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Meyhem, DJ Muggs and Madlib, announce their forthcoming collaborative album “Champagne For Breakfast“. Produced in its entirety by DJ Muggs and Madlib, Champagne For Breakfast, will be released on April 7th, 2023 via Soul Assassins Records. Today they release one of the most anticipated tracks off the new project, “Szechuan Capital,” featuring Action Bronson.
Artur is a 43 year old Polish-American recording artist & sculptor based out of Atlanta, Georgia who started to write lyrics when he was 16 after being denied entry into a club because of his Polish passport. He wound also go on to found Living Angles & #UplineCreations after diving into sculptural art and into making frequency emitting permission-slips and art installations. But as a way of properly introducing himself in the music industry, Artur is presenting a brand new style of hip hop of his own that he refers to “ascension rap” on his full-length debut.
After the “Intergrate” intro, the first song “2023” sets off the album by opting in for an open contract over some bells & hi-hats whereas “Alien Abduction (Spiritual Induction)” works in some guitar licks talking about how some will view this as an omen & to follow the directions given. “Every Day” hooks up these synths with kicks & snares encouraging that each day in your life is a new beginning just before “Starseeds Activate” talks about the time being here & now accompanied by a glistening instrumental.
“We the Bring the Magic” has a more futuristic boom bap approach as The Swim’n Bird tags along to discuss that you are in fact the mystery, the bridge, the divinity & the magic that you seek in life leading into the title track attaches some more kicks & snares to an orchestral loop talking about healing the heart. “Architects of Consciousness” is a 2-minute atmospheric trap ballad building momentum of a potential that goes back all the way to the beginnings of Atlantis, but then “The Embodiment of 9” returns to the boom bap talking about the embodiment of the awakened human being.
Meanwhile on “Moving On Up (Level Up Now)”, we have Artur leveling up with a more cloudier instrumental backing him while “The Arcturian Gate” brings in the horns as he discusses the helping hand of Arcturus that is being stretched out towards mankind. Yung Kemmo coming into the picture for the rap rock inspired “Host of Rhythm” paying homage to the great spirit while “In the Flow” returns to trap territory to deliver an invocation of the spiritualization of Earth’s humanity.
The song “Know Thyself” brings back the rock vibes as he provides an anthem touching on being honest with yourself & self-investigation with Nathaniel Yost on the hook while the penultimate track “Perfect Resonance” dives back into the basement as far as sound goes talking about aligning oneself with the soul’s original blueprint. And to finish the album off, “Mahas Saham” addresses the one & infinite mind that’s immortal.
If anyone out there is looking for a product that represents the Golden Pages of Ascension in a playful & poetic manner, then T.H.O.T.H. (The Harmonizing of The Hemispheres) is definitely the album for you & it makes me excited to see him elevate his ascension rap style even further from hereon out. The teachings spread throughout it’s 50 minute course most certainly have the power to help one through the dimensional shift & the production fits the ascendant themes quite well.
Score: 7/10
Massachusetts rapper Abyss unveils his momentous “Magnum Opus” album, an extraordinary culmination of years in the making! The captivating craftsmanship shines through its multifaceted sound – from hard-hitting bars and lyrical prowess, to inspirational songs that anyone can relate to. Backed by features from Reks, Slaine, Milez Grimez, Ren Thomas, Big Dese & more, plus production courtesy of veteran producers The Arcitype and Stu-Bangas just for starters. Abyss’ new album is an incredible showcase of his expansive musical range, giving listeners an intriguing journey into the artist’s boundless creative depths.
This is the highly anticipated sophomore album from Buffalo emcee Jae Skeese. Getting his start off the strength of his his debut mixtape W.A.C.K. (Women, Alcohol, Cash & Kicks) in the fall of 2010, it wasn’t until a decade later where he & 7xvethegenius gained wide exposure as the very first signees to Conway the Machine’s very own EMPIRE Distribution imprint Drumwork Music Group. He & his mentor just dropped their collab EP Pain Provided Profit a couple weeks ago, so it’s only right for Jae to come off that & his classic Big Ghost Ltd.-produced 3rd EP Authenticity Check by finally dropping Abolished Uncertainties.
“RVLVR” sets things off with Jae showing you why they call him exactly just that over a soulful boom bap instrumental whereas “Million Dollar Dreamz” takes a more shrilling route working in some more kicks & snares talking about chasing a bag. “Bonneville” keeps it in the basement not wanting to no excuses whatsoever, but then Freeway tags along for the rugged “Out Here” letting their presence be known.
Meanwhile on “Burner Phone”, we have Jae with a story to tell over a soul sample & snares just before La Maquina himself slides through for the classy trap hit “Symmetry” as they talk about trying to find a balance in their lives. “Lunch Table” returns to the boom bap letting y’all in on the newest page of his odyssey leading into “1 of 1” blends jazz & soul touching on his uniqueness.
The final leg of the album starts with the 3rd installment of his “EKIN” trilogy that began on Revolver Ocelot & continued on Iroquois Pliskin by jumping on top of a victorious loop with some kicks & snares talking that talk while the song “Mind Right” has a more harmonious vibe to it as he discusses on mental health. The penultimate track “Red KoolAid” comes through with some flawless saxophones as Jae talks about being made different & “Auntie Crystal” has a cloudier approach to conclude the album with a dedication to his titular aunt.
He’s come a long way since his full-length debut in Search of Symmetry & if anything, the sophomore effort Abolished Uncertainties further proves that as I would call it his best album to date between both of them as the Drumwork takeover continues. The introspective story throughout is cohesive & well-told as his artistic growth in the past decade is being put up in full center.
Score: 8/10
This is the 9th full-length album from Brooklyn emcee Kota the Friend. Breaking out in 2016 off his debut EP Palm Tree Liquor, he would go on to follow it up with 2 more EPs before dropping his debut album FOTO in 2019. Kota has since dropped 7 more under his belt, with my favorite To Kill a Sunrise fully produced by Statik Selektah celebrating it’s 2 year anniversary just last weekend. So with that in mind, he & the established Boston producer are reuniting To See a Sunset.
“High Noon” is a warm, soulful boom bap opener to the album looking back on the people praying on his decimation & Kota’s current view being tropical whereas “Real Ones” works in some bluesy guitars, strings, kicks & snares talking about life being good. “Elevator” takes a jazzier approach as he makes it clear that he ain’t got time for no dumb motherfucker prior to “Go Brooklyn” is an atmospheric boom bap cut representing his hometown.
Moving on to “Maybe So”, we have Statik bringing back the jazz as Kota talks about staying ahead of things just before “1 Life” laces some pianos so he can encourage everyone to do it right with the short time we have here. “Valleys” has a more lavish approach telling listeners everything’s gonna be ok & you’re gonna make it leading into the wavy pop rap ballad “Eye See U” addressing his sweetheart. The penultimate track “Free Not Woke” brings back the blues guitars as Kota speaks on doing as you please & “Thank You” is an appropriate victory lap from the peppy beat to the gracious lyrics.
Truthfully, the last 3 albums that Kota’s dropped since I’ve last covered his music were all average at best respectively & To See a Sunset reveals itself to be a more than worthy sequel to what I consider to be the crown jewel of his discography. Statik’s production is as rich as it was on the predecessor except it has a more jazzy boom bap flare to it as the theme turning your dream into a reality & being present with the realization that you’re living your best life is inspiring.
Score: 9/10
This is the highly anticipated sophomore album from Buffalo emcee Jae Skeese. Getting his start off the strength of his his debut mixtape W.A.C.K. (Women, Alcohol, Cash & Kicks) in the fall of 2010, it wasn’t until a decade later where he & 7xvethegenius gained wide exposure as the very first signees to Conway the Machine’s very own EMPIRE Distribution imprint Drumwork Music Group. He & his mentor just dropped their collab EP Pain Provided Profit a couple weeks ago, so it’s only right for Jae to come off that & his classic Big Ghost Ltd.-produced 3rd EP Authenticity Check by finally dropping Abolished Uncertainties.
“RVLVR” sets things off with Jae showing you why they call him exactly just that over a soulful boom bap instrumental whereas “Million Dollar Dreamz” takes a more shrilling route working in some more kicks & snares talking about chasing a bag. “Bonneville” keeps it in the basement not wanting to no excuses whatsoever, but then Freeway tags along for the rugged “Out Here” letting their presence be known.
Meanwhile on “Burner Phone”, we have Jae with a story to tell over a soul sample & snares just before La Maquina himself slides through for the classy trap hit “Symmetry” as they talk about trying to find a balance in their lives. “Lunch Table” returns to the boom bap letting y’all in on the newest page of his odyssey leading into “1 of 1” blends jazz & soul touching on his uniqueness.
The final leg of the album starts with the 3rd installment of his “EKIN” trilogy that began on Revolver Ocelot & continued on Iroquois Pliskin by jumping on top of a victorious loop with some kicks & snares talking that talk while the song “Mind Right” has a more harmonious vibe to it as he discusses on mental health. The penultimate track “Red KoolAid” comes through with some flawless saxophones as Jae talks about being made different & “Auntie Crystal” has a cloudier approach to conclude the album with a dedication to his titular aunt.
He’s come a long way since his full-length debut in Search of Symmetry & if anything, the sophomore effort Abolished Uncertainties further proves that as I would call it his best album to date between both of them as the Drumwork takeover continues. The introspective story throughout is cohesive & well-told as his artistic growth in the past decade is being put up in full center.
Score: 8/10
This is the 41st EP from Atlanta emcee/producer Tha God Fahim. Coming up as an affiliate of Griselda Records alongside Mach-Hommy & Your Old Droog, he’s also built up an incredibly vast discography with a couple of standouts being Breaking Through tha Van Allen Belts & Dump Assassins. Now the last time I covered Fahim’s work was when he dropped his 19th full-length album 6 Ring Champ & the final installment of the Shot Clock King trilogy of EPs produced by Nicholas Craven shortly after last spring. But coming off of 3 EPs since 2023 started with Dark Shogunn Assassin & Iron Bull being my favorites so far, Fahim & Craven are back together for a 4th installment in the Shot Clock King saga.
Jay NiCE’s appearance on the opener “Area of Effect” is the only feature on the EP as he & Fahim jump on top of a soulful boom bap instrumental referring to themselves as heavy dumpers boasting how terrific they are prior to “Nice to Know” going into drumless turf as he puts up points as much as Carmelo Anthony does. The sample on “Damage Over Time” is fascinatingly delicate with Fahim going out for revenge while the song “Defense” has a bit of a psychedelic rock route talking about being unable to give or let up. The penultimate track “Mentally Prepared” has a catchy vocal loop touching on nonstop dominance & “Work Hard Play Hard” is a crooning boom bap closer paying tribute to those who came before him & continuing the glory.
I still enjoy Dark Shogunn Assassin & Iron Bull as much as I do when both of those EPs dropped not too long ago, but the Shot Clock King series is amongst Fahim’s strongest work & the latest installment here sure enough has quickly become my favorite project that he’s given us this year as of me reviewing this. Nicholas Craven’s production is more prominently drumless much like the first installment & the way the Dump Gawd lyrically continues to float on top of these bare sample flips is as fresh as always.
Score: 9/10
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Navy Blue is a 26 year old skateboarder, MC, producer, songwriter, visual artist & model from Brooklyn, New York who came up in 2015 off his debut EP According to the Waterbearer. He has since continued to turn heads in the underground scene by dropping 9 more EPs & 6 full-lengths before signing to Def Jam Recordings about a month ago. With that in mind, it was only a matter of time until he dropped his 7th album albeit major label debut fully produced by Budgie.
“The Medium” is a drumless opener with some pianos & choir vocals as Navy admitting that learning patience has made sense for him as of late whereas “Chosen” has a more abstract, jazzy approach to it talking about being a prodigy. “The One” seeks eternal love with a silky yet sensual beat until “To Fall in Love” takes a more tropical route instrumentally talking about fucking up a real blessing like his significant other.
Zeroh comes into the picture on “Life’s Terms” to let it be known that all it takes for them just to be in love & that simply being the way it goes just before “Phases” dives into more soulful turf talking about being unable to stay the same with gratitude & living day to day. “Kill Switch” has a more dejecting sound to it as Navy acknowledges that he ain’t self righteous leading into the Kelly Moonstone-assisted “Window to the Soul” declaring themselves as ballroom stars returning to the boom bap.
“Freehold” opens up about despising his opponents & being unable to do this shit by his lonely on top of a slow yet syrupy beat while “Embers” with Liv.e delivers some jazzy piano chords as they talk about where they wanna be in life. The song “Pillars” is wavy ode to his family while the groovy penultimate track “Look in My Eyes” talks about seeing the pain he’s lived through. “Shadow’s Shield” however comes through with a drumless closer being unable to complain & thinking that everything will be straight in the end.
Between this & Maxo’s latest Def Jam debut Even God Has a Sense of Humor that just came out last month, it seems as if one of the most iconic labels in the history of our culture is continuing to help bring the underground to the mainstream by giving these artists the push they deserve. The lyrics are more personal which is great for those who’re new to him with the batch of instrumentals that Budgie whips up being amongst his strongest to date pulling from jazz rap, drumless & chipmunk soul.
Score: 8/10
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Western, MA artists Messiah Kaine and Profit (of Bangout Records) release their newest collaboration “50/50 Club” produced by Champagne Made That. The track will be featured on Profit’s upcoming full length album (title TBA) set to drop in April, as well as Messiah Kaine’s collaborative album title “Mutiny” set to drop in May.
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Minneapolis hip-hop pioneers Atmosphere, composed of rapper Slug and producer Ant, have shared a new track off their forthcoming album today. “Bigger Pictures,” Slug’s honest reflection on his life, is about “zooming in, continuing to figure out who I am by looking at where I’ve been.” The track is accompanied by an equally raw video by director, writer, and producer Tazbah Chavez, known for her work in numerous popular TV series, including Reservation Dogs, Rutherford Falls, Accused, and more. Atmosphere’s new album, So Many Other Realities Exist Simultaneously is out May 5th via Rhymesayers Entertainment. Pre-order the album HERE.