't help but pulse along. The accents of the duo are incredibly phonetic, making the lyrics stand out. Paro spits out the lyrics like he's trying to fuck your ear drums, but in contrast, Bil Next either just woke up, is falling asleep, is asleep, or needs a coffee. Some, none, or some of none of the above. Production is perfection, and with some doubling of the vocals, the track is a hard-hitter. Play it at the next club night you're hosting, I swear the crowd will love it. On a side note, the 33rd Degree, according to my non-reliable internet sources, is the highest level of masonry one can achieve. They must be well good at making joints.

   Featuring a feature from Upfront's features, Mixin Toxins is a tight little banger. The 'Ow' at the beginning makes me giggle nonchalantly each and every time I give it a listen, as I am of that orientation. Again, layering of vocals is prominent giving a deep effect, and the chorus has a great deal of space. My favourite lyric has got to be 'I might have to spit a 16 just to keep my brain alive'. Haha, sums up the whole of the UK scene that I would give my time to. Smoke weed, spit bars. Upfront is sick (as always - should see a doctor), and you gotta love when he tells how they 'set up on microphones and abuse cunts'. Script. Bil Next produces quite a wikid flow, and the song is a stand-out on the EP. Snare is long, meaning the beat really drives the easiness of the flow, and the Rhodes piano style riff really shines through as an old-school kicker.

   Although not my favourite, Time Wasters is a witty number. Featuring my main man Upfront and Blanka, it's reminiscent of Mario and the Smash Bros crew, with samples from these games all over the shop. With a strange-ass riff, funky guitar, unique noises and such, one can't help but think of Tom & Jerry jazz hands. You don't think of this? The lyrics are existential in origin, with numerous references to games such at GTA, Mario Kart, Mortal Kombat, etc. I got beef here though. Why no mention of John Deere Simulator? That shit was game changing. Anywho, I'll let it slide. Once. Upfront sounds like the angriest cunt playing games, spitting out lyrics through clenched teeth. It's only a game, bru. His voice cuts clear through the mix, but is it just me or can you not hear Blanka as well? Maybe it's just his voice, but it doesn't sound as clear, maybe not EQ'd correctly.

   Nothing, nothing, nothing can be said to express how epic 12oz Steak is. Back a few months ago, I did my first feature on the Prophets, and just picked it at random as I hadn't heard it. Since then it has become daily ritual to listen about 4 or 5 times. Not because of any freaky-ass religious reasons. It's one of the sickest beats I've heard in a long time. Always appropriate and always necessary, it suits any time of the day. That infectious squealing guitar, the flow of Paro's lyrics, the lyrics themselves. Fucking epic. Personal opinion; it's the high point of the album. Not the end, but the peak. Everything before leads up to it, and everything after basks in its shadow. You gotta love those lyrics; robbing Sainsbury's, whole ounces in space cakes to stay lean, swooping on your chicken like a peregrine. I'll post a link below. Laid back in the shack, play this track. Nothing comes on par. Script.

   Suiting up again for Swamperz, everybody needs some break-core. Or loungekore. I'd prefer loungekore, but each to their own. The strange riff, overloaded with cymbals and trash hits, coupled with some brass instruments in the background really keep the flow going. Paro has sick pronunciation and phonetics, and the song sounds almost Disney in its music. Not a bad thing. Specially not with 'the aroma of sweaty butt crack...' Haha. Why is there Rye Vita on the floor?

   Villains, with another guest appearance from Hozay, has the hardest drums on the record. Up in the reds, they really fuck with your ears. The rhyming of each is great, and notable with Bil Next is the fact that it always sounds like there's two people rapping. Makes it sound messy, but still clean. Bil Next is breeding with itself, creating more. There's Bil, Bil Next, Bil Next to Bil Next. The list goes on. Stephen King's new tale. Spooky.

   Gearing up to the finale, Suckaz Kno is a hard beat. With a dark twisted synth line, the dirty stab makes a change from the rest of the album. Originality is always appreciated. The scratching on the chorus fits tight. Paro kicks in with a massive spit, making a mean first impression. I'm not entirely sure as to what Bil Next is on about - he should probably have woken up at this point - but sick is what it sounds. A short verse, the album nears its closing point.

   Of course, what could the Weedmasons EP be without the Weedmasons Anthem. It would be zero, kaputt, zilch, nein. The ultimate finish to the album, the video sums up everything about the Prophets perfectly. Including a whole host of 'em, it reminds me of Dike's Future Posse, in that it leads one to discover a lot more artists. The intro is a classic beginning, and is a real fuck you, just the way it should be. Paro's perfection in starting is followed by Bil Next, who really is asleep. Jman has a sweet chorus that fits beautifully into the track and the reggae style only adds to the effect. As mentioned before, some rappers don't really cut through the mix great, but that might just be inevitable with the tone of their voices. Res cuts perfectly through, as do Datkid and Upfront, although Upfront sounds like he's been stopped short in a way, or didn't say enough. How and ever, each are perfection on a stick. Everyone's flow is unreal, and everyone is a stoner cunt. Should probably get jobs and have a shower. A little bit of scratching here, a bit of doobies there, fade out then fin. Epic ending.

   As stated above, 12oz Steak is the high point. Each song has it's strong aspects, maybe weak ones, and no other ending would suit; Weedmasons Anthem is the essence of the EP. It couldn't be placed anywhere else either; it would skew the whole dynamics. The production is perfect, and the lyricism is something else. I shall attempt to set up interviews after this blog, wink wink, but who knows? We shall find out. Script, and peace.

Averagity rating: Above average. Oh yes, oh yes.

Links:
Bandcamp: http://splitprophets.bandcamp.com/album/weedmasons-ep

Spitfire - Crypted Facts and Lifted Wax - A Few Words

   There I was, looking at my news feed, and saw this album pop up. Thought, "Fuck, a new album. Sure I have to give it a go. I'm very tuned into things." Sure, yes I am. About two months later.
 
   Fuck me backwards and call me Avril. With an air of the old-school style we love so much, yet still sounding fresher than any chemical-ridden Tesco vegetable, this short little project is a treat. Recorded, written, manufactured, sourced, critiqued, shagged, and mixed all in one week, it's a true pleasure. Sounding very much like a homemade record, which is a great aspect, it is but a short release, and that's the only problem with it. It needs to keep going. How and ever, I shan't debate this as of late.

   The intro is a short little prelude, with some talking over a funky guitar riff. Scrappy hats and a simple beat lead straight through into the first song.

   Template Disaster, to this listener, is the stand-out of the EP. Well it's a favourite anyway. Following on from the intro with the same guitar funkiness and beat, the old school style is a killer. Supreme flow carries through the song, although occasionally there comes a time or three where it's difficult to understand what's being said. Makes it more enjoyable. Second verse, again, has a lovely flow, makes your head bob along to the beat. An ode to old-school hip-hop, it's a banger.

   Mission Passed brings the album onward, and features CW Jones. Another talking introduction brings us into the beat, and a notable characteristic is the reversed samples featured throughout. It's not often you hear it anymore. A basic beat, accompanied by haunting strings make for a unique track. The (backwards - I think) fuzzy element sounds a bit muddy at times, but it makes the track interesting. Keeps you on your toes. Admirable flow, smooth beat, everything combines for a straightforward bangin' tune.

   Into Subtle Memories (RIP Hacka), the soft hats introduce the beat. A common feature at this point (but by no means over-used), the guitar sounds sweet. Just out of ear-shot is a strange flute-style sample in the background, which is hard to decipher as to what it truly is. Maybe it's reversed too. Spooky. A track to make you reminisce, the song fades to a close with the guitar and beat, and that weird-ass flute thing. I'm so startled.

   The last track, Diggers Nightmare, again featuring CW Jones, appears much too soon. We need another... 30 songs. Maybe more!!1! More vocal samples and introductions of hi-hats (sounds very bland, doesn't it?), the guitar takes a turn for the Latin. A groovy vocal melody brings the song into a different terrain, and variance is always appreciated. A clean beat, with a long snare carrying the groove, is coupled with an unusual swirling synth line. The beat changes slightly for the chorus, as does the guitar, and it makes you bounce your head along. You have no control over it. Flow and phonetics are key, and it's the most laidback track on the EP. A verse here, a guitar riff there, into the chorus we go, with a lot of breath in the background. The chorus is repeated at the end, with the last line continually echoed, until all that is left is a vinyl crackle. A fitting end to an existential journey, this EP is an immense release. Big Up.

   If you like English hip-hop, you'll love this. If you don't, well then. Make like a tree and fuck off. As emphasized previous, Template Disaster would be a favourite. One of the more upbeat tracks. See how you find it. Thumbs up. Link below. Script.

Averagity Rating: Ah man, well above average.

Bandcamp: https://spitfireukofficial.bandcamp.com/album/crypted-facts-lifted-wax