A truly amazing year for music, this year we were blessed across the spectrum from blistering Grime to heart-wrenching Art-Pop, drug-laced Hip Hop to teeth-grinding Trash Metal; in the words of Injury Reserve: “What a year it’s been”.

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James Blake – Assume Form

It’s fair to say that this album has caught its fair share of flack since it’s release in early January 2019. Blake took some chances and explored different avenues of his musical taste, and in my opinion it paid off. If your only complaint is that this doesn’t sounds like his older stuff, it’s time to go back and give this another chance.

This album may not have sat well with James’ die-hard fans, but dismissing this album would be a mistake. It’s full of beautiful and interesting tracks, and given his work with rappers leading up to this, it’s clearly an expression of the music and styles Blake himself loves. The rap verses are balanced out with absolutely stunning vocal performances, so this album will hit the mark for different people in different ways. This is well worth your time, and I look forward to the next James Blake project.

Standout Track – Barefoot in the Park (feat. ROSALÍA)

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JPEGMAFIA – All My Heroes Are Cornballs

When I went to the JPEGMAFIA gig in Berlin, there was a point where the crowd was so wild and my legs were pushed up against the stage so hard, I thought my leg might break. That was the Veteran tour, and it was absolutely insane. He also debuted his song with Kenny Beats, Puff Daddy. You could not have attended a more wild gig if you tried. All My Heroes Are Cornballs isn’t as visceral as Veteran on a whole, but to expect an artist to repeat themselves is foolish.

Your favourite artist doesn’t owe you anything, and what JPEG has given us here is interesting, odd, and infectious. JPEG delivered exactly what he wanted to deliver on this album, whether it was interpolating TLC or threatening to turn Steve Bannon into a vegetable, and seeing an artist stay completely unswayed by the court of popular opinion is what is always needed in Hip Hop.

Standout Track – Prone!

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Injury Reserve – Injury Reserve

Arizona may not be known for its Hip Hop, but Injury Reserve are certainly breaking the mold. The three men have been working together since 2013, releasing some of the best alternative Hip Hop of the decade with Floss and Live from the Dentist Office. With their debut album (how the other two were only considered mixtapes I’ll never know), the group has lost none of their edge, and have managed to maintain their penchant for emotional cuts too.

As far as debut albums go, Injury Reserve slayed it. Whether they have you laughing or feeling grateful for your friends and loved ones, consistency is key with the group, and they certainly did not disappoint on this project. From the themes to the beats to the features, they group delivered an eclectic mix, and as usual they have left me eagerly awaiting their next release.

Standout Track – Jailbreak the Tesla (feat. Aminé)

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Wiki – Oofie

Half-Irish, half-Puerto Rican, 100% New York; Wiki is a rapper’s rapper. Following on from his praised debut album No Mountains in Manhattan in 2017, Wiki returns to build upon his already solid reputation. Joined by regular collaborators, Wiki has crafted another ode to New York, his upbringing, and what his future holds.

On this album, Wiki brings balance; he balances tracks of reminiscing and looking forward, he balances the solo cuts with the collaborations, and he balances the laid back tracks with the track where he spits straight bars. Wiki’s growing maturity is present throughout the album, one track will have you wanting to slam a beer and light one up, the next is making you ponder the questions of life after death. As I said, Wiki is a rapper’s rapper, but he is also adored for a reason, his down to earth charm is endearing and makes for heartfelt moments throughout the project. The more we hear from Wiki the better, and I hope we hear him and Lil Ugly Mane finish some Secret Circle material.

Standout Track – Grim (feat. Lil Ugly Mane & Denzel Curry)

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Fynch – Bookies Pens & Loose Ends

Irish Hip-Hop is in one of the best positions it’s ever been in. The work that has been put in be previous generations of Irish Hip Hop artists has been recognised and built on, and a perfect example of this is Fynch.

A voice for the the disgruntled graduate generation who are being crushed by rent and lack of creative opportunities, Fynch lets his opinions, politics, and gripes flow freely here, pulling few punches. Whether Fynch is lacing his raps with football references, uncertainty over employment, or influencer culture in art, he keeps a rugged Dublin charm, balancing humour with seriousness; he’ll have you laughing one moment, the next you’re left wondering if we’re about to become another Lost Generation.

Fynch is an artist with boundless potential, and with his label mate Marcus Woods and the rest of Burner Records supporting him, he’s bound for big things.

Standout Track – Saipan

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Ariana Grande – thank u, next

A TV star, a pop powerhouse, a whizz at celebrity impersonations; Grande is a woman of amazing talent and fantastic range. With this album, her maturity shines through, and the growth she has made as an artist is front and centre, even if that growth is the result of tragic and unfortunate circumstances.

This is an album of highs and lows; sonically, Grande’s voice reaches ethereally peaks and sombre lows, and the themes follow suit. From the blissful professions of love and wanting on imagine, to the heart-wrenching sorrow of ghostin (which in perhaps one of the bitterly-sweet moments of music of 2019, samples Mac Miller’s beautiful 2009). Grande closes out the album with one of the best 3 song-combo’s of the year with 7 rings, thank u, next, and break up with your girlfriend, i’m bored; a rousing splash of braggadocio and confidence to close out what will stand as her most mature album to date. Through tragedy, Grande shines, and this is a perfectly refined Pop album for a woman who has so much more to give us.

Standout Track – ghostin

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Tyler, The Creator – IGOR

Tyler, The Creator has come along from his debut album. Gone are the days of Tyler screaming “Kill people, burn shit, fuck school” (which Hannibal Burress notes are demands that really lower in horror as they go on), now we have Tyler crooning about the break-up of his relationship and his broken heart.

A producer and composer from his earliest work, Tyler has hit a fantastic stride with this project; the lo-fi buzz and the 60s-style radio ballads are laced with the menacing edge he is known for. The hooks on this album are absolutely infectious, they burrow into your head and you’ll find yourself singing the chorus long after the album has ended, even if you’ve only listened once. Features come from Playboi Carti, Solange, and Kanye, while everyone from La Roux to Jack White offer their assistance on vocals or instruments in one way or another.

Tyler has delivered what I would class as his best album, and he has managed to keep his angst-ridden edge in this luxurious project filled with soulful samples and professions of love.

Standout Track – ARE WE STILL FRIENDS?

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clipping. – There Existed an Addiction to Blood

When casting our eye of the world of Horrorcore and Horror themed Hip Hop, visions of Three 6 Mafia, Geto Boys, and the likes of Eminem are spring up. The genre can seem “one note” to those who observe it from the outside, while it’s seen as a break from normality and reality for those who admire it. With There Existed an Addiction to Blood, clipping. have taken something that is well established and added their own chilling take.

The trio are a tight unit, the musicians and producers William Hutson and Jonathan Snipes craft an overwhelming soundscape on which Daveed Diggs delivers his eerie lyrics. Samples come from classic horror films such as John Carpenter’s Halloween, while features by like of La Chat offer a Gangsta Boo/Three 6 Mafia style throwback to the birth of the history of the genre. Possession, Blood of the Fang, All in Your Head; even the titles of the tracks will have you feeling uneasy. Closing out with an 18-minute track, which is simply the recording of a piano burning, is a suspiciously worrying song for something that seems so mundane.

clipping. have delivered a much needed dip into the macabre, and this album adds to their already solid body of work.

Standout Track – He Dead

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Lana Del Rey – Norman Fucking Rockwell

Lana Del Rey is someone who has divided the opinions of critics with her work, and garnered a die-hard base of fans who praise her like a Greek deity. With this album, Lana has silenced any critics who doubter her authenticity and ability, given her die-hards exactly what they wanted, and garnered a whole slew of new fans.

Like every other Lana project, the Americana is dripping from every corner. Lana’s songwriting is bolstered by mega-producer Jack Antonoff, who is present across this whole record. His influence is expansive but never overdone, it feels like Lana has the full breadth of the sonic canvas to express herself. Where she’s delivering her hilariously biting takes on relationships, or trying new avenues with 9 minutes tracks with effect heavy guitar solos, there is something here for new and old fans alike.

With this project, Lana has satiated her die-hard fans with her classic sound, while drawing in the praise of critics and new fans with the new spin she was able to put on it.

Standout Track – Fuck it I love you

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Hot Chip – A Bath Full of Ecstasy

19 year after their debut album Coming On Strong, Hot Chip shows no sign of coming on any other way. Darlings of critics and fans alike, Hot Chip’s diverse electronic sound has kept them continuously relevant and adored. With A Bath Full of Ecstasy, the group have crafted an album that is at beautiful and wholesome, and peppered with moments of dancefloor euphoria.

The melody and grooves across the album are infectious, from the watery synths and voice modulation of the title track, to the harmonic vocals and uplifting piano of No God. While most of the album is full of professions of love and thankfulness, the group also offers Hungry Child; with its anthemic piano and driving beat, it’s Hot Chip at their dancefloor-filling best. Elements of R’n’B can be heard on Spell, which demonstrates the eclectic edge that puts Hot Chip above many of their contemporaries.

Hot Chip are now in their 20th year, and thankfully, they show no sign of slowing down. They have delivered an album that is as beautiful as it is concise and focused, and it shows that their longevity has only served to bolster their creativity rather than dull it.

Standout track – No God

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Tha God Fahim & DJ Muggs – Dump Assassin

Longevity in Hip Hop is not an easy thing to maintain. While producers may have it easier to an extent, it’s still a grind, and DJ Muggs of Cypress Hill is someone who has put tireless and celebrated work in since the early 90s. Teaming up with Tha God Fahim, a young gun from Atlanta who goes against the grain of what’s popular in his home city, the duo have delivered a left-field, unique, and fantastically interesting album.

Muggs has been on fire since late 2018, working with the likes of MF DOOM and Mayhem Lauren. Shifting his focus to the East Coast sound, Muggs keeps the edge of his early work with Cypress Hill, and incorporates the lo-fi, grizzled sound of the the New York underground. Fahim is right at home on these beats, speaking of the pursuit of knowledge, overcoming vices, and the street life; his style and substance is reminiscent of the likes of 90s Wu Tang. The Arabic themes go beyond the album artwork, snippets of Muslim prayers and discussion of the Quran are scattered throughout the album, making for an informative listen.

Muggs and Fahim are two artists fully dedicated to the craft of Hip Hop, and what they have delivered here is a refined and clear example of that.

Standout track – Silent Samurai

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Denzel Curry – ZUU

The candy coated low-rider, the Marlins baseball jersey, the parental advisory warning; with this project Denzel ditched the darker edge of TA13OO, opting instead to pay tribute to the Dirty South. Loud, brash, and banging, Denzel is firing on every single cylinder on this project, and it could easily be classed as his best.

Florida is hectic at the best of times, and ludicrously manic the rest. With this record, Denzel has captured that feeling, delivering trunk-knocking beats and rapid bars all about his home state. Track such as SHAKE 88 pay tribute to Florida legends 2 Live Crew and the high explicit style that made them infamous, while track likes ZUU and RICKY look at Curry’s upbringing and life in the madness that is Florida.

For such a snappy and short album, there’s so much substance. Denzel Curry is versatile and he is energetic, and that versatility and energy pours out of this record. Denzel is for the children.

Standout track – WISH FEAT. KID MARVO

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Slowthai – Nothing Great About Britain

Slowthai is the new force to be reckoned with in UK Hip Hop. After a stellar string of singles from 2017 running in to 2018, and building a reputation as a live act that is guaranteed to cause some injuries, he has released a debut album that lives up to the hype surrounding him.

Slowthai is never one for self-censorship, presenting the bare-face facts of his rough upbringing, his drug dealing, losing a sibling, his disdain for the ruling classes and the cops; Slowthai is a street poet speaking for the disillusioned youth of Tory Britain. This album will have you wanting to boot the doors of their hinges, but then it’ll have you pondering your familial relations and your self-worth.

Slowthai is what we need right now, and we’re lucky to have him.

Standout track – Toaster

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FKA Twigs – Magdalene

When you leave a 4 year gap between your projects, the expectation and anticipation naturally grows to an intensely high level. FKA Twigs seems to have taken this in her stride, while also crafting an album that is delicately beautiful, but one that also maintains a cutting edge.

Religious iconography is effortlessly tied into themes of desire, lust, love, and loss; Twigs is at her very best here, clearing those high expectations fans had. The features and co-production credits on this album are wild, from Nicholas Jaar to Skrillex, there is a broad mix that all works under the guidance of Twigs. Cellophane, which acted as one of the lead singles from the album, closes the album in a utterly devastating emotional crescendo.

With this album, she has cemented herself as a mainstay of the Art Pop world. The project deserves every bit of praise it has received, and hopefully we won’t have to wait so long for another FKA Twigs project.

Standout track – Cellophane

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Kano – Hoodies All Summer

Kano is a pioneer of Grime, someone who put the work from the very beginning, where it was on the stair of Jammer’s basement going head to head with Wiley, or on the stages of Ayi Napa controlling the party hungry crowds. Given this, the fact that he is still operation at a level this high when it comes to the genre is nothing short of amazing.

As ever, Kano casts his eye over the current state of society, race and class divides, violence, as well as loss and the breakdown of relationships. He does all while maintaining his dangerously sharp edge and intense flow. Features from other Grime legends like D Double E and Ghetts add to the urgency of Class of Deja, while Popcaan and Kojo Funds bring a smooth Caribbean vibe.

Kano is growing more versatile with age, all while ageing like a fine wine. He is truly a living legend, and he deserves our endless praise.

Standout track –  Good Youts Walk Among Evil

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JME – Grime MC

In a world of streaming, to make the initial release of your album physical-only is a bold move, but JME was clearly confident in this album. After you listen to this album, you will see that he was right to feel emboldened.

Grime MC is a pure Grime album. While artists like Stormzy, AJ Tracey, and even JME’s own brother Skepta are busy incorporating Hip Hop, Drill, and Trap into their sounds, JME rejected this convention and has offered an album that is Grime front to back. Dotted features from other Grime mainstay bolster the line-up, while JME’s delivery is so clear and precise that even someone who isn’t a fan of Grime will easily be able to keep up and appreciate the fire that JME is spitting on here.

A copy of this album cost £10, and JME was shipping them himself, at a loss. This is a man who is strictly about the music, and it shows on this album in abundance. Do yourself a favour and buy this album.

Standout track – Badman Walking Through

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Mango X Mathman – Casual Work

Kool G Rap & DJ Polo, Eric B & Rakim, Pete Rock & C.L. Smooth. The rapper/producer duo is one that is celebrated and revered, the melding of two minds, one behind the decks, one behind the mic. Thankfully in Ireland, we have our own in Mango X Mathman. After a slew of singles and an EP since 2015, the duo have released an album which encapsulates the overarching cultural zeitgeist of the 20-something in Ireland, all why keeping it deeply personal and extremely focused.

The production, delivered by the maestro that is Mathman, is utterly sublime. Whether it’s Grime, Bassline, or Hip-Hop, Mathman lays a rock solid foundation. Mango is equally fantastic, touching on topics from disillusionment to broken relationships, economic struggle to social isolation. Even through these heavy topics, the lads still manage to deliver thumping bangers to wild out to, and smooth summer jams to blast while your having cans in the sun.

An ode to Dublin, an ode to the attitude of the young people of Ireland who are bet down by neo-liberalism but keep their head up, this will stand as an album of a generation that Fianna Fail and Fine Gael tried to forget; but with a battle-cry like this, we wont be forgotten.

Standout track – Deep Blue (feat. Lisa Hannigan)

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Freddie Gibbs & Madlib – Bandana

When Freddie Gibbs and Madlib team up for their feature length release Pinata in 2014, it was heralded as an instant classic. Madlib was at his very best, hitting heights he did with MF DOOM on 2004’s Madvillainy, while Freddie Gibbs solidified the reputation he’d been building since 2009; as one of the best and most consistent rappers in the game. With the release of Bandana, five years later, the duo have proved that lighting does indeed strike twice.

Gibbs has some of the best delivery and cadence in the rap scene. He has a domineering presence that is intensely felt across the whole album, whether he’s delivering smooth and slow bars, or rapping his damn ass off. Madlib is on point, as ever, his beats ranging from frantic, gnarly guitar chords to smooth, soulful chops. The features are stacked, the duo recruiting Hip Hop heavyweights to join them in pair; Killer Mike and Pusha T on Palmolive, and Black Thought and Yasiin Bey (Mos Def) on Education.

There’s always questions of whether the sequel to an album can hold up, and it’s a moot point, there’s too many variables. Thankfully, when you are at the level of Madlib and Gibbs, those variables are a distant worry. Will this be regarded as a classic in 5 years time like Pinata? Time will tell, but as far as 2019 goes, this is Hip Hop album of the year.

Standout track – Palmolive (feat. Pusha T & Killer Mike)

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Fontaines D.C. – Dogrel

Fontaines did two things for me this year: They helped with my homesickness with the musical ode to Dublin, and bitterly disappointed me by bad-mouthing all Irish music other than Girl Band, and be an utterly mundane live act.

But focusing on the first point, Fontaines have crafted a hectic love-letter to Dublin; the rainy days, the dirty street, the melancholic days spent drinking your sorrows away. It’s rough, but it’s rugged and charming, just like Dublin. From the anthemic, sing-along vibes of Big and Liberty Belle, to the reserved and sullen Roy’s Tune and The Lotts, the lads take the Post-Punk label and explore it freely.

Fontaines might be pretentious, and say stupid stuff in interviews, but this album thankfully rises above the bullshit. Can you separate the artist from the music? Sometimes, given what they’ve done, you can’t. However in this case, I think I can let these lads away with being dopes.

Standout track – Television Screens

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Honourable Mentions:

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• Orville Peck – Pony 
• Floating Points – Crush
• Earl Sweatshirt – FEET OF CLAY 
• Rico Nasty – Anger Management
• Blood Orange – Angel’s Pulse
• Future – Save Me 
• Solange – When I Get Home
• YBN Cordae – The Lost Boy
• Maxo Kream – Brandon Banks
• Danny Brown – uknowhatimsayin¿

The final instalment of 2019. Due to my schedule and other factors, November and December will be in the same article, and I can only hope that artists stop releasing albums in December so I can properly delve into them.

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Mango X Mathman – Casual Work

What makes music “Irish”? This is a question that has cause a lot of arguments this year. A certain post-punk from Dublin decided that before Girl Band’s efforts, all Irish music was pitiful, lacklustre trad music. Not only were they insulting to both trad and all other Irish genres and music, they were also so wrong, you would swear it was poorly delivered joke. But still, let’s ponder this question? People could say it is the fiddles and a boadhran, others would say the singer having a gentle lilt, someone would even say it has to explicitly mention fighting a Brit. I would say is that it’s music that gives you a sense of place, no matter what the musical style is, music that wears its identity on its sleeve like badge of honour. Mango and Mathman’s debut album Casual Work is exactly that; and not only is this proudly Irish, it’s unashamedly Dublin through and through.

Opening up with a spoken word piece Bread & Butter, Mango delivers the harsh reality faced by young people in Ireland, “Zero-hour contracts zero fuck given”. Mango’s raspy and impassioned delivery adds brevity to the proceedings. The track soon fades with the sounds of the coast, and straight into Deep Blue. Featuring Lisa Hannigan on the chorus, Mathman’s production is lush and bright. The production switches on the following track Estates, a menacing aura surrounds the beat, which Mango comfortably sits upon, detailing the ins and outs of life in Dublin’s estates. Lord Hear Us sees Mango speak on the struggles of growing up when you have internal family strife and external forces trying to bring you down, “and you never go home cause your Ma’s in a mood and your Da’s jarred” is a particularly poignant line. Both Lonely Night and Memories see the duo take a softer approach, accompanied by Loah on both tracks, where she delivers standout performances. The boys show their ability to switch it up and drop some summer heat in the depths of winter with Any Other Place, an ode to Dublin when it’s drench in sun, with Adam Collins providing a killer hook. The boys flip it back to the heavy side for Chest Out and Mad Ting, Mango shells like an artillery barrage while Mathman delivers beats that would shut down any rave. The closing track Said & Done features some 90s Trance-style keys from Mathman, while Mango how he’s grinded to make where he is through the struggle.

So what makes music “Irish”? It doesn’t matter, what matters is where the music represents, what the music represents, who it speaks for, and who it speaks to. When people listen to this album they hear the Irish-ness pouring out of it, there no check-boxes to tick, there’s no criteria to meet. We know, and that’s what’s important.

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Wiki – Oofie

If Mango X Mathman’s Casual Work is and ode to Dublin, everything Wiki does is his ode to New York and Manhattan.

Wiki carved his was in the Rap game with his original group, RATKING; their 2014 album So It Goes gaining the group critical praise and underground adoration. Upon the groups untimely split, Wiki release solo material and eventually release his praised debut solo album, No Mountains in Manhattan. Soon after this, the group Wiki had formed with Antwon and underground legend Lil Ugly Mane ended abruptly, with Mane and Wiki pulling the plug and cutting ties with Antwon when his history of abusing women came to light. Now, over 18 months later, Wiki has returned with another album for the books, Oofie.

Priming us for the album with the standalone singles Cheat Code and the Madlib produced Eggs, excitement for this album was bubbling up. Following this, 2 singles from the album really turned up the heat. On the lead single Pesto, Wiki sounds right at home a jittery, booming beat provided by Tony Seltzer. The second single Grim, produced by and featuring Lil Ugly Mane, is a macabre look into the questions of life, death, and legacy. Denzel Curry reunited with Lil Ugly Mane on this track too; the combined efforts of the three men makes for one of the best Hip Hip songs of the year. Oofie followed the day after Grim, and it’s safe to say the wait between NMIM and this release was well worth it. Like any Wiki release, this album is packed with features, but don’t have any preconceptions that Wiki relies on these to carry the album; each feature adds an edge to the already sharpened blade that is Wiki’s song-crafting. Fellow New Yorker Your Old Droog joins Wiki on Way That I Am, the two going over a soulful, snappy beat, Droog taking aim at those who judge and questions rappers even though they have no idea how the art works. Lansky Jones joins the proceedings on Back Then, which sees him and Wiki fondly reminisce about their New York upbringing, offering an insight that is somehow both tender and gritty. The New York appearance continue with Princess Nokia’s appearance on the Dame Aquí. They regale us with stories of tour life, and Nokia kills it with her verse; her and Wiki make such a great combo and we can only hope for a joint project. Promises is a beautiful track, Wiki reflects on the women in his life who made him who he is, with a angelic hook provided by Duendita.

Wiki is an unashamedly, grimey, 40 ounce slugging New Yorker. His raps weave us tapestries of New York life through his lens where there is no filter, and that’s what’s important. His Puerto Rican-Irish heritage is also worn like a badge of honour, and it adds a humble pride to Wiki’s lyrics. After this project, I can only hope that we get another Wiki project next year, and I truly hope him and Lil Ugly Mane reunite to form a duo.

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FKA Twigs – MAGDALENE

FKA Twigs makes her return to music, with her first project since 2015, and what a return it is. A beloved figure in the alternative music scene, Twigs has carved a spot herself along side the likes of Kelela and Grimes as an ethereal song-maker; her voice and instrumentation feels almost other worldly at some points, resonating on a frequency that elicits buried emotions. On this new project, Twigs laces religious iconography with her eclectic brand of Art Pop to make something wholly original and unique.

The repetitive opening track thousand eyes sets the album off with a booming opening; thumping bass drums provided by Nicholas Jaar’s production lay the foundation upon which Twigs sings of a relationship that is ending. This theme carries on to home with you, Twigs voice on this track is sublime, layered and accompanied piano and cello, this track is the first of many from this album that will give you goosebumps. holy terrain acted as the 2nd single of the album, and upon its announcement, it certainly raised a few eyebrows. Future as the featured artist, while Skrillex, Kenny Beats, and Sounwave joined on the production; it sounds like it would be manic, but it works. Twigs and Future play the part of a couple, Twigs searching for someone who will be true to her, Future wanting to be that person but is feels he is broken and unworthy. It’s an unexpected collaboration, but its something I didn’t even know I needed. The track mary magdalene sees Twigs explore lust and sexuality, “Mary Magdalene / Creature of desire / Come just a little bit closer till we collide”. Nicholas Jaar’s production on this is prominently stamped, especially on the outro, the rattling drums and darting synths are a perfect accompaniment to Twigs vocal.

As the album moves toward its close, Twigs presents mirrored heart, with an instrumental and vocal performance that is reminiscent of something The Velvet Underground and Nico would produce, perhaps the title had me thinking about I’ll Be Your Mirror. Twigs really ramps up the heartbreak across these final tracks, here defeated summation “And for the lovers who found a mirrored heart / They just remind me I’m without you” resonates with you long after the track has ended. With the final track, Twigs truly stuns. It was cellophane that acted as the lead single, and it’s cellophane that stands as one of the best closing tracks of any album this year. Twigs vocal performance is celestial, here utter devastating calls of “Why don’t I do it for you / Why won’t you do it for me / When all I do is for you? / And didn’t I do it for you?”. I’ve seen live video of Twigs performing this, and she is weeping while she sings, so I’m glad to know her music has the same affect on her as it does me. The outro of this track only adds to the exasperated feeling of hopelessness, Twigs is being judged and watched but those who thinks she’s not good enough, and perhaps she feels the same.

FKA Twigs could be an alien who landed on earth with the intention of breaking hearts, it’s entirely possible. With this album, she has cemented herself as a mainstay of the Art Pop world. The project deserves every bit of praise it has received, and hopefully we won’t have to wait so long for another FKA Twigs project.

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Tha God Fahim & DJ Muggs – Dump Assassins

You may not be familiar with the name DJ Muggs, but you definitely have heard his production before. As the producer of legendary West Cost Hip-Hop group Cypress Hill, there’s no doubt you’ve bopped to his effortlessly cool productions such as When the Sh** Goes Down or Insane in the Brain. He has remained a constant presence in Hip Hop since the 90s, but in the last 18 months, he has truly come into a new lane in the modern scene. In late 2018, he piqued my interest in his modern work with his collaborative EP with MF DOOM. In 2019, he went into overdrive, producing for East Coast rappers such as Mach-Hommy, Crimeapple and Meyhem Lauren. All of these project that he worked on deserve your attention, but the one that truly stands out for me is Dump Assassins with Atlanta native, Tha God Fahim.

The sound of Atlanta Hip-Hop is firmly rooted in the likes of Outkast, Gucci Mane and the modern Trap of Young Thug and Migos, but Tha God Fahim offers something different, more akin to the sounds of New York gritty underground. A frequent collaborator of Mach-Hommy, it’s easy to see why this link up between Fahim and Muggs happened. When translated from Arabic to English, Fahim can mean intelligent and keen, and these attributes are front and centre of Fahim’s raps. Opening the first track Dump Assassination with a reference to the legendary Rakim, Fahim states “You gotta Know the Ledge like Rakim said”, he is joined by Vinnie Paz of Jedi Mind Tricks. On Cobra Commando and The Silent Samurai, Muggs production, and what makes it so special, stands out. Like Jay Electronica’s Eternal Sunshine of the Spotless Mind, there are no drums, but Fahim doesn’t the need them; the meticulously crafted beat relies on everything but drums to create the rhythm. The Silent Samurai closes out with a sample of a man talking about hash, and skits like this continued to be interjected across the album, adding to the movie-like feel of the album. Recent Muggs collaborators Your Old Droog and Mach-Hommy join Fahim on Black Talons. When listening to these two, you wouldn’t be the first to think Droog sounds like Nas, and Hommy sounds like Mos Def. They fit perfectly in the flow of the album, and also join Fahim on the closing track, Tales from the Firehouse. It’s not hard to see why people are wanting these three to release a full album together, their chemistry is so potent, and with producers like Muggs in their corner, they could create something special. More sampled skits appear throughout the track list, adding to the Middle-Eastern flair and Islamic theme, On Gauntlet, Fahim fires off bars over a thumping beat, and the tracks closes with a man discussing Islam, and how the Quran contains multi-syllabic rhymes. The End Phase closes out with the same person reciting a Muslim prayer.

You wouldn’t be blamed for thinking this wasn’t Muggs and Fahim’s first collaboration, the chemistry they share is outstanding. This is some of the most interesting production of the year, and Fahim delivers a killer performance. The well-placed features and skits bolster the already strong track listing, this is up there as one of the most interesting Hip-Hop projects I’ve heard all year, and hopefully this will lead to more collaborations between then two artists.

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JME – Grime MC

What a year it’s been for English Urban music. Dave’s Psychodrama deservedly won the Mercury Prize, Stormzy became the first ever English rapper to headline Glastonbury, Lil Simz and Kano released two of the best albums of year, and Slowthai wowed critics and fans alike with this debut album. If Slowthai says there’s Nothing Great About Britain, he’s definitely not talking about the rappers. Grime legend Skepta released his album Ignorance is Bliss, which was a good effort, but lacked the Grime edge a lot of fans wanted, so now we turn to his younger brother JME.

A Grime legend in his own right, JME has been grinding in the scene for years. He appeared on That’s Not Me with Skepta in 2014, a song that blew up and primed fans for his well-received 2015 album, Integrity. Four years later, JME has released what will stand, at least in my opinion, as a Grime classic. Opting to keep the album off streaming services, and as a physical-only release for the first few weeks, JME actually lost money on the vinyl release, shipping them on his own dime to fans who ordered them. Let this give you an idea into how much JME believes in this album.

What you will notice right off the bat is that JME not only has impeccable flow, but his delivery is as clear as day. While newcomers to Grime might struggle with the slang and delivery, this album would be a perfect introduction. Opening with 96 of My Life, JME details exactly how he’s got to where he is now with the work he put into the scene through his life. On Pricks, Jamie make it clear that he is striving, now that he has realise the most important thing for growth and progress is to disregard the naysayers. On Iss Mad, he incorporates classic Grime wordplay and flows, while Big Zuu joins the proceedings on Dem Man Are Dead on a riddim that would sound perfectly at home on a late 2000s Rinse FM radio set. We see the the brothers link up once again on Nang, and it’s always nice to hear Skepta on a pure Grime riddim. On Badman Walking Thru, Shakka delivers one of the most infectious hooks of the year, while P Money does what does best and deliver a verse as hard as steel. The same goes for President T on Ding Ding Ding, his instantly recognisable voice is like an air raid signal for the shelling he’s about to deliver. JME delivers a sick verse here, name dropping some true donnies of the Grime scene that have hailed from Tottenham.

The UK legends keep appearing on this album, Giggs joins Jamie on Knock Your Block Off, with the beat provided by the maestro that is Lewi B. While Giggs might say that he makes Hip Hop, he always kills his Grime features and sounds right at home here with JME, his flow is mad on this one. Everyone’s favourite nonsensical, social media addicted uncle Wiley joins the line-up for Yes Men, but does manage to keep his lunacy at bay to delivery a valid take about originality, while Jamie emphasises the importance of not surrounding yourself with people who will big you up only in the hope of using you as a stepping stone. Change is a incredibly interesting track, JME goes solo to discuss the origins of Grime and how it was named, the impacts of digital downloads on physical sales, and the effect streaming had on radio, which were vital in the early days of the Genre. His story telling is reminiscent of Akala’s Fire in the Booth sessions; the bars are hard, but they’re informative. Merky Ace lends a verse to Live, his ferocious presence is always welcomed in any setting, and his bar trading with JME is great. Closing the tracks, Jamie ponders religion, privileged, life, and death on Brothers & Sisters, giving us some more thoughts to mull over as the album closes.

This album clocks in just under an hour, and there is not one dull spot on it. In a year of amazing Grime and UK releases, JME does it his own way, and he delivers something only he could give us. If you don’t purchase music, I would suggest that you make an exception here. JME is making art, and that’s worth something, and it deserves our respect and our custom. Grime isn’t dead, and it won’t die when people like JME still hold the mic.

The return of Danny Brown, a young gun of Irish Hip Hop, and modern Horrorcore: October was an interesting month to say the least.

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anny Brown – uknowhatimsayin¿

Danny Brown returns, following up his amazing 2016 release, Atrocity Exhibition, an album that defined Danny an artist. Here was a man that talked so openly about his drug abuse and problems, but now was laying them bare in a way that had lost it’s intriguing edge, and had now made it’s way into a bitter, enthralling reality. It nearly broke Danny as an artist, from the themes to the production, which saw him forking over $70000 to clear samples. While it was critically acclaimed and adored by fans, it didn’t sell well and left him in debt. So now the question arose of how he would follow this up. Here we have an artist, recovering from drug addiction, on a new cleaner path in life, and while he was happy to make “timeless stuff” with Atrocity Exhibition, the approach he took wasn’t financially viable to replicate. Regardless of this, and to the delight of fans and critics alike, Danny has presented us with an album that maintains his quirkiness, his grimey charm, and his unflinching view of his past.
Twangy guitar chords open intro track Change Up, the beat crafted by Danny’s regular collaborator, the fantastic Paul White. At the very beginning, Danny sums up at what point he is in his life; “They thought I was gone, back from the grave / Mind of a master, blood of a slave / Heart of a king, stuck in between / The devil and an angel on my shoulder when I speak / Lost in the streets, found on the beat”. The legendary Q-Tip offer up his production skills on Dirty Laundry, which see Danny rap about his drug-laced days of the past and bizarre sex escapades; Danny might be clean, but he can still regale us with the ludicrous stories of his past. While I would have liked JPEGMAFIA to have more than verse one verse on this album, his first feature comes in the way of production on 3 Tearz, and sees Run The Jewels join Danny on the verses. With punching chorus and interesting verse, it’s nice to hear RTJ back together. On Best Life, Danny casts off the shackles of his rough upbringing and criminal past, celebrating his new path in life, a positive one. This is topped off by soulful and peppy beat, provided once again by Q-Tip. On the titular track, Danny is joined by Obongjayar, both of them delivering bars about positivity in the face of adversity, something Danny is well accustomed to. JPEGMAFIA makes his second appearance on the album on Negro Spiritual, joining Danny on the hook, while Thundercat and Flying Lotus offer their production. With this track Danny once again dips into the his past; driving driving, high as kite, armed and ready to fight. On the second verse, he recognises how far he has come, and he’s not going to let anyone talk him down.

Danny Brown has come a long way in his life. He has been in the rap game for a while now, and with every release, he garners new fans, more attention, and well deserved praise. With an assortment of producers and a handful of well-placed features, Danny has brought the best out of himself. We are seeing the progression of a man who has been through the ringer, and has made it out to the other side, baring the marks but wearing them proudly. Danny is a treasure in this scene, and should be treated as such.

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Fynch – Bookies Pens & Loose Ends

Right now, Ireland is in the midst of Hip Hop golden age. Rappers from all over the country are making waves, forming groups and collective, playing sold out shows, getting support slots with massive international acts, hosting radio shows, going on tours around the UK and Europe, even getting sampled by big names from the States. Young Irish voices are being heard in the media and on the radio like you would any other Hip Hop/RnB star; no longer is the term “Irish Hip-Hop” a pigeonhole for something that receives a luke-warm “ah isn’t it great they’re giving it a go all the same” from people who think Eminem is still dominating the charts. Irish rappers are giving voice to so many different aspects of young Irish life, from the housing crisis, to how the government is failing us, and the impacts this has on relationships, goals, and ambitions. One of the rappers who offers his take on this is “Drimnagh’s Human Sacrifice”, Fynch.
A football fanatic, a journalism graduate, and ready to have a scrap with a Fine Gael TD at any given moment; this is the recipe for Fynch, and his mindset on his debut EP is that of a disgruntled 20-something with more than a few bones to pick. “I’m a dope in sheep’s clothing, got no hope but still going, still going”, the lyrics of the titular track are something the majority of young people in Ireland can resonate with; working in a dead end job just to get through your degrees only to realise it’s a rat race on the other side. This feeling of discontent continues on Like Me, with Fynch questioning whether a degree is worth 12 grand if nothing is going to come from it. “22 now, nothing figured out”, Fynch is distilling what so many people his age in Ireland feel like, abandoned by government who couldn’t care less, but still holding onto to an spiteful sense of hope “poxy needle in the stack…I’ll find it”.

Saipan has one of the best beats to come out of Ireland this year, provided by the brilliant Jar Jar Jr. The lyric are equally fantastic, drawing on the infamous Saipan fued of 2002 between Roy Keane and Mich McCarthy to reference disillusion with the music scene and the pursuit of art. Fynch’s wordplay is effortlessly clever, dropping lines like “Triggs does not mean trigger but my dogs will catch a body”, and closing out the song with the “Not to take the Mick, I just need to manage”. On the closing track Milk Teeth, Fynch is joined by Burner Records label-mate, Marcus Woods. The beat is mellow and wavy, and the once again we see Fynch’s penchant for hilarious word play; “the finest heel turn in Dublin 12 since Brennan’s Bread” may possibly the only line in all of Hip Hop that references a slice pan, and I’m here for it.

As I said, Irish Hip-Hop is in truly going through it’s Golden Age right now. With artist like Fynch casting their eye over Ireland’s issues and turning it into hard-hitting, introspective music, we are seeing an artistic edge to the dysfunction that is so prevalent in the life of young people in the country. If what Fynch says resonates with you, it’s time to look at how you can influence change, and that can start by registering to vote.

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clipping. – There Existed An Addiction to Blood

Industrial, left-field Hip-Hop has always had it’s place in the scene. It began to carve a larger and more visible place in the mainstream with the help of Death Grips, their devastatingly style and crushing sound had people dying for more of the same. In 2013, clipping. joined the ranks of the Industrial scene. Now on their third studio album, clipping. present a thrilling project, laced with creepy vocals samples, menacing vocal performances, and production that cuts like a razor.
David Diggs is the vocal front of clipping., an MC with a warm voice and temperate tone. In another group, he would be the smooth MC that drops the thirst verse in a posse cut that everyone say is there favourite. On this album however, that smooth voice delivers stories of that are like audible sleep paralysis. Nothing is Safe acted as the lead single and the musical intro to the album. Sampling the infamous theme from the original Halloween, and with a crescendo that build and peaks at the end of the 2nd verse, you feel uneasy right away. He Dead follows, the unnerving instrumentals continue. “How fast can them bare feet run? The answer is barely, isn’t it? But you can’t stop for the pain”, the lyrics offer no solace from the looming sense of an unknown threat. The interlude Haunting has a woman detailing how she is convinced Satan is trying to kill her. The follow track La Mala Ordina lays it on heavier with no quarter, “The bags on the table ain’t for weight, they for body parts. Victim skin stretched across the wall, call it body art”. Talk of drugs and murder, what perfect time to feature 2019 breakout star Benny the Butcher, who continues to prove he doesn’t have one bad verse.
As the album progress to the second half, the tributes to Horrorcore continue. If this is Horrorcore, and after dozens of listens, I think it’s fair to say it’s Post-Horrorcore. Run for your Life is a perfect example of this; the weighted breaths that play across the across the track, La Chat offering here Gangsta Boo-like “You ain’t scared is you?” ad-libs. On Blood of the Fang, William Hutson and Jonathan Snipes bring Flatlander-esque production. “Drink it up, drink it up”, at this point the overwhelming sense of doom is massive. Attunement opens with grating feedback, so grating in fact, you wouldn’t be blamed for ripping out your earphones. Diggs smooth voice delivers rapid bars of this feedback which now creates the beat, his closing lyrics of the final verse are poignantly grim “You are not a body, you’re a metal shell and you can see the rust.”, before the track abruptly ends, making way for the 18 minute closing track, which is a recording of a piano burning. The wood crackles, the wind blows fans the flames as the strings begin to snap. I feel oddly ashamed to say that I have not listened to all 18 minutes (which takes up an entire side of the 2nd disc of the vinyl pressing).
This album is wholly unnerving. Audibly, the group have distilled what makes a horror film great, you can be uneasy, shocked, and scared, but you can’t look away. Front to back, this album is unsettling, but is thoroughly enthralling, and marks clipping. as one of the most interest groups in the Hip-Hop scene.

Two different ends of the Hip Hop spectrum take their place on the September list, demonstrating how eclectic the current rap game is.

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JPEGMAFIA – All My Heroes Are Cornballs

JPEGMAFIA is interesting character in the modern Hip Hop scene. A veteran, JPEG first starting making music under this moniker while station in Japan. Upon leaving the Air Force and moving to Baltimore, JPEG began making him a name for himself in the DC/Maryland/Virginia area with series of mixtapes. However, it was the commercially and critically acclaimed Veteran that made the JPEG the sweetheart of the alternative Hip-Hop scene. Strange, distinct, and infectious, Veteran set a groundwork for JPEG to build on, releasing a string on singles following this (if you haven’t heard Puff Daddy featuring Kenny Beats, get on that ASAP). Hype was building, his lives shows were leaving a trail of sweaty bodies and broken glass behind them, his features were greatly sought after; JPEG was in a position many before him haven’t been able to capitalise on. Could lightning strike twice, could JPEG pull another acclaimed album out the bag? The answer is a conclusive “YES”.

Let me address this first, you should not go into this album expecting Veteran 2. You shouldn’t go into this album even expecting tracks like Puff Daddy. There is a distinct change in Peggy’s sound here, which come blindingly obvious with the opening track Jesus Forgive Me, For I Am A Thot, which sounds far more like his 2018 single Millennium Freestyle than anything from Veteran. Peggy’s brings his classic confrontational bars, but it’s his singing about having to be taught how to “keep my pussy closed” that make this song such a hilarious opener. On Kenan Vs Kel, Peggy says he know he has people waiting on him to drop a project like they were waiting on Kanye’s Yandhi; his confidence is peaking and it’s making for amazing music. This carries onto Beta Male Strategies, JPEG challenging those who have something to say to pull up on him and say it to his face, calling out the people who tweet him abuse. Peggy takes aim at the pervasive Type Beat culture of Hip Hop production with JPEGMAFIA TYPE BEAT, blasting us with 55 seconds of manic noise and nearly inaudible lyrics. Titles are truly something special when it comes to JPEGMAFIA’s music, and titling a song about his gun Grimy Waifu is about as JPEGMAFIA as you’re going to get.

Violence permeates the majority of the tracks on this album, but JPEG’s wordplay and delivery manage to lessen the impact, even when he is talking about murder. Admittedly, rapping about turning Steve Bannon into a cripple with one shot is always going to be funny, but JPEG really has a charm about him when he does it on PRONE!, before instantly turning to singing about the ocean and forest animals to close out . Jumping back to the singing in character as a woman, Peggy flexes his singing chops once again on Thot Tactics, with an infectious chorus. The signing continues on BasicBitchTearGas, on which we see Peggy interpolate No Scrubs on the outro. Recalling his work with Kenny Beats, Peggy takes his verse from his DOTS freestyle and remixes it with a new beat, which admittedly feels unnecessary, but understandable considering he kept the whole production of this album mostly solo. Closing out with Papi I Missed U, JPEG reminds us that “I don’t spit raps, bitch I spit rhetoric”.

JPEG is not one to follow convention and this album is a testament to that. He could’ve worked with countless producers who would all be chomping at the bit to get a chance to go into the studio with him, yet JPEG chose to keep nearly all of the production as a solo effort. It’s hard to refine the chaotic energy that JPEGMAFIA brings, and he certainly is not going to impose any restrictions on himself. While this may make his music slightly inaccessible at times, it also makes for something completely genuine, and creatively refreshing.

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DaBaby – KIRK

DaBaby explosion into the rap game is nothing short of phenomenal. His debut album Baby on Baby, released on March 1st of this year, debuted at Number 25, with the help of the hit single Suge. He then appeared on XXL’s 2019 Freshman list, shining out among his peers with an amazing freestyle (a big shout out to Megan Thee Stallion for holding it down in the same one). Countless tour dates and festival appearances, DaBaby was going from strength to strengths. Six months later, with his support at fever pitch, DaBaby release his 2nd album Kirk, debuting at Number 1, and to commercial and critical acclaim.

INTRO instantly drops us into the story of DaBaby’s lightning fast come-up with lightning fast delivery. Having lost his father only days before he was due to start tour, it easy to see why Baby’s meteoric rise is so impressive. With this introduction, Baby lets us know that through adversity, he has risen to the top of the rap game, and he intends to run it. OFF THE RIP is a perfect example of what people always point out about Baby: the beat barely gets a chance to start playing before he’s spitting bars. GOSPEL is an interesting mix, seeing Baby call upon Gucci Mane, Chance the Rapper, and YK Osiris (who when featuring along side DaBaby & Megan, had one of the worst XXL freestyles possible). Paying tribute to late father (as well as Nipsey Hussle), Baby speaks on how he now treats his family lavishly, giving his daughter what he never had, and spoiling his mother who worked two jobs. Chance delivers a verse that is better than his entire The Big Day album, and while Gucci Mane’s verse isn’t mind-blowing, he is a welcomed addition to the proceedings. Nicki Minaj joins the line-up on iPHONE, even using dropping an Ireland mention with her closing bars “How you ain’t know a Queen from a rat?
Ireland, you gon’ be doublin’ back”. Kenny Beats jumps on production on TOES, crafting an infectious beat, on which Lil Baby and Moneybagg Yo link up with Baby for a braggadocios effort. Bringing the album to a close, Baby signs off with XXL, spitting his freestyle from the XXL Freshmen cypher, but now with a new beat.

It’s fair to say that lyrically, DaBaby is bringing anything new to the table, but this isn’t to say what he makes is mindless or dull. His tributes to his parents and daughter are heartwarming, and the story of his rise in his songs really are inspiring. What sets DaBaby apart is his rapping ability, and the sheer confidence that pours out of him and across the tracks. In the modern rap game, we see audacious and ridiculous characters left, right, and centre. DaBaby stands about these with genuine charisma and talent. If DaBaby can continue to deliver on these attributes, he’ll continue to be a staple in the modern Rap game for years to come.

Summer closes out strong; from Grime to Trash Metal, it was a interesting month.

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King Gizzard & The Lizard Wizard – Infect the Rats’ Nest

For a few years now, I’ve always been asked “Do you listen to King Gizzard?”. Most people don’t bother saying their full name, and most people who are quizzing also fail to mention the band has released 15 albums since 2012, 5 of them coming in 2017. King Gizzard are a powerhouse of modern music; even with this album, it’s their second album of the year. So with a band like King Gizzard & The Lizard Wizard, where is one to even start with such a plethora of albums to choose from?

With no pretense, and seeing them appear on r/Indieshead with the [FRESH ALBUM] tag, I jumped right into this release. With the opening track Planet B, I was caught completely off guard. The chugging, vicious opening power chords were a surprise, as were the growling vocals. Has everyone who has been recommending that I listen to this band been a Trash Metal fan, and I hadn’t realised? The lyrics threw yet another curve ball, “Open your eyes and light the fluid / Get into it, petrol siphon / Low on meals, browning fields / Bury children. Urbanization / Scarification / Population exodus / There is no Planet B / Open your eyes and see”. So all of my friends failed to mention that KG&LW are a eco-conscious Trash Metal band?

After some light research, I learned that the band are masters are adapting and changing their sound, paying tribute to genres and not sound contrived while attempting them. This album proves that without a shadow of a doubt, the thunderous ode to Metal is monumentous, and the topical lyrics make it an album that can be enjoyed by those who wouldn’t usually enjoy the genre. Mars for the Rich invokes thoughts of Total Recall or Elysium, what happens when the rich take off for space and leave the poor and working classes behind on Earth? The new planet will stay a pipe dream for those left behind. Superbug plays on the idea of what happens when a bacteria like MRSA becomes to powerful for humans to overcome, and blames the reliance on antibiotics. On Self-immolate, the protagonist begs for fire to rain down upon him, engulf him, end his suffering and misery. This album may seem like a blown-out version of reality, and draw influence from Science Fiction, but how long before these ideas become reality?

Not only do King Gizzard release albums like they are all being held hostage and forced to do so to survive, but they also jump genre like Sam Beckett jumping from body to body in Quantum Leap. With Infect the Rats’ Nest, King Gizzard & The Lizard Wizard have jumped genre, burst into flames, and released a fist-clenching, teeth-grinding ode to Trash Metal militant eco-activism.

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Kano – Hoodies All Summer

Grime’s explosion into the mainstream in 2014 & 2015 was an interesting time. Suddenly, there was international attention on the genre; one with a scene localised almost entirely around London, and a handful of other cities in the UK. Sure, the likes of Wiley, Dizzee Rascal, and the So Solid Crew would frequent Ayia Napa in the early to mid 2000s, but that was the scene transplanting itself for the Summer months, not organic growth of Garage and Grime in a new land. Journalist, artists, and fans were all flocking to see what they could make of this genre which seemed new and exciting to them, trying to understand what made this music so potent and popular. While Skepta was being championed by Drake in the US, other Grime artists, both legends and young guns alike, continued to churn out the music they always loved, regardless of US interest and influence. One of these artist is the legend that is Kano.

A battle-hardened Grime MC, and beloved character from the now resurrected cult TV show Top Boy, Kano has stayed true to the genre from the beginning. His 2005 debut album “Home Sweet Home” is a part of Grime history, and his 2016 album “Made in the Manor” is hailed as modern classic. With new album, Kano adds another stunning album to this his repertoire.

A conscious effort, Kano casts his eyes across the current state of urban society in the UK. In the opening track Free Years Later, he talks of black youths having the odds stacked against them; if Stormzy’s house is raided because his wealthy neighbours think he’s breaking in, what chance do the rest of them stand against harassment and brutality? He builds on this on Good Youtes Walk Amongst Evil, discussing the inherent inequality of life for the young in Britain, but how these underprivileged youths keep their heads up through the adversity. As the theme continues through the records, features from Kojo Funds and Popcaan add a melodic side to Kano hard delivery. On Got My Brandy, Got My Beats, Kano details the emptiness experienced after a loss, and the attempts we make to fill that void. The album closes out strongly with Class of Deja and SYM. Fellow Grime legends D Double E and Ghetts join forces on the tracks, with Kano and Ghetts trading bars that hit like poison-tipped arrows. The closing track SYM may have a hilarious introduction of a choir singing “Suck ya Mum”, but the lyrics deal with much harsher topics of racism, bigotry, prejudice, and the abuse suffered by the Windrush Generation.

Kano shows that he is still top of the Grime game, staying true to form while also delivering an album that is accessible to those who may not be a regular fan of the genre. Whether with features or solo, Kano delivers his witty, quick, and conscious bars. If Kano continues to stay at the level he’s at now, we still have a lot more to hear from him, and we’re so lucky that this is the case.

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Lana Del Rey – Norman Fucking Rockwell

Lana Del Rey is an artist who has divided opinion from the moment she broke onto the scene with her early tracks, the viral sensations Video Games and Blue Jeans. Like most pop acts, she had a rabid fan base who sang her praises at every given moment, while many critic and naysayers were quick to write her off, citing a perceived sense of vapidness about her personality, as though there were an emptiness to her music. Many were quick to dispel her style and personality as drab, faux-Americana. Personally, I have always been a casual fan; while I was never an avid listener, I always had time for the music she would release. With this album, it’s safe to say that Lana has matured to a level which early critics where quick to say she was trying to act like she had, both in terms of her song-crafting and lyrics.

Opening with the piano-led title track, Lana sings of the frustrating love she has for the “man-child” who blames the world for his shortcomings. The witty and spitefully loving lyrics, along with the infectious vocal melody, instantly reminded you of something Father John Misty would be heard crooning. What stands out across this whole album is just how far Lana’s song-crafting has evolved. Mariners Apartment Complex sounds like the results of binge of 90s Dad Rock, Fleetwood Mac, and The Eagles. This theme continues prominently on Venice Bitch, the solemn piano-led ballad of love and addiction clocking in at a whopping nine minutes, and featuring a washed out guitar solo. Drawing reference to artists such as Springsteen, Lana sings of the the great American love story; the Hallmark relationship, sitting in front of the fire, growing old together into a drunken, indulgent haze. Professions of love overflowing and dripping all over the first half the album, none more so than on the aptly named Fuck it I love you and Love song. The first details how Lana met her lover after she moved to California and how enamoured she quickly became, while on the latter, Lana ponders “Is it safe, is it safe to just be who we are?” as they ride in his car.

As the we move to second half of the album we see Lana change her tone from infatuation and white hot love to that of dampen expectations, but with a unwavering sense of hope. On How to disappear, the love Lana sings of a partner who becomes more emotionally distant as time progresses, while on California, she emphasises that she will be there for him through whatever hardships befall the couple. If Born to Die was Lana showing her love through the lens of youth and the idea that it didn’t matter if she lives or dies with her partner, this is Lana showing her maturity, and her unshakeable commitment to them. The closing track hope is a dangerous thing for a woman like me to have – but i have it is perfect summation of this idea.

The story that develops over this album is enthralling. The collaboration of Jack Antonoff across six of the the tracks is obvious, in a good way. The collaboration between himself and Lana is unsurprising, considering how prevalent he is in the pop world, but you can see how he really lets an artist bring the best of themselves out on the tracks and projects he collaborates on. Lana Del Rey may once have divided opinion, had questions asked of her aesthetic and musical ability, but I think it’s fair to say this album has buried any questions of her talent and artistic integrity.

2019 has been an amazing year for albums, and we still have five months left. If the quality of albums stay this high, picking the top 20 albums at the end of the year is going to be tough.

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Blood Orange – Angel’s Pulse

Devonté “Blood Orange” Hynes returns less than a year after his stellar album Negro Swan to deliver what he dubs a “mixtape”. In recent times, the word mixtape has become a point of debate, its definition becoming muddled. Is calling something a mixtape just a way of getting out of making a fully fledged, polished album? Is it a way of perhaps deflecting some criticism leveled towards the project? Whatever reason an artist does or doesn’t give is up to them, but when you have someone as talented as Dev Hynes at the helm of the ship, the result is going to be interesting, regardless of definition.

With Angel’s Pulse, Blood Orange presents an eclectic and broad collection of tracks. The mixtape label seems to refer to the rawness of the tracks, not unfinished per se, but definitely unpolished. Like a Hip Hop mixtape, Hynes employs a plethora of features, drawing on influences from several different genres. Toro y Moi makes a chilled appearance on Dark & Handsome, while the extra’d out Ian Isiah appears with Kelsey Lu on the ballad-inspired Birmingham. On Gold Teeth, Hynes shows his love for Southern Hip Hop, employing Gangsta Boo and Project Pat of Three 6 Mafia, with vocal assistance from Tinashe.  More Hip Hop features come in the form of BROCKHAMPTON’s JOBA featuring on Take It Back with Arca and Justine Skye, and BennY RevivaL delivering a stand-out appearance on Seven Hours Part 1.

While this mixtape, album, project; whatever we may call it, is unpolished, it is a demonstration of Hynes’ ability to draw influences from many different genres. What it also shows is his ability to bring the best out of those featuring on his tracks. If this is a primer for his next full length album, I believe it’s safe to say we are in for multi-genre encompassing delight, and to be honest, I expect nothing less of Blood Orange.

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Maxo Kream – Brandon Banks

Underrated is an overused word. The word is applied to almost anything in the modern music scene, “His production is great, but his rapping is so underrated” or “Yeah she’s a great rapper but her singing is underrated”. It permeates the modern discourse of most genres that it begins to lose meaning. However, there are always examples of that stand to show that the word is still applicable, and Maxo Kream is one such example of that.

 

True to himself and his hometown of Houston, Maxo has been grinding for years, slowly and steadily releasing some of the best Trap of last decade. Perfectly threading the line between story telling and street facts, Maxo paints vivid tapestries with his drug and violence laced raps. The album opens with the tragic Meet Again, the peppy beat juxtaposed by his lyrics of his incarcerated family and friends. The blunt facts of the lives of the disenfranchised continue on tracks like Brenda, Maxo drawing inspiration from 2Pac’s Brenda’s Got a Baby. Detailing the story of an abused girl who goes on to raise a son who in turn begins to abuse her, it a devastating account of woman who deserved so much better, but was doomed to repeat the cycle she was part of. Brothers see Maxo let his brother KCG Josh know that he will be there for him through thick and thin; a welcomed proclamation, given a running theme of isolation across the album.

 

Maxo bring it raw and gritty, but he also shows his ability to make club knockers and party-friendly bangers, calling on his fellow Houston rappers on The Relays and She Live, with Travis Scott and Megan Thee Stallion, respectively.

In conclusion, it’s fair to say that Maxo has lost some of his edge that he has on his earlier work, but given that he is now more in the spotlight, and has recently be signed, the ventures in to a more radio-palatable sound is understandable. Regardless of this, he has still crafted a solid album, with some fantastic songs.

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YBN Cordae – The Lost Boy

Breaking onto the scene with his lyrical and thoughtful reply to J. Cole’s 1985, YBN Cordae quickly marked himself a promising young gun in the scene. Now that we have been presented with his debut album, we are able to fully delve into his ability, his lyricism, and his promise. It’s safe to say that he has all of these factors in overflowing abundance.

 

Opening with Wintertime, Cordae calls it “lyrical exercise”. Discussing his struggles with anxiety and drugs, he says he is now past that, and he’s not just someone with potential, he’s next in line for the recognition he deserves. Expanding on this on Have Mercy, Cordae says he has his team consolidated, and he wont settle for and there will be no half measures in his approach to the game. The Chance the Rapper feature on Bad Idea strikes me as funny, as this is the type of album you would expect from Chance, not the mess that was The Big Day. Anderson .Paak’s feature on RNP is fantastic, and the bar-trading that takes place on this track will have you grinning, you can just hear how much fun they had making this track together. Ty Dolla $ign and Meek Mill both deliver fantastic hooks when they appear, on Way Back Home and We Gon Make It, respectively. Pusha T joins Cordae on Nightmares are Real, talking about their beginnings in the rap game, with Pusha delivering his timeless Coke-laced rhymes.

 

Just over year since his reply to J. Cole, Cordae has crafted a mature, interesting, and well-rounded album. Debut albums can be a fickle beast, but Cordae has proved that he has the promise keep growing from this fantastic foundation.

The Summer continues to be dominated by phenomenal Hip Hop releases, but familiar faces from the electronic world made their presence known.

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Hot Chip – A Bath Full of Ecstasy

Mainstays of the electronic world, Hot Chip return with a stunning album. Originally becoming a fan around the release of their 2006 album The Warning, Hot Chip have consistently kept me hooked with their unique lyrics and themes, as well as their amazing instrumentation. After 4 years since their last effort, the band have crafted an album of pure joy, brimming over with songs of white hot love and infatuation.

The lead single Hungry Child had my hopes for the album through the roof. With its driving drum beat and anthemic piano lead, this song is steeped in the history of 90s rave classics. The intro track, Melody of Love, shares these anthemic qualities, opening the album with shimmering and layered synths. Following this, Spell greets us with a drums beat that sounds like it was pulled straight from a Prince track, with a vocal lead and lyrics that groove with the coolness of a Grace Jones song. Bath Full of Ecstasy opens with modulated vocals, smoothly transitioning into a pure groove, the instrumental drawing on elements of R’n’B. On Why Does My Mind, Alexis Taylor sings of how he is so enamoured with his significant other he literally can’t think straight, his thought of trust and love becoming muddled. On the closing track No God, Taylor says there is literally nothing on the earth or in the heavens which can make him feel like love does. An utterly beautiful song, the lyrics touch of themes of retribution, and being saved by love.

This album deserves every praise it gets. From the catchy dance elements, to the beautiful song crafting, this album completely wraps you in the ecstasy-filled haze it intends to. A perfect Summer release, Hot Chip deliver an album that is infectious, seeping its way into your brain to meld with sun-soaked memories of joy and happiness.

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Benny The Butcher – The Plugs I Met

When you think of New York Hip Hop, the first thing that comes to your mind is Biggie, Big L, Jay Z, Nas, Wu Tang Clan, and the rappers who brought the five boroughs of New York to the forefront of Hip Hop world. Outside the sphere of the five boroughs, you had legends like Rakim representing Long Island, but with Benny The Butcher, we have to go to Buffalo in the western reaches of New York state to explore his work.

An affiliate of the hardened brothers rap duo, Conway the Machine & Westside Gunn, Benny details the harsh surrounding Buffalo and his experiences in the drug world. This is straight-up street rap, have no doubt about that. With his sleek words and tough delivery, Benny shakes of any suggestion of disingenuous claims, he has lived this and you can feel it through the pictures he paints in your head. This EP is loaded with features, from legends like Black Thought (who delivers one of his effortlessly monstrous verses) and Jadakiss, as well Benny’s label mate, Conway the Machine. Pusha T features on 18 Wheeler, and makes you realise you will never tire of his coke-laced raps.

A great project from Benny, it will leave you wanting all the street-hardened rap you can possibly get.

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Freddie Gibbs & Madlib – Bandana

It goes without saying that Madlib is simply one of the best producers to ever do it. Freddie Gibbs stands as one of the most technically gifted and interesting rappers of the last ten years. When they joined forces in 2014, they blessed the world of Hip Hop with the classic that was Pinata. 5 years later, they have reunited to create the follow-up to their instant classic, with what is easily another one for the books.

With Flat Tummy Tea and Giannis serving as the lead singles, they set the album up perfectly. As is to be expected with Madlib, the beats are seem effortlessly meticulous. The samples are no doubt pulled from the depths of the darkest crates, or from a short-lived Korean soap opera that never saw Western TV screens. They range from jazzy guitar chords to teeth-gritting riffs, perfectly chopped vocal snippets to random interludes of monologues. On Halfe Manne Half Cocaine, Madlib demonstrates that trap-inspired beats are something he can do in his sleep. Gibbs, ever the chameleon, flows like a river over any beat put in front of him – rapid fire bars are a walk in the park for the Indiana native. His grizzled voice only serves to make his delivery even more menacing, the grit and grime of the gangster life is what we’re here for, and Freddie’s lyrics and cadence deliver this is heaps. This grit even translates to Anderson .Paak, his verse on Giannis is out of character for .Paak, but he sounds right at home on the track.

Gibbs crime talk is complimented by guest verses from the likes of Pusha T and Black Thought, who are yet to miss when it comes to delivering a street-hardened verse. Yasiin Bey (FKA Mos Def) makes an unexpected but highly welcomed appearance with Black Thought on Education, while Atlanta’s Killer Mike joins Pusha to deliver the hook Palmolive.

It has already been a great year for Street/Gangster Rap, and this album only serves to beef up those stats. Yet again, Gibbs and Madlib have delivered a classic. A perfect follow-up to Pinata, we are witnessing a duo on the level of Guru and DJ Premier’s Gang Starr.

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Daphni – Sizzling EP

Whether it’s under Daphni or Caribou, a release by Dan Snaith will always get my attention, and this one fully deserves it. A short but oh sweet EP, Snaith delivers four thumping Nu-Disco bops.

Classic, Donna Summers-esque vocals, provided by Paradise, open the proceedings on Sizzling. The beat is make you feel like you’ve been transported back to a sweaty disco club in Downtown Manhattan. If takes a harder form, with a jazzy lead and a heavy beat, Romeo sounds like Boney M were in the studio working with Snaith, while the closer Just has a sound that would’ve fit nicely into the running order of an episode of Soul Train.

This is the perfect Summer release, and will make you want to go clubbing from the first listen.

May didn’t have to go as hard as it did. The amount of quality music released this month is staggering, particularly in the Hip Hop world.

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Slowthai – Nothing Great About Britain

The title alone has me in love with this album. After a streak of amazing singles in 2018, Slowthai proves his worth with this amazing album. A side note – these singles are included on this album, on Spotify they are placed on side 2, so they won’t be included in this review.

The opening track, sharing the title of the album, is a unforgiving intro. Taking swings at the royalty, coppers, racists, and the music industry, Slowthai makes it obvious from the beginning, he isn’t here to play games. The first single from the album, Doorman, come charging at you as the spoken word outro of the intro track finishes. Produced by Mura Masa, it’s easy to hear the elements of British dance music that are the inspiration here, The Prodigy’s Smack My Bitch Up comes to mind. With Gorgeous, we hear Slowthai’s ability to tell stories of selling drugs and run-ins with the police, while keeping the mood relaxed and chilled-out; this was so common-place for him he can talk about it like it was no big deal, a man desensitised from a young age.

Only two features appear on this album, and both leave their mark. Birmingham’s Jaykae appears on Grow Up, and Grime legend Skepta joins in on Inglorious. The features are well placed, slap bang in the middle of the album, leaving the closing tracks for Slowthai to speak his mind uninterrupted. On Toaster, there is a distinct sound that is reminiscent of Mike Skinner and The Streets, an artist and a group that undoubtedly had a big influence on Slowthai. On Northhampton’s Child, Slowthai spares no details of his tough upbringing. Born to his mother at 16, the struggles she went through to ensure she did the best for them, the death of his brother, his cheating stepdad eventually kicking them out of the house. He can never repay his mother, but hopes he can make her proud.

A candid snapshot of what countless youths and families go through in Britain, there is no doubt in my mind that this will be recognised as a classic album in British urban music, up there with the likes of Kano’s Home Sweet Home, or The Streets Original Pirate Material and A Grand Don’t Come For Free.

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Injury Reserve – Injury Reserve

One of the most interesting trio’s in Hip Hop finally release their debut album, after 2 stellar mixtapes (I definitely though Floss was an album, but here we are), and a fantastic EP.

Parker Corey, the group’s producers, provides the vocal duo of Ritchie and Groggs with some of the most intense and interesting beats you will hear in popular Hip Hop, running in the same lane as the production you would hear on project from the likes of JPEGMAFIA. Speaking of JPEG, he makes an appearance on this album, his outro verse on GTFU being completely washed out by the words “GET THE FUCK UP” being blasted to a point of manic distortion, leaving you capable only of making out the first words of his verse. By subverting the concept of the feature, especially in the case of rapper who is popping right now, Injury Reserve show that they don’t care about having their music act rigidly, or formulaic. Other features on this album really do stand out, Rico Nasty joins the group on Jawbreaker, the lead single and a fantastic track. Amine appears on the hilarious Jailbreak the Tesla, the groups humour shining through here. What stand to Injury Reserve is their ability to be so hilarious by being different, the track Rap Song Tutorial being one of the funniest skits I’ve heard on a Hip Hop album.

Later in the album, we hear their raw and emotional side, the track Best Seat in the House detailing the tragic deaths of the group’s friends, and the guilt that can shroud us after a friend passes. On What a Year It’s Been, Groggs talks about his struggles with alcohol and depression, and how far he has come.

As far as debut albums go, Injury reserve really hit on something great here. A mix of the all the sounds they have been honing over the past few years, it spells great things for the future of the group.

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Megan Thee Stallion – Fever

Do you want some real Dirty South bangers? I ask, because that is exactly what Megan Thee Stallion is serving on her debut album.

Megan Thee Stallion is in her own lane, carving her own path, while paying tribute to the forebearers who lay the groundwork upon which she build this album. Sampling the like of Three 6 Mafia and UGK, a Juicy J feature, the trunk-knocking beats, filthy lyrics, the bigger-than-life persona; Megan sounds like she could appear in any era of the Dirty South sound and fit right in. There is no filter on Megan’s lyrics, she talks just like every other Southern rapper, pay no mind to gender; Megan is going to talk about getting head and hittin’ and quittin’ on tracks like Best You Ever Had and Sex Talk, chasing paper on Money Good, and chin-checking anyone who crosses her on tracks like W.A.B.. With the pervasive presence of lean in the modern rap sphere, it’s interesting to her Megan talk about the realities of it on the track Bring Drank, a refereshing take to hear in the genre.

With only the only other feature on the 14 tracks coming from Da Baby on Cash Shit, Megan has all the room she needs to be totally herself, and it makes for a stellar debut. This is SLAB-knocking, screwed up, real Dirty South musik, and it spells great things for Megan.

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Tyler, The Creator – IGOR

Friday 8th July, 2011. I was in a tent at Oxegen festival in Punchestown, screaming the words “KILL PEOPLE, BURN SHIT, FUCK SCHOOL”. It was Odd Future Wolf Gang Kill Them All’s first ever Irish gig. Cries of “Free Earl” rang out across the crowd, yelled by a crowd full of white boys in their late teens who thought they were beyond cool, on the cutting edge – myself included. Tyler, The Creator has the crowd in the palm of his hand for the whole show, but never would I have imagined that in his career trajectory, the young man I saw on stage that day would end up creating an album like this.

One things that stands out about this album from the very beginning, and after listening to it once you will share this sentiment, is Tyler’s choruses are absolute ear worms. Burrowing in, and replaying in your head long after you’ve stopped listening, the hooks on this album are utterly infectious. I lost count of the amount of times I caught myself singing the hook from RUNNING OUTTA TIME. The instrumentation on this record is also impeccable. The massive, looming, and layered beat of introduction IGOR’S THEME sets an amazing foundation for the album to be built upon. The beats are an eclectic mix, going from the bubbly and warm, like EARFQUAKE, to the impending and worrisome on NEW MAGIC WAND. Tyler growth as a musician and songwriter is brimming over across this whole project. His maturity and experience is painted across the whole canvass, detailing the path of a relationship, from enamoured beginnings to desperate endings. The closing track is reminiscent of an Isleys Brothers cut, or something you’d find on an Eddie Kendrick’s record. 

This easily stands as Tyler’s most cohesive work, and perhaps even his best album. You will see this album in the higher reaches of countless End of Year lists, I am sure of that.

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Denzel Curry – ZUU

Album artwork can be a fickle thing. Often, a simple album cover can go onto be utterly iconic, like that of The Beatles White Album, or the blurred, fuzzy guitar of My Bloody Valentine’s Loveless. When you first lay your eyes on the album cover of Denzel Curry’s new project, the image of him and a car says quite a bit. We see the Miami Marlins jersey, a tribute to his home state and city. We see the candy-gloss low-rider, an status symbol of the Dirty South rap sphere. In the top left, we see the simple title, the lettering reminiscent of the 90s rap album Curry would have grown up on. Curry is letting us know exactly what we’re in for, before dive into the world of Carol City, Florida.

 

The opening track ZUU is straight to the point. Denzel Curry is here, and he’s come from one of the wildest and weirdest parts of the USA. The lead single RICKY follows this, booming just the same as ZUU, Denzel paying tribute to the advice his mother and father gave him. Fellow Floridian Rick Ross makes welcomed appearance on BIRDZ. The Southern features continue, with Memphis native Tay Keith providing the production on AUTOMATIC.

 

This album is bold, in-your-face, and exactly what I wanted from Denzel Curry. While TA13OO was a great album, there was a a part of me that wanted to hear Denzel go back to his hard, banging, Dirty South ways. With this project, that is exactly what we got, and it shows exactly how talented and important Curry is to the scene.

A busy month for myself, soundtrack by a diverse and fantastic collection of albums.

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Fontaines DC – Dogrel

Ireland may be small in size, but its musical offering are anything but that. Fontaines DC may very well be the next Irish band that will blow up internationally, and this album could very well be the powder keg needed to do it.
“Dublin in the rain is mine” are the first emphatic words that welcome you to the album, the opening song Big, plainly stating the bands goals. As the track list progress, we are met with blistering tracks like Hurricane Laughter, while also being shown the softer side of the band with track like Television Screens. “You know I love that violence that you get around here, that kind of ready-steady violence”, the odes to Dublin continuing on Liberty Belle, as the album marches forward at a snappy pace. But just as this album is a one that romanticises Dublin, it also can be honest, Boy in the Better Land emphasising that you it “doesn’t matter what you are, get yourself a good car, get outta here”.
This really is an amazing album. It feels personal and familiar, but keeps an edge and wit about it. There will be no doubt that you will see this album firmly placed among the higher reaches of countless end of year lists, and I would not be surprised if this goes on to win the Choice Music Award next year.

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Rico Nasty & Kenny Beats – Anger Management

After a fantastic 2018, Rico Nasty returns with this brilliant project. Kenny Beats acts as the executive producer, continuing the relationship that has been so dynamic for the last year.

It wouldn’t be a Rico Nasty project if she wasn’t screaming bloody murder from the very beginning, and that’s exactly what we get here. Cold sets the mood for the album, you know it’s going to be hectic. Baauer assists with the production on Cheat Code, and the ever-versatile Harry Fraud jumps on the production on the track Relative, adding their own unique spin to the tracks. On Hatin, Rico and Kenny keep it simple but effective, using Jay-Z’s Dirt off Ya Shoulder beat, Rico making it clear she has no concern for the opinions of those who doubt her. With the final two tracks, Rico delivers raw and honest insight into her life since blowing up. On Sell Out, she reminisces of her struggle, her come-up, and if she can remain authentic and true to herself. As we progress to the next track, Again, Rico comes to the realisation that her burgeoning success and fame is due to her hard work and determination. She admits that she will still make mistake and not everything will be perfect, but she’s is where she is for a reason, and she knows she deserves it.

This really spells great things for Rico, and her relationship with Kenny. A snappy run time means it’s all killer and no filler, bangers and emotional songs run side by side; this project shows the potential Rico Nasty has to keep growing and expanding, and continuing to establish herself as one of the most interesting acts in Hip Hop.

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Anderson .Paak – Ventura

Cheeky Andy take very little time from his last outing, December’s Oxnard, before delivering this fresh batch of smooth jams. Questions of whether these efforts were left-overs from Oxnard were quickly dispelled upon listening; this is album worthy of praise, and there no doubt about the passion behind it.

Feature heavy, Paak brings on some big names to accompany him, but doesn’t rely on them to carry him or the songs themselves. The opening tacks, Come Home, is smooth as butter. A killer opening tracks, Paak is joined by the living legend André 3000. A 3 Stacks verse is never misplaced, setting a strong foundation for the album to build on. Not letting up on the big restaurant, R&B legend Smokey Robinson assists on Make It Better, an infectious groove. A unexpected but highly appreciated features comes from 2000s R&B staple Brandy, jumping on the hook of Jet Black. The best feature however, one that is truly great, is that of the Nate Dogg.

The late, great, bonafide legend of the Hip-Hop and R&B game appears on the closer, What Can We Do?. The parallels between Paak and Nate Dogg are obvious; two soul men who can lay smooth singing hooks, but two who can also deliver solid bars on the same track. It’s a shame they never got to work together when Nate was with us, but the the way the track make it seem like they’re just kicking it in the studio is really wonderful.

Oxnard is no way “left-overs” of Ventura, this is a album of straight grooves front to back, and Anderson .Paak will keep going from strength to strength.

The continuation of my monthly series, discussing the albums that struck a chord with me throughout March. March has given us surprise releases, amazing debuts, and has kicked the musical year into overdrive.

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Dave – Psychodrama

I first came across Dave (or Santan Dave as he was known at the time) in 2016, on his collaborative single Thiago Silva, with fellow English MC AJ Tracey. A pure Grime banger, it demonstrated Dave’s lyrical and technical ability, and put him on a trailblazing route. Steadily building his repertoire, Dave moved from Grime to Hip Hop, his single Wanna Know seeing Drake feature on the remix. In 2018, Dave was launched into the stratosphere, scoring a gold record and #1 single with Funky Friday, featuring Fredo. Following on from this monumental achievement, Dave has released this perfectly-crafted debut album, one that stand as a testament to his natural ability, and to the work he has done since 2016.

This album is raw, unashamed, and brutally honest. Opening with Psycho, Dave immediately puts his cards on the table, detailing his struggles with mental health, and setting the tone for the rest of the album. On Black, Dave pulls no punches when discussing racism and inequality. There is not one track on this record that Dave does not give his all, pouring his heart out, letting his vulnerability show just as much as his confidence and bravado. On Lesley, Dave delivers an 11 minute, heart-wrenching ballad, discussing domestic abuse and collapsing relationships.

This album debuted at #1 on the British charts, and it is fully deserved. Dave is destined for great things. At only 20 years old, it will be amazing to watch him develop as an artist, and I look forward to hear what else he has to offer.

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Solange – When I Get Home

The Knowles family seem to have a penchant for releasing surprise albums. Much like Beyoncé’s self-titled released in 2013, this album caught the musical world off-guard, and delighted fans and critics alike.

The album pulls you instantly into a hazy bliss, Thing I Imagined whirls around with dreamy piano and synths. As the track list progresses, it is beefed out by interludes that keep a constant flow of sound, never letting your focus drop from the album for even a second. This reminded me particularly of Blood Orange’s 2018 record, Negro Swan, and the influence of that album can definitely been heard across this project. The rappers who feature on this album surprised me, but they work fantastically. Never did I think I would hear fellow Houston star Playboi Carti on an album with one of the Knowles sisters, and while his appearance on Alameda was unexpected, his unique cadence is a great addition to the track. Another surprise was another Southern music star, Gucci Mane. When you boil My Skin My Logo down, this track is really just Solange and Gucci hyping each other up, almost like they warming up for a freestyle session. On paper (especially if you read the lyrics) the songs seem quite jarring, but they fall into the fold of the album seamlessly. We hear Solange in a relaxed state, and through that, she delivers a groovy, infectious collection of tracks.

On Binz, with help from The-Dream and Panda Bear of Animal Collective, Solange adopts the attitude and cadence Gucci and Carti would be known for on their tracks. She sings about blunts, designer brands, and flashy cars. She makes a point that the wealth she has earned has been through her hard work and grind has, and hasn’t arrived late on “CP Time”.

When this album ends, you will instantly want to replay it. Solange is relaxed and confident, and that translates to a chilled-out and smooth album, with her conscious style remaining present.

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Karen O & Danger Mouse – Lux Prima

When accomplished musicians join forces to release a collaborative album, the results can be extremely polarising. You may end up with an album like Kanye and Jay Z’s Watch the Throne, a monumental album that spawned singles which dominated the charts. Conversely, you may get a project like Lulu, the joint effort of Metallica and Lou Reed. Perhaps the less we say about the album the better. With Lux Prima, Karen O and Danger Mouse hurdle well over the potholes that line the road of the collaborative project, creating a dream-like sonic landscape.

The eponymous opening track, a 9 minute journey, builds the foundations on which the rest of the album lay. As the track-list marches on, it feels as though you have joined in on a journey. From the sullen, to the commandeering, Karen O’s voice and lyrics are in perfect tandem with Danger Mouse’s production. As the album comes to a close, we’re treated to two fuzzy and distorted tracks, Reveries and Nox Lumina. Downbeat, with a droning edge, they close the album out in a way that leaves you feeling like you are finally coming down from the heights you were just brought to.

This is is how you make a collaborative album, and I genuinely hope we hear more from this duo in the future.

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Flume – Hi This Is Flume

Australian producer Flume has returned with his first project since 2017, and he has made said return with a wall of sonic delight.

Intense, huge, and booming songs are Flume’s bread and butter, and this project is full of them, highly polished and aurally overwhelming at times. Taking a track from one of my favourite albums of last year, with the help of Eprom, Flume remixes SOPHIE’s Is It Cold In The Water?. The track builds to crescendo, that drops into a blitz of noise, Flume’s trademark sound putting a new edge on an already amazing track. After previously working with Vince Staples, Flume delves into the Hip Hop world again, recruiting JPEGMAFIA for the track How to Build a Relationship; the spoken word outro giving an insight into how fun it sounded for both of them to make the song. On High Beams, Slowthai delivers his gritty bars over a similarly gritty beat.

I’ve always enjoyed Flume’s work, but this album has really solidified as a fan. Fresh tracks, with features of some of the best up-and-coming rappers right now, as well as the remixes, means this album has something for everyone.