Mixtape Roundup, Volume 1

After the success of Joe Sherwood's 'Cassette Roundup' series, I figured that I had also better host a set of reviews for my own series that is based on my primarily-rap-orientated personal taste, because let's be honest, who doesn't like a mixtape or two?

The way in which hip-hop has functioned as a genre has transformed dramatically over recent years due to the introduction of the internet and the wider advertisement that artists are able to get as a consequence of this, and although mixtapes have been knockin' about since the 70s, the birth of the internet mixtape was a pivotal point for the music industry due to its easy accessibility. I am here to make this an even easier journey for you by bringing the hottest mixtapes straight to your screens on a regular basis, and I've even thrown in a couple of links and what not because I'm just that nice a guy.

Enjoy.


Big Narstie What's The Story? Brixton Glory (Dice Recordings, 2014)

Whether it's his vibrant vocabulary of London slang or his comically nonchalant approach to slating the week's latest singles for FACT magazine, there has always been something undeniably lovable about MC and founder of the Base Defence League, Big Narstie, and his latest EP, What's The Story? Brixton Glory, is testament to his charming presence in the UK grime scene. Sure the beats aren't exceptional, and there are some more than questionable sample choices such as 'Clocks' by Coldplay and of course '(What's The Story) Morning Glory?' by Oasis, the track by which the entire mixtape is based around, but Uncle Pain continues to have no difficulty in persuading avid grime enthusiasts nationwide that he is in fact one of the founding fathers of this generation of grime; his energetic vibes and tongue-in-cheek bars are qualities to be admired by any emerging young rapper. A word of advice: make sure that you take as much as possible from the experience of listening to Big Narstie, and whatever you do, do not fuck up the base.




CyHi The Prynce Black Hystori Project (G.O.O.D. Music, 2014)

In a recent interview with Complex, Cydel Young revealed that his inspiration for Black Hystori Project was actually his nephew's school teacher who claimed that he wasn't 'monumental' enough to be considered for a report in black history month at the school. So, to retaliate to this claim, CyHi got on the phone to his close friend Kanye West and began to work on his own project that would cover historic milestones that changed the way in which blacks were seen in society with an inevitable G.O.O.D. Music spin on things. Not a bad way to prove a point, huh?

Of course, the influence of West is almost inescapably obvious, especially on tracks such as 'Mandela' whereby CyHi refers to himself as being "Muhammad to the rap game", similar to Kanye's God complex personality that shines through particularly strongly on his controversially titled Yeezus. However, this powerful lyricism is more than fitting considering the strong nature of the thematic imagery as Young schools the listener about the uprising of black community figures such as Desmond Tutu (the first black Archbishop of Cape Town) that contributed to the resolution of apartheid in South Africa, all over TEC BEATZ and Sekou Muhammed's hard-hitting drum loops.

Black Hystori Project is easily CyHi The Prynce's greatest work as of yet, and with Hardway Musical scheduled to be released later this year, I shall be eagerly waiting to see whether it lives up to the high expectations set by his latest tape.

Cassette Roundup, Volume 1

Independent record labels have really harnessed the potential of the internet through mediums such as Bandcamp and Soundcloud, and it means that whatever the label puts out can be heard by more people than a limited-run release would allow. Sure, it sacrifices the exclusivity of owning one of 50 copies of a tape, but as the major labels continue to stagnate, we need these boutique and web-based labels more than ever for exciting, challenging and new music. A few releases I've reviewed this year (JCCG, LAMPGOD and**Ł_RD//$M$) have been tapes, so to reflect the wealth of cassette releases out there in 2013 I have decided to launch this new series: Cassette Roundup. Every so often, I'll tackle a few tapes which I feel are worth a few words and include a sample/stream for good measure.

Diamond Black Hearted Boy Father, Protect me. (Steak Au Zoo, 2013)

There's outsider hip-hop, and then there's this. Chino Amobi's Diamond Black Hearted Boy project has been going since 2008, but it hasn't seen many proper full-length releases; instead, his Bandcamp mainly features single tracks, all of them strange in their own right. Father, Protect me. is a continuation of his oddball approach to beat-making and soundscaping, and it may be one of the most singular hip-hop albums I've heard this year (possibly probably ever).

The title track is an exhilarating experience in and of itself, featuring broken drum loops, digital abrasion and a stuttering verse which is repeated throughout. Amobi has an almost Burial-esque approach to vocal samples on tracks such as "I just wanna be a r#97C57CE", wherein soulful voices are pitched up and looped ad infinitum. There are some rather strange samples across the album - I think I can hear the gravity hammer from the Halo games on "I don't need protection (You)", and I'm sure there'll be hidden pop-culture nuggets aplenty buried beneath the murky beats and noisy manipulation. That's all I can really muster up about Father, Protect me.: albums like this have to be heard to be believed.

Free Weed On the Moon / Get It 2Nite (Exo Tapes, 2013)

Erik Gage's releases as Free Weed carry the drug-induced hypnagogia one would expect from such a name: his previous releases feature whacked-out pop songs comprised of drum machines, distorted guitars, pianos and sloppy vocals, all veiled beneath a kush cloak. His cassette for Exo Tapes, released earlier this year, sees him clean up his sound a little bit for On the Moon, before retreating back into the clouds on Get It 2Nite.

The On the Moon side is probably his most immediate set yet, with upfront drum machines opening the proceedings. The lyrics are, rather predictably, stoner fare, with lines such as "I wanna have drugs for friends" and "You won't get high if you don't get high, if you won't get high"; it's not big, and it's not clever, but it's infectiously good fun. The Get It 2Nite side is more abstract, with the case in point being "I'm a Mermaid", in all its sub-aquatic glory. All in all, this tape is a pleasure to listen to, and you'll be sure to return for your Free Weed fix.
 

Street Thunder Bonfire Gecko Hex (Reckno, 2013)

Street Thunder doesn't do "releases" or "albums"; he/she/they/it instead operates in "transmission[s]", and the latest is Bonfire Gecko Hex, released in Reckno's October batch. Gibberish name aside, Bonfire Gecko Hex feels like some sort of spiritual rite. There's a certain earthiness and elemental quality suggested by the artwork, and it's carried into the recording itself - Street Thunder manages to shift the stasis with swelling, layered drones and subtle movements in sound, in a way that reflects a forest ecosystem.

Side A's "Dragon Bong" starts out with pulsating, melancholic strings, as if one was exploring a dark undergrowth or wading through a murky river, but just as it seems to slip into a groove the mood is suddenly altered by a shimmering loop, akin to the awakening of an ancient beast. Side B's "Chrome Swisher" begins as side A ended, with a twinkling loop underpinned by slowly-developing (but never threatening) noise. Towards the end of the track, a chasm is opened and the noise envelops all, before fading back into the darkness. Bonfire Gecko Hex, then, is a rather minimal, hallucinatory experience, but a gripping one nonetheless.