BeTheGun – “Miami Deco” review

Here we have the debut solo EP from London, England, United Kingdom emcee & filmmaker BeTheGun. A former member of the Children of the Damned collective & currently apart of it’s successor the Cult of the Damned, he’s probably the most elusive member of both crews making occasionally rare guest appearances on a handful of projects to come out of Blah Records for over a decade. However, we’re finally getting a better look at who Barebase is altogether using some Miami Deco.

“Excepts of Irony” hops over this funky beat produced by Lee Scott talking about nothing changing around his part of town whereas the title track goes for a lo-fi boom bap vibe instrumentally observing that everything seems to be the same to him. “Force Majeure” keeping the dustiness ensuring he maintains his audience & after “Better Daze” smoothly talks about knowing what some people out there have been looking for, “Metropolis” ends the EP discussing most of the frogs that got kissed became princes of darkness.

Keeping my fingers crossed that Miami Deco won’t be the only time we get to hear the original Children of the Damned member as a solo artist & was quite surprised it took BeTheGun this long for him to create a body of work under his own name, but it makes me hopeful it won’t take another extended period of time until he makes his full-length debut. The hook maestro & storyteller extraordinaire we were introduced to 15 years ago hasn’t lost a step & the production mostly handled by Lee Scott could be some of his greatest.

Score: 4/5

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Sly Moon – “Banned From the Vic” review

This is an extended play of solo material from London, England, United Kingdom emcee/producer Sly Moon. A former member of the Children of the Damned as well as currently being apart of its successor the Cult of the Damned & the Sohio Players, he made his full-length debut in 2020 with Why Am I So Sly? under Blah Records & teamed up with it’s founder Lee Scott for the collab effort F.D.M.B. (Flippin’ Dough Makin’ Bread). Fast forward 8 months later & he’s been Banned from the Vic nearly a week after Luke Jacobs ended Michael Oku’s longest reign as RPW British Cruiserweight Champion.

We get an eerie self produced instrumental on the intro talking about being dressed like a jester of sorts in the middle of “Leicester Court” whereas the title track confirms that the Grosvenor Casino Victoria did in fact ban him over a drumless chipmunk soul loop. “Take Money” featuring Sonnyjim goes for a jazzier vibe expressing their love of money leading into “Back for More” incorporating some synthesizers talking about coming at people’s doors after going from rich to poor.

“How My Thoughts Go” gets the other half of the EP blending a crooning sample & a piano for a dedication to the 24/7 grinders & nightlifers while “Stuck in the Hippodrome” featuring BeTheGun & Stinkin’ Slumrok finds the trio teaming up for a hardcore jazz rap anthem reminiscent of the Cult of the Damned’s output collectively. The jazz elements seep through the 67 second look at a “Holographic World” & the final song sends it all off on a smoother note sipping Hennessy at the local “Hippo Bar”.

Taking in consideration that the Sohio Players produced a vast majority of Why Am I So Sly?, it was interesting to hear Sly Moon solely handling the beats himself & Banned from the Vic provides a better look at his individual dexterity whilst leaning towards a gambling theme. His production’s more soulful than was a couple years earlier & spends 19 minutes telling late-night stories right around the poker table with a well selected guest list adding their perspective to the issue.

Score: 4/5

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Lunar C – “Most High” review

Lunar C is a 33 year old MC from Bradford, West Yorkshire, England, United Kingdom making his debut in 2010 with The Lunar CD. He would go on to drop 3 more full-lengths as well as 4 mixtapes & a couple of EPs, also becoming 1/2 of Off World Vehicle & 1/6 of the Fly Tippers. However, he’s signed to Blah Records & is ready to make his debut for the popular London imprint in the form of his 6th studio album with Jack Chard from Nobodies Home & Jack Danz behind the boards.

After the into, the first song “Rasputin” begins with him talking about moving backwards ever since his parents went 2 on a bastard whereas “Contact High” featuring the Antiheroes finds the trio linking up to speak of smoking weed & making the same mistakes daily. “Kill the Rich” talks about there being no need to talk to him if it ain’t a G or more prior to “In the House” yearning for him to stay inside with his girl for a whole entire day.

“Cursed” nears the end of the 1st half talking about being sent to do their devil’s work just before “Troubled Mind” featuring Black Josh & Stinkin’ Slumrok dismantling rappers who sound dishonest to them & only taking their bitches if they’re down for it. The title track gets the 3rd quarter talking about praising God & being stoned to the point where he can’t make up his own mind while “Any Given Wednesday” featuring Jehst discusses not bragging of their greatness because they’re better than that.

Jack Danz joins Lunar C on the mic for “Never Lose” referencing WWE CBO & former WWE Women’s Champion Stephanie McMahon but after “Hit Me Up” tells the people who need anything from him to call him anytime they want unless you don’t offer him shit, “Y.M.S.R.I.T.B. (Your Mom Smokes Rollies In The Bath)” featuring Lee Scott brings the pair together so they can talk about sitting on their own throne in the clouds & smacking people harder than Joe Jackson for moving incorrectly.

“Nate Diazepam” featuring Lefty & P Solja nears the Most High’s conclusion with the trio can get in their Fly Tipper bags & refusing to sell out for “Proud” talks about taking pride in who he is despite him changing your life for the worst if you let him. “Switch Up” however spends the last couple minutes of the LP dropping a whole entire verse describing the bud in his joint to be fruitier than Lil Uzi Vert on top of doing this for his comrades, compadres & for himself to help through the dark days.

Blah Records warned us in advanced that his fan would be wondering why one of the biggest UK hip hop labels in recent memory hadn’t bring them on board their roster sooner & they weren’t kidding considering Most High makes a huge leap in quality compared to all of his independent material. Jack Chard & Jack Danz’ production covers a lot of different ground stylistically & C brings a mix of Tipper Gang brethren & Blah labelmates to help recapture his signature blend of cutthroat humor & abstract bars.

Score: 3.5/5

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Stinkin’ Slumrok – “Stink-O-Vision” review

This is the sophomore effort from London, England, United Kingdom emcee Stinkin’ Slumrok. A member of the Cult of the Damned collective as well as 1/2 of the duos Swamp Harbour & Morrstinkin’, he would eventually sign to the London imprint Blah Records in the summer of 2015 after I had graduated from high school & make his full-length debut with Don Pong. He has since shifted his focus towards Swamp Harbour & Morrstinkin’ whilst making a handful of guest appearances, returning to his solo endeavors by turning on the Stink-O-Vision globally for all to view.

Nobodies Home hits us with a jazzy boom bap instrumental on the intro “Yeayeayea” responding to a woman saying he needs to change his ways that he’ll take it slow whereas “SAS” featuring Black Josh finds the 2 teaming up to rip it hardcore together. “Burst” takes a piano flip & throws some kicks & snares in the mix talking about now being the time to get wrecked instead of split open prior to “Botany Bay” featuring King Grubb & Lee Scott finding the trio talking about keeping it going until they hit kingdom come.

“Why Slummy?” reaches the halfway point of the album addressing the people who question him for the way he is leading into “Whodafuckisthis? leaning towards the trap side of things so Swamp Harbour can talk about people giving no fucks regarding them whatsoever. “Show Me” has a moodier boom bap sound altogether tackling themes of lust just before “Some Things” hooks up a prominent vibraphone talking about spending an entire 24 hours not doing shit.

Meanwhile on “Goblet”, we have Bang On! joining Slummy getting ready wrap up the broadcast on the Stink-O-Vision needing their paper pronto due to the fact of time waiting for nobody while “Rah Rah Rah” featuring the B-Movie Millionaires alongside Bill Shakes & King Grubb spends the full-length’s last 4 minutes or so representing the Cult each of them have memberships in over synthesizers combined with kicks & snares.

Sticking out amongst the other Cult of the Damned members for his style bridging younger & older hip hop fans alike, the follow-up to Stinkin’ Slumrok’s debut could be a cut above his debut 7 years earlier although some could dispute that opinion. Nobodies Home’s production kinda reminds of King Grubb’s debut album Droopy. in the sense that it’s experimental, except it’s catered towards the jazz rap style & Grubb’s wordplay has been swapped out in favor of Slummy getting waved & smoking weed with baby mamas despite him not having any children.

Score: 4/5

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Black Josh & Milkavelli – “Swegasus” review

Runcorn, Cheshire, England, United Kingdom veteran Lee Scott solely producing Manchester emcee Black Josh & London emcee Milkavelli’s collaborative studio LP. The latter of whom was a member of the Children of the Damned & the other joined its succeeding collective the Cult of the Damned. So considering the intertwining history both of these guys have with the Blah Records founder comprising 1/2 as the B-Movie Millionaires & the Mcabre Brothers respectively, I can understand the intention behind Swegasus.

“Fisher Price” opens up with a boom bap instrumental assuming life’s a joke until we all die from laughter whereas “La La La” mellowly references Jamiroquai’s 3rd album Traveling Without Moving containing their biggest hit “Virtual Insanity”. Anyway, the song “Doin’ Bits” continues from there dippin’ to the crib in a whip that eventually flipped just before “Sherbert” dustily reaches the halfway point talking about being 6 feet in their graves with weed in their papers.

Meanwhile on “Golden”, we have Josh & Milk flowing on top of a boom bap beat with synths talking about things being far from over for either one of them musically leading into “Proper” shifts towards a west coast vibe a bit boasting their lyrical proficiency combined. “Take a Chance” shows off Lee Scott’s ear for sampling to talk about life being a fat joke other than keeping their heads to see the sun in the clouds & “Die to This” wraps up Swegasus sends it off with a boom bap outro.

Blah Records would unfortunately drop Milkavelli only months after Swegasus came out when it was revealed he was scamming fans, making Swegasus the last time the prominent UK hip hop label would release anything that had his creative input. It’s a shame too because not only did he & Black Josh really had someone beginning to develop in terms of abstract chemistry, but Lee Scott’s lo-fi boom bap production was the most suiting musical soundscape conceivable.

Score: 3.5/5

Jam Baxter – “Fetch the Poison” review

Here we have the 7th studio LP from London, England, United Kingdom emcee Jam Baxter of the Dead Players & Contact Play. Initially signed to High Focus Records, his 2010 solo debut Rinse Out Friday / Spack Out Monday was received positively & the sophomore effort The Gruesome Features would see a lot more critical acclaim. …So We Ate Them Whole in 2014 remains amongst High Focus’ most celebrated releases ever, fulfilling his obligations with the Hove, East Sussex imprint with Mansion 38 as well as Touching Scenes & Off Piste respectively. Obscure Liqueurs marked his official Blah Records debut & has been looking to Fetch the Poison since.

“Bright & Shiny Things” makes a meticulously spooky intro produced by Telemachus talking about craving another crown & waking up to find an earthquake shaking the ground whereas “Ulidjani Minajali Manze” asks for his candour to be excused since he won’t be able to flatter anyone’s problems with their grandeur. “Blink Twice for Yes” talks about every one of us being meant to eventually burst & after the spoken word “Mama Cuishe” interlude, “Cherry Red Paint Job” pleads for everyone to keep their hands off the precious materials.

As for “Go On”, we have Jam talking about thieves around us stealing souls from people & being told what to do by them just before “Every Pool of Stagnant Water” confesses to feeling like someone woke him up from this strange dream he’s been having leaving plastic body-doubles standing on every corner. “Stand Back Little Timmy” hops over a Wundrop beat talking about being here to watch the stars burn out without blinking & consume alcohol while “All Sprawled Out in the City” boasts of him stepping out of the offices grinning.

“Flickers on the 4th Floor” continues the 2nd half of Fetch the Poison going for a boom bap direction instrumentally hogging up all the high ground to himself & after “The Infamous Gatwick Meltdown of 2026” vividly tells the story of someone who’s been banned from the London Gatwick Airport out in West Sussex after leaving their minds at a drug dealer’s place out in South London, were treated to the 2nd & final spoken word interlude “I Belong Elsewhere” looking to take his business somewhere else.

The song “Sundown Sundown” featuring Black Alien, Black Josh, Jehst, Nog & Xamã brings the sextet together on top of this trap instrumental from Ghosttown for a bilingual crossover between English & Portuguese while the title track talks about needing the 3 CCs. The lead single “Blood Red Cheese Wire” ends the album with him making it clear that he doesn’t need anyone’s hollow thoughts or pocket change.

Conceived during a state-wide alcohol ban in Mexico, the inaugural full-length to be created after Jam Baxter became sober makes its comfortable behind Touching Scenes & …So We Ate Them Whole amongst the top 3 entries in his solo discography. He retains the abstractly hallucinatory style of storytelling we’ve all come to know him for & the production mostly handled by Telemachus ditches Obscure Liqueurs’ industrial elements in favor of balancing both the boom bap & trap subgenres of hip hop.

Score: 4.5/5

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Cult of the Damned – “The Church Of” review

The Cult of the Damned are a hip hop collective from England, United Kingdom consisting of Blah Records founder Lee Scott, BeTheGun, Sly Moon, Salar, Bill Shakes, King Grubb, Tony Broke, Black Josh, Stinkin’ Slumrok, Bisk, Sleazy F Baby, Col. Mustard, Dr. Zygote, Sam Zircon & Reklews. Properly introducing themselves as a unit in 2015 off an eponymous debut EP, a sequel would come in the form of their full-length debut Brick Pelican Posse Crew Gang Syndicate & are getting back together for a sophomore effort.

“Ahem!” begins with this 5 minute posse cut asking over a guitar-driven boom bap instrumental from Nobodies Home if anyone listening has been picking this important signal whereas “Internal Error” talks about being the modern day No Limit Records & everyone else being their children. CLBRKS joins the Cult on “Worship” referencing WWE Hall of Famer, 14-time WWE world champion, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & WWE’s current COO Triple H. just before “WTH” finds the B-Movie Millionaires with BeTheGun & Milkavelli talking about them being sick in the head.

BeTheGun brings Sly Moon & Stinkin’ Slumrok besides him on the mic during the piano boom bap crossover “Rotation” realizing the has-beens they used to kick it with amounted up to nothing leading into “Norman’s Theme” talking about them being averagely normal as they come. “AB NO (Red Leicester)” dismantling little league MCs who want to battle them knowing they wouldn’t stand a chance while “W.Y.T.B. (What You Talkin’ ‘Bout?)” ends the 1st half with the Cult posing that very question to people flapping their lips.

“Gung Foo” hits us with another posse cut to start the 3rd quarter continuing to spit battle raps over a boom bap beat while “Skid Row” hilariously disses an adversary claiming to be all the knowledge when they don’t know a damn thing about them at all. “Step” featuring Danny Lover has a bit of a cloudier tone instrumentally talking about their need of succeeding & rewriting the whole game plan while “Good News” featuring Bang On! grittily obliterates rappers with basic penmanship.

To get The Church Of’s last leg going, “Castles” talks about being better off staying inside & smoking weed because of their bent-up whips while “Rear View” fuses jazz rap & boom bap so they can speak of seeing things a lot more clearer than they did previously. “Henny Shots” comes through with a 2-parter where the entire squad’s having a toast & “Brick Pelican’s Lament” finishes by having King Grubb holding down the outro for a solo track of his own.

Diminishing the grime undertones of Cult of the Damned 2: Brick Pelican Posse Crew Gang Syndicate significantly, the 2nd album from the Children of the Damned’s spiritual successor takes themselves beyond their self-titled EP & their previously mentioned debut for a great follow-up to the Cult of the Damned’s early output. The boom bap production’s darker than Brick Pelican Posse Crew Gang Syndicate’s, the inclusion of outside guest appearances was only a matter of time & every member’s verses remind me of the almighty Wu-Tang Clan in that they’re all unique swordsmen of their own category.

Score: 4/5

Swamp Harbour – Self-Titled review

Swamp Harbour is a duo from London, England, United Kingdom consisting of Bisk & Stinkin’ Slumrok. Both of whom are known for being members of the Cult of the Damned collective & have crossed paths with each other a handful of times over the years on tracks like “Catfish” or “Runt” to only name a couple. However after being signed to Blah Records as solo artists for quite some time, they’re ready to properly introduce themselves by joining the label & putting out an eponymous debut album entirely produced by Sam Zircon.

“No Response” featuring Jack Danz after the “Heads Roll” intro was a solid hardcore hip hop opener instrumentally reminiscent of the Wu-Tang Clan single “Can It All Be So Simple?” & after “Marsh Law” featuring HAPPYPPL references WWE Hall of Famer Mr. T talking about dumping bodies in the swamp, “Cantaloupe Island” has a jazzier vibe to the beat dismissing rappers who hit the ground as soon as shit goes down in a session.

King Grubb appears on “Pelican Beach” ruggedly talking about knowing when the Swamps call your name while “Indicity III” finishes a trilogy Morrstinkin’s debut started & Gutter City bridged. “Francs” hooks up a reversed string sample mixed with kicks & snares talking about wanting others’ money when they die & after “Wholegrain” eerily speaks of both artists finding their way up, “Zip Ties” concludes with a lo-fi boom bap outro speaking of keeping it g when shit gets deep.

Bisk & Stinkin’ Slumrok have individually spent the past several years making names for themselves whether you look at their own respective solo discographies or the appearances they’ve made on the Cult of the Damned’s self-titled EP & it’s sequel Brick Pelican Posse Crew Gang Syndicate, but Swamp Harbour’s introduction marks births exciting side project for the UK’s answer to the Army of the Pharaohs. Sam Zircon’s boom bap production is dark, the amount of guests are kept to minimum & we get a better look at the chemistry between both MCs than either of the Cult’s previous discography entries.

Score: 4/5