Bill Shakes – “Eh?” review

This is the full-length studio debut from Blackburn, Lancashire, England, United Kingdom emcee Bill Shakes. Formerly a member of the Children of the Damned collective & currently apart of it’s successor the Cult of the Damned, he would eventually sign to the London imprint Blah Records & have Reklews produce his 2011 solo debut EP For Goodness Shakes. However when I learned that Lee Scott would be handling all of Eh?’s beats by himself, I knew this return for Bill would be special.

The entrancing boom bap instrumental on “Chips ‘n’ Gravy” was a great way to grab listeners’ attention for an intro talking about taking everything he wants for free whereas “Smartprice” featuring King Grubb finds the 2 ruggedly speaking of being the kings of the most high regardless of the altitude. “Tugay Kerimoğlu” shouts out the retired Turkish soccer player of the same name alongside Black Sabbath frontman & WWE Hall of Famer Ozzy Osbourne leading into “Once Upon a Time in Blackburn” telling a story taking place in his hometown.

“Yeah Yeah” ends the 1st half of the LP showing a more aggressive side to Bill from the raw beat to the aggressively confrontational lyricism while “Uvavu Kart 64” featuring King Grubb reunites the 2 so they can assure everything will be ok, but it wouldn’t be alright. “The Legend of B-Town” recalls a hot summer day in 2002 where he was hanging out with friends blending elements of funk & boom bap while “11:30” dustily talks about an assailant running from law enforcement after failing to apprehend him.

Jam Baxter appears on “Lost S07E01” making their own continuation of The Walt Disney Company-owned ABC hit sci-fi adventure drama series that ended back when I was in 7th grade while “Funkpellybrick” featuring Sly Moon hooks up a downtrodden piano sample keeping their mind on others’ money. “U What M8” wraps up Eh?experimenting with hip house & probably has the most repetitive songwriting out of another other track I mentioned previously.

Catching onto Bill Shakes through guest appearances on projects like Leaf Dog’s sophomore effort Dyslexic Disciple or Eric the Red’s debut Caught Red Handed, he makes his comeback nearly a decade later with the most personal material he’s ever conceived. The production’s significantly darker than For Goodness Shakes’ was during my final year of middle school & lyrically, Bill uses this opportunity to thematically gives flowers to the Lancashire town that made him the man we hear in front of us today.

Score: 4/5

Nah Eeto – “53” review

Nairobi, Kenya, Africa recording artist Nah Eeto dropping her debut extended play under one of London, England, United Kingdom’s biggest independent hip hop labels: Blah Records. Her debut single “Auntie, What Happened To Me?”would come out on my 22nd birthday & that quickly sparked interest in what the rest of 53 was gonna sound like. Especially since I’ve already familiarized myself with her through the guest appearances she’s done for the likes of Cult Mountain as well as Bisk & Black Josh to only name a few.

“Kichaa II” featuring Dope-I-Mean & Stinkin’ Slumrok begins with an English/Swahili intro produced by Lee Scott talking about the trio’s inability to turn down money but once “E Eye O” featuring Boutross & the Mcabre Brothers joins forces over a trap beat from Jack Danz to see who can have the most charming verses when I’d say the latter & Nah are tied, “Mafu” wraps up the 1st half of 53boasting that the devil wonders how she hasn’t fallen from grade yet.

Milkavelli appears for “Mbali No Machina” getting bilingual once more spitting fierce English & Swahilian verses over this experimentally atmospheric instrumental preceding Nah Eeto singlehandedly flowing on top of these ominous synthesizers from Sumgii during “Bila You”, discussing her capability of baggin’ drugs & simultaneously robbin’ a dealer along with a client of theirs. The closing track “Tick Tock” spends the remaining 3 & half minutes of the EP hitting us with a Swahilian drill outro.

Yearning to put the Swahilian hip hop scene on the map, Nah Eeto has come a long way from being a Blah Records videographer to her recent features across several projects & now releasing music under the imprint giving us a better understanding of her artistic & personal identity. 53’s guest list is a mix of Blah Records alumni & fellow Kenyan rappers, the production’s consistent & I feel like anyone looking to get into shrap will have a better understand of that style.

Score: 3.5/5

Bang On! – “Defo Not Normal” review

Liverpool, Merseyside, England, United Kingdom emcee Bang On! dropping his 3rd EP fully produced by London beatsmith & audio engineer Reklews. Making his full-length studio debut in the spring of 2012 with the moderately received sic, he would go on to sign to Blah Records at the beginning of 2018 & make his debut for the label with The Power of Not Being Arsed. He only dropped Str8 2.mp3 a few weeks earlier & is continuing the summer by making it clear that he’s Defo Not Normal.

We get a cloudy hardcore opener in the form of “Fuck That Shit” suggesting people get with the program since there’s no plan B for him whereas “Girls” takes the boom bap route instrumentally basically doing his own take on the JAY-Z single “Girls, Girls, Girls” down it being sampled during the hook taking a more melodic approach to delivery after the 1st verse. “Smoking Weed” reaches the halfway point of the EP making up for the previous track by cooking up a stoner’s ode.

“No Graft, No Gain” gets the other leg of Defo Not Normal started by going for a grime vibe sonically talking about people not having any glory if the don’t have the guts leading into some rap rock influences seeping through so he can tell those anyone sleeping on him that they’re gonna “Find Out” rather quickly. “The Right Coat” spends the last few minutes talking about him feeling as if no one likes him, which resulted in him becoming emotionlessly cold as fuck.

Of the 2 extended plays that’ve come out in less than month, I had higher expectations for Defo Not Normal & would consider it to be an improvement above it’s predecessor. Reklews’ production is more versatile than the traditional boom bap sound that the Children of the Damned or it’s successor the Cult of the Damned & Hock Tu Down have all become known for & Bang On! gets more serious topically rather than continuing Str8 2.mp3‘s satirical commentary.

Score: 4/5

Supergang – Self-Titled review

The Supergang are a quartet from England, United Kingdom consisting of Runcorn, Cheshire, emcee/producer Lee Scott, London emcee Milkavelli, Sheffield emcee Sniff & finally London producer Sumgii. All of whom have cross paths with each other several times over the courses of each member’s careers, so them forming & introducing themselves as a unit by dropping an eponymous debut EP under Blah Records was understandable given the founder of the label’s involvement in many different side projects.

The g-funk instrumental on the intro “Zap” was a welcoming way to get the extended play started having each of them spitting hardcore verses without the need of a hook whereas “Yellow x Green” goes for a lo-fi boom bap vibe talking about dreaming in only those 2 colors. “GNGLVD” keeps the beats dusty making it clear the Devil Gang’s retaliation has begun while “Do It Twice” rawly yet slowly talks about living life do or die because of the rush they get out of it.

“I Confess” starts the backend of the Supergang’s self-titled debut admitting to pushing drugs on their Twitter feeds & being happier than a kid on Christmas Eve once they’re caught instrumentally experimenting with trap leading into the “Unofficial Anthem” coming through with their own 5 & a half minute theme song. “Bubblewrap” closes up shop with 1 last boom bap beat subduing it so all 3 lyricists can fire off 1 last hardcore verse of their own.

Making it their mission to become the UK hip hop scene’s next unstoppable force, the Supergang’s inaugural musical statement certainly does what everyone involved had set out to do & those who enjoy the Mcabre Brothers’ output or Nobodies Home’s debut EP ADHD Concerto 77 wouldn’t deny it. Sumgii’s production here sticks out amongst the funkiest he’s ever made & Lee handles the verse with both Milkavelli & Sniff by his side rather than either or.

Score: 4/5

Jack Danz – “T.M.I.B.” review

This is the sophomore effort from Leeds, West Yorkshire, England, United Kingdom producer, audio engineer & rapper Jack Danz. Making his full-length debut in the fall of 2015 with Ouija Slang, he would go on to produce for both Lee Scott as well as Bisk from the Cult of the Damned collective. Coming off the Dying Lotus duology of beat tape, it made total sense for Jack to drop T.M.I.B. through one of London’s biggest underground UK hip hop labels: Blah Records.

After a compositional intro, “Washpoppin’” opens up with a murderous self-produced boom bap instrumental talking about being too stupid of getting himself in grave danger prior the morbidly slow title track lettin’ muhfuckas know they can’t imitate him & fuckin’ shit up in the lab. “Riley Reid” incorporates a bell-woven beat discussing his earning his legitimacy without needing a handout prior to “The Deep Field Image” reaching the midway point embracing a deadly atmosphere cautioning of coming near him.

“Winnin’” kick off the 2nd half of the album is willing about being watched through our handheld devices & after “I.D.G.A.F. (I Don’t Give a Fuck)” darkly shows a negligent side to the man, “Narcotic Suite” hooks up a cavernous sample talking about a user for life. “10,000 B.C.” winds down the last few moments advising against getting your perception of him underhanded & the closer “Arabella’s House” ghostly sends it all off talking about the trigger-finger waiting with no deliberation.

Ouija Slang was alright to me personally with all respect, but Blah Records was able to get Jack Danz at his most quintessential since the monotone magician brought his usual brand of dry wit lyricism & rarely vintage sampling to the mix throughout a great deal of T.M.I.B.’s half hour runtime. I also gotta give it up to him for self-producing nearly the whole thing & having no guest appearances, giving himself more than enough room to improve his songwriting & performance skills.

Score: 3.5/5

Mcabre Brothers – “Tell a Friend” review

The Mcabre Brothers are a duo from the United Kingdom consisting of Runcorn, Cheshire, England emcee/producer & Blah Records founder Lee Scott alongside London emcee Milkavelli. Known for being members of Cult Mountain & the Children of the Damned, these guys made their eponymous debut in 2009 & followed it up with their debut EP Merry Critmass. Their sophomore effort Gonzo Lyricism was the last time we heard from the brothers & are back nearly a decade later with their 2nd extended play.

The title track sets the tone with a boom bap instrumental encouraging everyone to let their friends know the Mcabre Brothers are in effect again & after “Tie Die Sky” ruggedly talks about keeping it going until the job’s done, “Ring Back” featuring Black Josh works in more kicks & snares ending the 1st half comparing acid trips to an episode of the Discovery Global subsidiary Cartoon Network late night block [adult swim] hit series Rick & Morty.

“64 Bit” featuring Salar starts off the other leg of Tell a Friend with all 3 off them giving us witty video game wordplay over this industrial beat while “Flush” humorously talking about discarding mixtapes wack rappers are always passing out by making it go down the toilet. “No Chance” however wraps things up with this coldblooded boom bap instrumental dismissing the idea of any crew having the possibility of defeating them in a battle.

Ending the longest gap in-between releases so far, the Mcabre Brothers return after nearly 8 years for an EP making it clear as day for anyone listening to Tell a Friend they’ve returned & hopefully it won’t be the last time we hear them again. I’d still say their self-titled debut has the best production of all 4 projects Lee Scott & Milkavelli have done although I can appreciate the depiction of their style evolving over the course of an entire decade.

Score: 3.5/5

Broom Man – “Spoof” review

Manchester, England, United Kingdom emcee Broom Man enlisting London jazz rap/boom bap producer Illinformed to solely produce his solo debut extended play. Someone who up until this point has yet to drop a collection of material under his own name, yet was introduced to him through his appearances on Cult of the Damned leader Lee Scott’s sophomore effort Stupid Poignant Sh!t. And considering that history, it doesn’t come as a shock for Blah Records to be the one who’s backing Spoof seeing the light of day.

After the intro, “BRM” hooks up a downtrodden boom bap instrumental so the Broom Man can lay out some gritty hardcore lyricism whereas “Safe Safe” works in some pianos mixed with kicks & snares to discuss his shit being pure. “Ovis” featuring Lee Scott finds the pair joining forces over a funky beat so they can talk about their egos driving them to places they didn’t want to go to just before “Astronope” brings some ominous chords in the picture discussing everything being fun & guns until getting stuck up for what you know.

“Monster City” maintains the boom bap vibes talks about being here to kick knowledge instead of lurking across the dance floors while “Kuato” after the “Quaid” interlude eerily speaks of opening our minds. “Zack Morris” gets back on the funkier tip instrumentally talking about being dafter trying to escape the fishnet & after the title track dustily makes it clear he could care less of appealing to a wider crowd, “Mr. Pope” featuring Bisk spends the concluding minutes of Spoof teaming up for a hardcore boom bap outro.

So it turns out the Broom Man began recording Spoof with Illinformed back in 2013 after he had recorded his verse for Stupid Poignant Sh!t until a devastating fire at the Blah Mansion in Blackburn, Lancashire convinced the label that the 22 minute recordings were destroyed & scrapped it. Thankfully, they were able to recover those lost sessions somehow someway & give the world his proper musical introduction outside of guest appearances the way it was initially conceived.

Score: 4/5

Lee Scott – “Lou Reed 2000” review

This is the 7th studio LP from Runcorn, Cheshire, England, United Kingdom emcee, producer & author Lee Scott. Introducing himself through The Wrong Bootleg Demo & the full-length debut Put on the Glasses over a decade ago under his own label Blah Records, some may even recognize him for his memberships with the Antiheroes, the B-Movie Millionaires, the Children of the Damned, Cult Mountain, the Cult of the Damned, Group, HAPPYPPL, Hock Tu Down, the Mcabre Brothers & Nobodies Home. Peppered Mouth Soup & Happy Sellout Shit were ok, but the sophomore effort Stupid Poignant Shit produced by Illinformed would become his most celebrated work following it up with Tin Foil Fronts as well as CactusOwlMoonGoat & the High Focus Records-backed Butter Fly being another favorite of mine. Nice Swan would become as beloved although Supergod5000plus & Oh, the Fun We’re Having were alright. He’s wrapping up 2018 however producing a great deal of Lou Reed 2000 homaging The Velvet Underground’s late frontman of the same name.

After the “Lou Lives” intro, the self-produced title track begins with him talking about turning negatives into positives despite everything in his life being shit whereas “Rocket Fuel” produced by Nobodies Home talks about today not being great yet it’s alright because there’s always yesterday. “Bad Foot Forward” featuring King Grubb finds the pair asking why people are pushing them around & flippin’ a cough on this battery operated machine while “Me Alone” talks about starting a riot because the damage is done.

“Mid Afternoon” continues the 2nd half of the album talking about not having a dream & occasionally waking up in the middle of the afternoon looking to get some food inside him sooner rather than later if after “Foneline ‘06” featuring King Grubb expresses a desire to call someone who doesn’t even call them anymore, “Colossal Jones” featuring Jam Baxter talks about confusing people’s 6th senses & it taking more than a stretch of marble pillars to hold their tongues.

The track “Next Stop” opens up about him constantly thinking of all the things he doesn’t want to do & sending the whole world on a “fuck you” note while the final song “Fuck U Save Me” featuring Sadhugold the “Lou Lives II” outro spends the last few minutes of the full-length with both of them lyrically getting in their hardcore bags, commending some for impressing them the way they take this joke called life so seriously & being nothing like the artists comparing themselves to him.

All 3 of the extended plays Lee Scott has dropped post-Butter Fly still have their share of notable moments despite not considering them to be on par, but Lou Reed 2000 is definitely the most I’ve enjoyed his solo material in a couple years. The production primarily handled by Lee himself with live instrumentation from his Nobodies Home companion Jack Chard occasionally chops up some samples to spend a bulk of the half hour exploring a varied range of sounds from jazz rap to lo-fi hip hop & boom bap cutting down the guest appearances to only a select few for a 30 minute collection of thought provokingly sad philosophical ignorant rap.

Score: 4/5

Black Josh – “Yung Sweg Lawd” review

Manchester, England, United Kingdom emcee Black Josh of the Cult of the Damned & LEVELZ collectives as well as the duo B-Movie Millionaires returning for his 5th studio LP. Making his full-length debut Brick Flair’s Ape Mountain following an eponymous debut extended play, the sophomore effort albeit Blah Records debut #blahblahblahblackjosh alongside the Blosh & Pete Cannon-produced Smoking Kills EP would all succeed it. Coming off the Ape Tape & his last full-length Brexit however, Joshi£’s clearing up why they call him the Yung Sweg Lawd.

“Round Ere” begins with a blaring boom bap instrumental suggesting not to spend all one’s time around his neck of the woods since people there aren’t really living their lives whereas “925” produced by Reklews references WWE chairman, CEO, self-booked WWE Champion & ECW World Heavyweight Champion Vince McMahon along with the company’s primary flagship program Monday Night RAW right out the gate basically making comparisons to that of dayjobs.

The title track has Josh talking about trust issues resulting in him no longer having a relationship with certain people over another boom bap beat leading into “Bad Omens” dustily discussing the idea of ghosting negative spirits in one’s life. “This is It” featuring Truthos Mufasa & Yussuf Maleem finds the trio coming together to discuss doing this shit for the Cult just before “Cult Sag 2” featuring the Mcabre Brothers funny enough hits us with a Lee Scott & Sly Moon-laced sequel to a #blahblahblahblackjosh highlight.

“Judge Judy” featuring Nah Eeto brings a psychedelic flare to the table talking about the only woman who can save them while “Dem Ways” wraps up the 1st leg of Yung Sweg Lawd instrumentally shooting for a mellower boom bap vibe explaining him hustling & achieving because his struggle was deep. “Thinkin’” hooks up some sampling so he tackle relationship struggles while “Own Tings” by the B-Movie Millionaires featuring Jesse James Solomon & Sniff talks about the independent grind all 4 of them uniquely possess.

Pitch 92 gets behind the boards during “1000 on Red” featuring Milkavelli getting fed up of being fed up while the mediocre trap cut “What I Need” talks about this woman being what he wants. “2 Fone Shawty” makes up for it from Reklews’ beat to the lyrics about female who has 2 cell phones while “R Kid” featuring Con M1 & Sangy shrugs off what people say regarding them. “Linguine Limbs” featuring Milkavelli reunites 1 last time for a passable cloud rap joint while the closer “Ciggaweed” includes a reference to WWE Hall of Famer Mr. T over a Skepta beat.

#blahblahblahblackjosh & the Ape Tape were both seen has significant improvements above Black Josh’s earlier output, but the Yung Sweg Lawdarrives 9 months following the Attack of the 50,000ft Sweg Lawds from Outer Space taking himself to a newer level artistically through some of his greatest material. His lyricism’s more abstract & the production has an experimentally illbient feeling to it than most of his previous output.

Score: 4/5

Hock Tu Down – “Hock Tu 3” review

Hock Tu Down are a duo from Liverpool, Merseyside, England, United Kingdom consisting of producer Reklews alongside Runcorn, Cheshire, emcee/producer & Blah Records founder Lee Scott. Forming in the late 2000s, both members of the Children of the Damned & it’s successor the Cult of the Damned would drop their full-length Prozium Peddlin’ at the end of 2009 & followed it up 9 months later with their debut EP Something Strange. It’s been over 8 years since the latter & these guys are reuniting for a sophomore effort.

“Breakfast” talks about having so much fun in the sun to the point where he might cry over a raw boom bap instrumental whereas “Fanks” takes a more personal approach to Lee’s songwriting speaking of both his parents. “Glenn’s Eye” has a slower vibe to the beat talking about being the ones to explain how shit’s gonna go down leading into “Kit Bag” featuring Milkavelli reunites the Mcabre Brothers referencing former UFC Featherweight Champion & UFC Lightweight Champion Conor McGregor.

As for “Deus Ex Machina”, we have Hock Tu Down giving a fuck less if they impress or disrespect anyone surrounding them working in more kicks & snares with some jazzier undertones just before “1 Tu” talks about reality being what you make of it whether someone’s there cooperating or not. “Game On” featuring Jehst finds the Group talking about life being unfair on top of this slow boom bap instrumental & “Black Hoodie Season” after the “Bengal Tiger” skit moves forward with an autumn ode.

“Yarbles Mahoney” continues the 2nd half of Hock Tu 3 ruggedly talking about being a rare 1-of-1 edition sitting on a lonely shelf while “Honest Daze” featuring Nickelus F & Quelle Chris sees the trio confessing every mistake they made caused them to run & gun more. “Sun D” dustily talks about having nothing to do like it’s a Sunday while “Zip” takes a couple minutes so he can discuss today being a great day to rebel in Hell.

The track “Breathe 101” winds down the album’s final minutes jumping over a gully beat reminding us to take deep breathes regularly & the final song “I Made Some Shit” preceding the compositional 60 second outro sends it all off treading intergalactic boom bap waters instrumentally talking about making more music with the money that Lee’s made off his previous material & tripping on the 12th stair when he was on his way to the pearly gates of heaven.

Prozium Peddlin’ was an outstanding debut for Hock Tu Down & I felt like Something Strange in comparison was ok, but Hock Tu 3 wedges itself in middle behind their inaugural LP almost a decade ago & above the extended play they gave us prior to their hiatus. Waiting for the right time to make a return, Lee Scott takes a batch of boom bap production he’s had from Reklews for some time in middle of him hanging around family & using them as inspiration to write the final product.

Score: 4/5