Eatgood lyricist Sonnyjim’s been on point recently as ever and this follow up track to his 2011 Purple Patch EP is no exception. An homage to when MC’s just used to go in with hard, non stop bars over crunching beats, the original EP (which you can check on Bandcamp here) saw Sonnyjim lacing four different loops. Two years on, the fifth track follows suite with one hundred bars of straight fire over a dusty beat straight from the MPC of labelmate Kosyne. It’s raw, rugged and dirty, which is precisely what makes it so ill, and showcases Sonnyjims pure lyrical talent, no gimmicks needed. The video continues the theme with straight gully shots of jamming, packing spliffs and blowing smoke. Grab the free download over at Bandcamp.

As much as I cherish the sample culture that defines Hip Hop as a genre, live instrumentation has always been a great way to add an extra level of polish and originality to proceedings and, from impromptu bongo cyphers to The Roots seminal albums and Jehst’s recent live shows, it’s something that’s always been an important part of the culture. However, in my opinion this is the first fully accomplished example of a full live band hip hop album out of the UK; The Illersapiens promising beginnings were unfortunately cut short and other attempts have always ended up slightly too left field to ever capture the true essence of boom bap. Ironically, the only other to come close was another Mancunian offering; Skittles’ Poor with £100 Trainers which, despite it’s brilliance, came across more as a single producer utilising live musicians rather than the collaborative work of a full live band. The Mouse Outfit’s expert blend of shuffling, jazz soaked drums and soul tinged brass is bought into the present day by the addition of carefully considered synth work and a group of tongue twisting new school MCs, plucked freshly from Manchester’s ever thriving scene and led by the expertise of long timer Dr. Syntax.

Anyone who’s poked their head out from underneath that TV shaped rock over the past decade knows Dr. Syntax’s smooth flow and intricate rhyme patterns are a welcome addition to any release. Much like Scholes sitting back and pulling the strings of United, using his experience to enhance the performance of younger players around him, the structure, expertise and consistency of Syntax’s eight track contribution is not to be underestimated. For me though, this is an album where the newcomers really excel, the Van Persie’s on the end of Schole’s perfectly timed delivery if you will. The most obvious of these is Sparkz, a young Manchester MC who joins Syntax as the second main lyricist on the project, bringing his skipping flow to no less than nine tracks. From the dub reggae fueled trumpets of the up beat Who Gwarn Test to the laid back, contemplative sound and deep synths of Got Me Thinking, he excels in a variety of sounds and not only in his style bleeding verses, which trickle smoothly along while occasionally pulling you in with quick and punchy multis, but also in his hooks, showing the variety and presence of a highly accomplished MC.

Elsewhere, Black Josh’s contributions are similarly impressive, bringing a tricky flow to Sit Back alongside Truthos Mufasa, who also smashes it, between a powerful hook that’s really original and a further throw back to the bands soul influences, as well as joining Lyricalligraphy’s charismatic style over the funky rhythm of Know My Face. His solo track, Air Max, is also one of the albums standouts as he delivers a sleek, downbeat anthem in ode to “Nike sneaks, Carharrt jeans, fat bags of weed and what your girls got in between“. Dubbul O also comes through with verses on three tracks, with Children of the Stars standing out for me as he delivers an incredible hook between verses that see him and Sparkz bouncing off one another as they blend the otherworldly with the every day over twinkling atmospherics.

Kosyne, of Birmingham’s Eatgood label, joins syntax as the only non Mancunian dialect featured, dropping an effortless verse packed with emotion on the title track Escape Music, between my personal favourite Syntax contributions that really help this track earn it’s title credentials. Finally, Fox translates the gruff, Ragga style that’s been destroying dancefloors over Dub Phizix d&b beats recently to two vastly different tracks that display the breadth of his vocal range. The penultimate track Built in a Day sees him accompany Sparkz with a soulful slur and infectious flow over a slow break and guitars that seem to have the perfect level of sketchiness and personality about them. Kickstart however, is on the complete opposite end of the spectrum as the albums most up beat, dance floor orientated track as a dramatic intro builds into a heavy, bass laden rhythm that, while perhaps slightly out of place on the album as a whole, would give electronic dance music producers something to be worried about if released on a single 12″.

While the contributions of all the vocalists featured are no doubt worthy, it’s the beats and production values that really take this album from something incredible to something groundbreaking. Perfect mastering with drums that punch through the mix while still remaining understated and natural in their shuffling funk sets a constant tone of class, while natural elements combine with synthesized bass and melodies, with the addition of Sammy B Side’s cuts, for a blend that truly makes use of the range of modern day tools and production techniques available. Not only that, it’s obviously been influenced by the fresh take classically trained musicians can bring to the hip hop sound, primarily dominated by self taught producers and bedroom experimentation. The traditional ‘cut and paste’ aesthetic is done away with and the structure of the beats takes you by surprise as chorus’s wait patiently behind stripped back interludes and instrumental sections break up proceedings, allowing MC’s to drop back in with more impact than ever.

It’s one of those rare albums that has the potential to take the UK Hip Hop scene to new places, while also remaining stoically true to the roots and influences that inspired it. It’s crisp, sharp acoustics should prove accessible to both heads and laymen alike but the content, musicianship and lyrical styles are up there with the finest underground music to grace our shores and it really shows the diversity in the UK scene and the depth and quality of what Manchester currently has to offer to it. Since I first wrapped my ears round it a few weeks ago it’s thrived in every occasion from sunny bbqs to late night working, dull underground journeys to breathless bike rides, and it’s been an absolute pleasure to devour every minute of it over and over for this review. Go grab it for a mere £7 over on their Bandcamp.

As hard as the Don Cannon/Kanye produced beat for Pusha T’s Numbers on the Board, I didn’t personally feel like he really did it justice, so it’s hardly a surprise that a few other MC’s have tried their hand at flipping it. Enter Stones Throw wordsmith Jon Wayne, reworking it into a underground monster with a Doom-esque flow and more grown up lyricism that suits the deep, gyrating bassline to a tee and transforms it into a true beast. His lyricism’s effortless yet hard hitting, mixing the poetic ‘Burn the sage on these corporate waves, they know I’m a sadist‘ with the raw darkness of ‘I got demons, shit I eat with them. In fact, they’re the ones that tell me if I need more seasoning‘. His use of the sample of Jay Z’s intro line from In My Lifetime Vol 1, is particularly apt.

Also check out his recent ambient mix Daytime Naps and check below for a bonus track featuring Stones Throw affiliate Julian Malone adding his take to the same beat.

After the Sloshpot EP alongside Mr Boss earlier this year (check our review here), it was only a matter of time before Uk Hip Hop’s favourite loudmouth Dirty Dike was back, this time with his third solo album. What I was unsure of however, was which way the album would go in. Sloshpot showcased both the outspoken, abrasive (if not straight up offensive) side of Dike’s character and the complete opposite end of the spectrum, the introspective, more thoughtful and deep side, more than ever. It was almost as if half of it was written steaming drunk on a Friday evening and the other half high as a kite on a Sunday. As he grows as an artist, both side’s of that seem to have become more defined and developed so I was interested to see which musical personality would take the lead. Guess what? It’s this one….

In terms of sound, Return of the Twat is primarily an aggy, up beat thirteen tracks that sees Dike running from the police, drinking heavily, swinging his ‘piss sword‘, setting his sights on your little sister and brazenly calling out an entire section of the hip hop scene. However, in keeping with his musical process it features just two producers, Naive (tracks 1-7) and Pete Cannon (8-13), and perhaps the lean towards his more aggressive side is something in part determined by the head banging, generally fast, full and up beat instrumentals those two laid down as the tapestry. Whereas Mr. Boss’s more sparse, low key production lends itself well to deep musings on life and character, it would feel like sacrilege to pen anything but straight bangers over many of these beats. Not only that, but even when the offensive truth talk and scathing character assassination turns back on himself, it generally comes across as shouted insults rather than mellow and thoughtful epiphanies due to the sounds underneath them. Likewise, his touching on topics such as death and abuse come across as cold, to the point, facts rather than explorations as such.

The opening track He’s Getting Judged Like an Idiot gives you a taste of what to expect with a biographical approach, almost like a third person Hi I’m James with someone else looking in more critically at his character, and in sound and style is brash and obnoxious. Lyrics wise, it’s intensely self deprecating with bars such as ‘And get treated like a twat cos I actually deserve it‘, but it’s hard to feel too sorry for him as he’s obviously enjoying it and couldn’t care less, something apparant in the end of the first verse ‘fuck another lifestyle, I’ll love life and live with it‘. That’s a sentiment also repeated in the chorus, where Ronnie Bosh comes through to deliver the first of a few hooks with a really dope style, singing with a rugged twang.

Immediately following that, There He Goes is my favourite of Naive’s beats with an infectious funk and neck snapping break over which Dike lays into the less desirable characters among us, but Catch Me If You… Nah comes in at a close second. An up beat melody and vocal punches pave the perfect pavement for Dike’s endeavors to escape the boys in blue and it comes together for what’s probably my personal all round favourite track of the lot. I’ve always loved these bars since Dike popped up spitting them over a random beat on Youtube a few years ago and he’s obviously been waiting for the perfect opportunity to drop them. It’s short but oh so sweet, with a knack for a story and a sense of adrenaline that seems to permeate through the speaker.

After a short intermission, the debauchery comes to a head over the first of Pete Cannon’s beats for the aptly named Return of the Twat. Between tongue twisting verses about a misspent life, wasting in craters and looking for a whisky and a pretty little girl to fist, the defining hook and namesake of the album rings out repeatedly as Dike’s offensive nature really begins to settle in to it’s stride. On queue, the most controversial track Rapping Over Silence immediately follows. It’s essentially Dike and Dabbla wading full on into the Dont Flop like/dislike argument dividing opinions at the minute and for me, the fact that this tune has caused the most offence on such an abrasive album shows how wet some people can be; you’d have thought battle rappers would be used to getting picked on? Dike and Dabbla obviously have a right to an opinion and the unwatered down honest approach to music is in part what makes Dike releases so ill, so I’m going to repeat my thoughts on the misogyny of Sloshpot and say that if you’re not feeling the sentiment, you don’t have to. It’s musical expression and, whether YOU agree or not, sums up the opinions of many. I personally treat it as opinionated journalism that captures a moment and argument in hip hop history as much as a pure attack on anyone in particular. Either way, I’m really liking the dark, dramatic soundscape of this track and Dabbla absolutely kills it off as per usual while DJ Manipulate’s cuts add the final touch.

You Can Sing Till Your Blind and New Street bring you towards the end of proceedings with the two deepest offerings, both in terms of content and sound. The former laces an old school break with thoughts on his own character as he explores his role as an artist and talks about his actions. The bar ‘Fuck is this me becoming a man? Nah, it’s just another frisbee to chuck at the fans‘ says a lot about his music and attitude in general in my eyes. Not in the sense that it’s worthless or meaningless, but that it is just that, music. Why certain people care so much about his opinion baffles me slightly and, if these deeper more reflective offerings are to be taken with a pinch of salt, you’d assume the more offensive tracks are too. Having said that, New Street opens up about events of his childhood such as death, domestic abuse and poverty in another typically hard hitting reflection on why he is who he is. When topics as deep as that are being covered it’s obvious Dike’s not one to lie about who he is on a beat.

Features wise, I’ve already mentioned Ronnie Bosh’s epic hook contributions, but they’re both also joined by Jam Baxter on the rawkus ode to drunken nights One Drink?. Baxter’s verse is standardly effortless as he blends the real life binge with the twistedly abstract and Ronnie also comes with a hard verse here as well as on the following track Doo Doo Doo; his solo offerings can’t come quicker. After the aforementioned fast, punchy Dabbla flows on Rapping Over Silence come’s the cream of the crop in terms of features, an epic eleven man crew track aptly named Future Posse Cut One Thousand. A who’s who of the UK scene, almost the full High Focus contingent are represented in the form of BVA, Verb T, Jam Baxter, Ed Scissortongue, Mr. Key, Fliptrix and Leaf Dog and, as if that wasn’t enough, Team Hate compadres Stig of the Dump and Dr Syntax join the party alongside Split Prophet’s Datkid. Over an intensely energetic Pete Cannon beat, raw scratching introduces Dike’s opening verse as he sets the tone with a hard, fast pace kept up by all involved. Kindred spirit’s, Stig of the Dump and Datkid’s verses naturally fit in really well with Dike’s vibe but even the generally less foul mouthed MCs such as Dr. Syntax and Verb T manage to get into the swing of things in a track that you can almost smell the alcohol and green on.

It’s another incredibly bumpable album from Dike and I’m really enjoying his development; due to his outspoken nature and honesty he’s an artist that you really feel like you know simply through his words, each release an episode of the character description. As with all High Focus albums, it’s immaculately produced and mastered and made infinitely better by the attention to detail in cuts, skits and general flow. I’ve always really enjoyed Dike’s adlibs as well and he never fails to stamp himself on a track even before he’s started a verse. I can understand that his style is probably a love/hate kind of thing, but whatever you think of it there’s no denying that it’s technically very well done. Me? I think he’s dope and the fact that he (nor the High Focus camp in general) shows no sign of slowing down is, literally, music to my ears. Check the album mini mix below and go grab it either as gatefold vinyl or CD over at the High Focus store.

It’s been a while since we unloaded some fresh mixes on you, but there’s always plenty of drum and bass being blended, cut, double drop and twisted around to the aid of oral pleasure by skilled hands behind mixers. Here’s some of our favourite d&b mixes to hit the internet recently. Enjoy…

Clarity x Fabriclive x Samurai
Clarity’s one of those ridiculous talents that was getting support from big names on the scene at the tender age of just 16 and his styles always been original with bags of melody. Ahead of his appearance on 31st May at Fabric, as part of Samurai music’s debut room (tickets here), he’s just released an incredible mix, clocking in at an hour long.

Pattern- Everyday Junglist Guest Mix
In our recent New in the Bag, we mentioned Manchester based Pattern’s Draft forthcoming on Re:Alignment. As promotion for that, h’s just put together a mix for Everyday Junglist that gives you a bit more of an insight into his approach to d&b.

Lenzman & Dan Stezo- Outlook 2013 Mixtape
A Lenzman mix is always something to look forward to, and his recent offering for Outlook (the sixth in their mix series) is certainly no different. Dan Stezo takes to the mic over an hours worth of perfectly blended liquid bliss and neuro dancefloor weight.

Enei- Outlook Launch Party Vienna Promo
Another one orchestrated by bass music powerhouse Outlook, Enei takes you through pure dance floor weight on this one.

Enei- Critical Sound x Run Promo
A busy man as ever, Enei’s second mix in just a few days is in aid of Critical Sounds upcoming party in conjunction with Run at Bristol’s Motion club on 25th May.

Shiver- Critical Sound Brighton Promo
Shiver takes to the decks for another Critical mix, this time in aid of their night at Brighton’s Life club on 17th May.

You may know of beatmaker Charlie Mac through his involvement in Ramson Badbonez & Twizzy’s recent album The Good, The Bad & The Ugly (check our review here) and his link to the Abnoxshuz Entertainment label, but whether you do or not, his new instrumental album is definitely worth a listen. Whether you’re an MC looking for freestyle fodder or just enjoy nice beats, he’s a London producer with a really dope style and plenty of variety, from the chillers to the bangers, steppers to the rollers, so there’s something for everyone in this fourteen track free offering.

From the mellow pianos of the opening track The Good Ol’ Days to the western themed head nodder The Stick Up and the crunching snares of Oh, there’s no doubt he’s got a knack with samples and it always sounds effortlessly natural. I’m really feeling the laid back guitars picks of Fresco Gato in particular, but Blind Man Blues has funk in abundance and the shaker led break of the final track, Never Enough, also stands out. Go pick it up over on his Bandcamp, and check out the previous two volumes while you’re at it!

There’s plenty of new hip hop to get our teeth stuck into this week, from cyphers to tracks, US to UK, so without further ado… Here’s the latest greatest hip hop on the tube.

M9 & Tesla’s Ghost Cypher
Anything M9 has anything to do with is straight up ill, but when you add Tesla’s Ghost, who’s killing it recently on a similair heavy and dark flex but with mad vocabulary and deep content, you can’t go wrong. Chiba got them both to drop verses for the camera.

Jack Diggs- Kill the Sound
Croydon’s TPS Fam are making moves recently with the launch of Revorg Records, and MC/beatmaker Jack Diggs takes the first release with his solo album Dirty Finger Nails dropping on 27th May. I’ve just given it the first listen for review today and can confirm it’s dope! Here’s the first leaked single.

George Chro- Exodus
Bristol based producer George Chro is coming with a really original sound right about now and constantly going from strength to strength. Accompanied by a video showcasing some of art collective/clothing company Decent Peoples work, Exodus is a deep, vibey instrumental piece.

Mistafire Ft. Split Prophets & DJ Callaja
Another one from the Bristol camp, Mistafire‘s leaked a really hard tune from his forthcoming Condemnation EP, featuring expectedly heavy verses from the Split Prophets crew and tight cuts from DJ Callaja.

Ben Diamond- Someday & The Making Of
Having recorded his most recent project The Diamond LP out in California with Aqua, Ben Diamond’s been straight up killing it recently. Here’s a track taken from that project, and also a video showing the making of The Diamond LP and giving a bit of an insight into what it’s like for a young UK MC to head out stateside.

Phili & Dotz- Training for Battlerap
Dotz is one of those rare heads in Don’t Flop who can actually hold his own over a beat as well (not to mention freestyle) and his flow over this Leaf Dog beat is RAW. Top it off with Si Phili and you’ve got a banger.

Pro Era- School High
Pro Era just dropped a video for the Brendun Deshay produced School High. As you would imagine, the tracks steezy.

Techtonic Plates & Tough Touch- Winding Down
Techtonic Plates (Matchstick & Satch) and Tough Touch (Kali Mist & Social Conscience) are two crews I’ve not heard of before, but this track Winding Down, produced by Matchstick, brings a really nice vibe. One’s to watch for sure.

Khing Kang King- Metal on Oxtongue
Mowgli’s been taking things deeper and wierder then ever before with his incredibly intricate wordplay and metaphorical wizardry. Teaming up with Old Apparatus member LTO under the name Khing Kang King, Metal on Oxtongue is a a psychedelic minefield with one of the strangest videos you’ll ever watch.

Kista, a Scarborough based producer and connoisseur of that classic sound, has been bubbling under the surface in Hip Hop and repping hard for the underground for a while now, having made a bit of a name through his Organic Pulsation in 1998 and going on to collaborate with overseas MC’s such as Jan Whitfield from Poets of Rhythm and Tableek from Maspyke. More recently recapturing our attention with a 7″ on Soundweight Records alongside UK wordsmith Cappo called Livewire Feedback, he’s just returned once again to the label for a longer project, a nine track release that sees him join forces with Cappo and Tableek once again as well as Stan Illa and another UK MC Elliot Fresh.

The Grand Emporium keeps it authentic and true to that golden hip hop sound, something represented in both the beats and vocal features. The classic sample of the opening track Salute underneath Tableek and Stan Illa’s relaxed, steezy rhymes instantly defines it as an exceptionally well done modern throwback that will have heads spinning back years, while the refeature of UK heads in Cappo’s fast paced Livewire Feedback and Elliot Fresh’s ode to Hip Hop in What I’m Talkin About adds variety. Four incredibly soulful skits/instrumental tracks break it all up and show Kista’s prowess across a range of styles as they allow you to slip back into the overall sound of his production, I’m especially feeling the mellow break and wind instruments of Vibrations. Finishing things up, Fish’s Livewire Feedback is a really nice take on my favourite track of the lot with raw drums and atmospherics galore.

Listen below or go grab it on a name your price basis from the Soundweight Records Bandcamp or pick up a limited green 12″ from Suspect Packages.