Fliptrix : Out The Box

‘Fuck the trendsetter, I be the peacekeeper’.

From the intricate fractal geometries that adorn Out The Box‘s cover art, to the title’s allusion to expanded awareness; it’s clear that the man with the mind behind High Focus Records isn’t shy when it comes to penning esoteric verses steeped in deep content. April sees Fliptrix re-release his 2010 project Theory Of Rhyme on double vinyl, and begin to build momentum for his forthcoming Polyhymnia album by dropping Out The Box, a new collaboration project with South London-based DJ and producer Rebs. This ill remix LP features reinterpretations of 6 of tracks taken from the essential Third Eye Of The Storm album; along with 6 new previously-unreleased songs that illustrate the change in perspective the meditative MC has undergone over recent years.

Much more than an interim release, Out The Box finds the duo devising musical remedies for the modern Hip Hop listener; with cleansing sounds that reinvent the original songs. Reb’s remix of Chemo’s haunting strings on The Storm switches your receiver, taking your perception of the content from Michael Ruppert-style harbingers of cataclysm to messages of hope in the face of adversity. Soundscapes has a similar effect, as Farma G’s bars sound out even clearer over Reb’s otherworldly piano stabs, and Fliptrix’ transcendental chorus lines emerge revitalized and renewed by the remix process. The first new track Smoke Rings is the best on the album; Reb’s simple beat is melodically fulfilling and heavy on that old boom bap stomp, while Fliptrix’s lyrical alignment with peace dominates his heartfelt delivery; with clever use of metaphor, ‘never will I be the fireplace without the coal in’  and intricate rhyme schemes; ‘twilight embarks on the dawn of reality, my thoughts spawn from a sparkle of a fractal dream, rap and beat brought together by the tractor beams, words will travel round the globe, defy gravity.’ Reb’s dub selection skills nearly top the future-garage vibes of Kontigo’s original on The Essence. With Flipz at his most honest and beats that bang this hard, the tune holds the potential to spark off your club night or accompany you on a solitary search for soul purpose, as you reflect on ‘what happened to fun without drugs, and how come everyone fucks but don’t love?’ 

If you’re in the UK you probably remember Rising’s riotous rhymes on Sammy B Side’s Wordplay Mag mix a few issues ago; the tune packs party-vibes for days with short bursts of verse, and a chorus so huge it could accommodate whole families. Duppying The Style is confident and lyrically creative; with imagery and rhyme schemes that were prevalent on his first few albums, and the title track keeps things upbeat as Rebs draws from the same sample source Illinformed used for Brothers Of The Stone; with Fliptrix channelling a chorus sure to set you smashing mental boxes for fruits of wisdom like Crash Bandicoot on the hunt for apples. His references to the vibrational reality of the universe measured through cymatics and JFK as ‘the only real president’ demonstrate his skill for subtly sign-posting paths towards truth for the listener, using synchronicity-style invitations that always manifest humbly; ‘Do this for a greater reason, my divine purpose, truth hides beneath the surface when I’m writing verses, third eye alignment, vibration’s perfect, time is everything and nothing but it’s never worthless.’ Fan favourite Wylin’ Out gets a mellow make-over as energetic verses course over Reb’s oriental sounds, before Runone’s original Nothing’s Quite As It Seems reincarnates with mystic harp riffs winding through the maze of cryptic content contained in the first verse. Verb T flows slightly less obscure, with standardly clever wordplay and effortlessly inventive flow patterns that hold jewels; ‘Thoughts take strange shape like a mutant, manifest physically, some as pollutants.’

Mutantz  energetic flow crackles with anger towards the system, buffered by complicated bars that keep their underlying message simmering beneath the surface. Reb’s inventive sampling gives way to a more computerized cadence on Walk this Way, marking the only miss on an otherwise hitting LP; but still boasts a nimble verse from Bristol-based MC, Buggsy and some cool electro chatter that elevates the chorus. As the album draws to a close, the sombre sounds on Ashes To Ashes find Flipz briefly turning his attention away from the earth, and towards the more business-motivated churnings of the world; addressing the vacant state we’ve been nulled into that finds the majority ‘addicted to consumerism, purchasing to fill the void‘, then posing the poignant question ‘How come humans used to look so beautiful? now every day it’s like their dressing for a funeral, pessimistic state, grey aura in a cubicle.‘

The huge shift Fliptrix made from Third Eye Of The Storm‘s tentative spiritual references still somewhat mired in negativity, to an an almost ego-less cosmic consciousness on The Road To The Interdimensional Piff Highway previously seemed enough of a jump to give Graham Hancock new material; but now with Out The Box the HF figurehead has provided us that missing mental link; and more importantly created an album of hugely enjoyable songs as his spiritually-transcendent, socially prescient lyrics take residence over Reb’s mellow instrumentals.

Pre-order the album at the High Focus website here, or on itunes here in anticipation for it’s release on April 14th. Get it before the official release date by buying the Theory Of Rhyme double vinyl.

5/5

Peace.

 

Ramson Badbonez : A Year In The Life Of Oscar The Slouch

I first heard about Charlie Mac’s dope production skills when Chester P posted about his Instrumentals Vol 3 tape earlier this year. The Task Force MC would also be responsible for much of the country hearing about Ramson Badbonez for the first time back when he was only 14, as he was given the opportunity to spit on Louiz Slipperz £10 Bag series. After the backing from Task Force the young MC really went to work, spitting furiously for years on mixtape after quality mixtape, featuring on every youtube channel that was reppin British Hip Hop at the time, destroying mics at radio shows, and finally releasing his debut album Bad Influence last year.

This year he’s still grindin’ hard; linking with High Focus Records to finally find the business backing his talent deserves, and opening his rhymes up to a much wider audience internationally through HF’s ever-expanding fanbase. Fliptrix has been shoutin’ him out and playing shows with him for time now, and even though heads know his flow is unstoppable; he’s been under a lot of people’s radar for too long. A Year In The Life Of Oscar The Slouch is about to change that. For the first time his music has become more accessible; largely due to Charlie Mac, who’s diverse production style allows Badbonez to extend his range, and spray his bars with more structure than before. This is the closest the UK has gotten to a fully catchy, hook-heavy, street banger in years. British rappers have been making niche music for underground listeners for so long, albums that sound this big and easily translatable weren’t something I expected to come along so soon, especially not from one of the most aggy, unapologetically underground MCs the country has produced in recent times. Despite the album’s memorable appeal, Badbonez still verbally decapitates any competition within radius, and brings that raw poetry straight from the pavement, speaking on his experience through the eyes of his colourful caricature of a protagonist.

The album begins as dark as the winter months that inspire it; Badbonez fills Oscar’s shoes and relates tales of tough living through a wide sociological scope on a dreary beat that hits hard. In Da Blitz Time comes out aggressive “Straight from the back alleys & trash cans of no hope”; The verses are gutter, the scratches are fierce and the beat’s rough with a throwback swagger that grooves hard. Whateva Da Weatha has it all. I’m talkin Dre levels of beat making on display with neatly cut piano samples and epic string accents to match; Ramson employs a lyrical manoeuvre seldom heard and perfectly starts and ends his words to the stops and starts Charlie’s sample’s make. Beats like this are what the tongue-in-cheek confidence of Mystro’s flow was made for, he drops a standardly accomplished verse with as much effortless style as you’d expect. Gadget’s hook is huge, and the additional strings give the chorus a vintage soul feel despite the G’d up nature of the content. I duno where Gadget has been hiding but he and Rag N Bone Man need to make an album over Leafy beats immediately.

On any other album Scruffy,Bummy,Hungry would be stand out; on an album this packed with first-rate tunes it’s falls kinda flat. Baxter & JokerStarr’s bars fit the style but are limited by their inability to really convey message, or form a lasting impression with their content. April Fool’s Day is another modern stormer that owes much of it’s strength to Charlie Mac; the beat’s perfect for Badbonez to bring out his belligerent best, giving you an insight into shottin’ as Oscar continues his 365 day span struggling through Britain’s underbelly with some memorable bars; “I’m sayin, fuck a job vacancy, I’m up early in the morning slot, blazin’ trees on the block making P’s”. M.A.B from Three Headed Beast provides a solid, heartfelt verse and the chorus hook that Balance carries well sits nicely but is too convoluted and minor to possess any real staying power; as far as good new Hip Hop goes though; if you’re not swinging your arms about like Meth in Rhyme & Reason by the time both MCs trade lines on the third verse you might just be in the wrong corner of the internet.

As the summer months brighten up and we find Oscar in the month of May as he still receives no respite from the hardships of modern living. Dealing with his day to day by selecting his poison from a buffet of intoxicants, and zoning to 90’s Hip Hop on Just Da Way It Is. His bars are littered with allusions to Hip Hop’s greatest albums and Mac’s great use of atmospheric elements and some lyric cuts straight from the classics vault make it another banger. Foul Moods is up there with the albums best; not even Ramson lyrically throwing pints of piss at racists, hookers and street violence can dampen the mellow vibe the carefree beat brings; it could have benefited from a switch-up in content, but Badbonez is stickin to the script he wrote for Oscar, and is obviously aware that straying conceptually would detract from the album’s cohesion.

Chains & Whips adds some much needed variety in theme and some dope verses with it; Ramson spits nothin but truth; after his uplifting verse on Twizzy collab ‘The Essence’ earlier this year, this return to a more insightful flow is welcome; “Ancestors hang helpless from their 24 carat gold or platinum chain, all to keep the masses wealthy, ghosts and hopelessness, ford focus’s, most the shit you own is that length of rope to choke you with.” Genesis Elijah goes in just as hard; he’s been on fire this year, and his scorching course continues as he references the revolutionary actions of Nat Turner and Malcolm Little. His wise words carry historical weight, and find correlation between the modern banking system and the Middle Passage’s lucrative human trade; “The Bank Of England was built on the slave trade, for six straight centuries, not a penny they paid back, for the free labour or the profits they made, now the names have changed but it’s basically the same game.” 

As Oscar’s 365 day epoch nears it’s twilight, the autumn months bring  some last rays of optimism before the album sinks back into the cold sting of winter. The addition of Rag N Bone Man’s distinctive voice on the title track adds a depth that otherwise might be missing from the bare bones of the simple beat. Ramson’s verse is much of the same conceptually but also once again provides top class lyricism from the seasoned writer. As usual Fliptrix’s verse shines brightly amongst the otherwise dark vibrations on the track. His accounts of the rough side of life are lifted by his ever-present sense of optimism, and his parting message is a testament to his spiritual strength. As soon as I heard Desperation I knew the album was guna be something special, Ramson hammers out words with feel over a chilled beat that holds a more positive message than a lot of the content carries lyrically. Even after repeated listens, it still stands as one of the album’s best tracks; not to mention one of the nicest High Focus videos to date.

 

December swings around and Let The Others Know finds a nice closing point that’s bang in the middle of the Mac and Badbonez’ style; it’s got real soul and warmth that Ramson’s lyrics provide with an edge. Oscar’s year ends the same way it began, living on the breadline in Britain’s backstreets trying to get by; and although the character’s story didn’t arc as much as it stayed in one spot and documented a point of view; it did provide an entertainingly accurate snapshot of inner city life from a perspective that is too often marginalised or disregarded. If you’re looking for an underground Hip Hop record with polished production, ill scratches of some classic lyrics, consistently adept lyricism and some banging tracks look no further; but if like me, your prefer your musical choices to elucidate on fresh topics with content you can return to and glean new information from as your perspective grows, you may be slightly let down. By the halfway point the album begins to hit a wall as Badbonez topics are limited to his immediate experience as relayed through Oscar. Concept albums are an idea you rarely come across in Hip Hop, and although A Year In The Life Of Oscar The Slouch works well initially; its tight concept limits it’s appeal in the long run.

Check out Oscar’s council estate chronicles for yourself  here. 

3/5.

Peace.

Music From The Corner 5.

I can’t rightfully claim to write a Hip Hop blog that covers UK music without taking some time to show respect to the legends. Highbury’s finest have been the pinnacle of real Hip Hop for over a decade; Chester P paints vivid imagery that echoes the barren lands he sees daily, with slang styles as British as builder’s tea and Jammie Dodgers. Farma G flows unpredictable and complex with a sharp wit and sense of humour that takes inspiration from all of life’s nooks and crannies; and his production has given the MFTC series a distinctive sound that is completed by the pairs accomplished, obscure wordplay. Both MCs have had successful solo releases, been an integral part of Mud Fam with Skinnyman and Mongo, and created their own lane musically, setting the benchmark for underground UK Hip Hop over the last decade. Few groups can identify a sound as being strictly their own and claim to have influenced a generation of British rappers; Task Force can, but wouldn’t. Instead they use their talents to stay humble and work hard at their craft without any of the bragging or bullshit infiltrating their circle. This last release in the Music From The Corner series continues their trademark sound by moving forward with it, expanding their scope sonically, but still bringing those gully vibes. Long time TF collaborator; DJ, and classic mixtape mastermind Louis Slipperz is contributing once again, and even though there’s no Remus this time around; One glance at the cover art should tell you the album adequately packs in all the elements that made the previous instalments the classics they were. 

After an epic intro, Indie Anna begins the LP as it means to go on; strong. The beat immediately takes things to that dark mental space TF inhabit through their music; with a surprisingly catchy chorus, and both verses are as dope as expected. The momentum keeps rolling forward onto another masterclass in the Task Force sound God’s Fire On A Summer Night. Farma’s production has gotten clearer and cleaner, but still finds those gritty samples that sound like empty pipes clacking together in tower block hallways; his open hi hat placement alone helps to create the tracks frantic feel, and the rhymes fire fast and sharp off the tongues of the Two talented MCs.

Things slow down and take a turn towards the more esoteric on ESP. It’s one of their best songs both conceptually and musically; and stands as a testament to their ability to carve deep, vivid images through words that resonate with as much sustain as the guitar that echoes throughout. They take the elevated state of consciousness that would gift a person Extra Sensory Perception and explore it’s dual nature as a curse; twisting tales of mental anguish over the eerie beat with skillful storytelling that would make Rick The Ruler proud. Chester’s verse is backed by the whispering voices inside the mind of his protagonist, as he relays the story of Jim and his telepathic commune with the dead. His lyrics lead you through the character surviving stints in mental institutions, failing to connect with people and failing to  hold down a job, only to be continually haunted by the souls of those who haven’t passed. Even though that sounds bleak as fuck (and it is) Chester’s darkly comic sense of humour keeps it entertaining. Farma’s verse is even darker than his brother’s; his “It’s hard to look them in the eye without a tear to shed, cuz everytime I hold their little hands I have to see them dead” line gave me shivers. It’s safe to say no one else in rap could pull off these bars; and all the little kids with contacts in their eyes biting Kool Keith and the Gravediggaz could do with learning a thing or ten from Task Force at their darkest.

Overall the sounds on MFTC5 cover previous musical ground then tread further onto paths the brothers McBane haven’t walked before. Shark Fin Soup has that crazed circus-sideshow feel that Farmz channels through at least a few beats on every Music From The Corner release; and it provides a brief lift from the looming darkness the series creates. The memorable chorus is guaranteed to stick in your skull as it helps to anchor the song’s quirky production style. Farma’s lucid lines cover an albums-worth of topics in a sixteen, and Chester’s esoteric horror & 2000AD references are what a beat like this was made for. Money, Gold, Jewelry & More treads some of that new ground I was talking about; firstly, it’s a banger that needs to be played on 11 every time; secondly it takes a much-imitated production style and warps it into the Task Force framework; shitting on 98% of songs like it out there in the process, and proving that even though they’re making some barren beats down there in the capital; they can apply themselves to any rap style and smash it with ease. The schism between reality and what’s projected on record by a lot of mainstream rappers is neatly condensed on the songs hook; ” Street life rappers, thugged out rappers, sittin’ on a mansion & yacht with chains drippin’, sold out rappers, washed out rappers, sellin’ us the science of life they’re not livin’.”  Big up Louis Slipperz for those tasty scratches at the end too. 

Save Me! condenses why I love Task Force into Two minutes; the content, the beat, everything about the song is what you’ve been waiting for if you’re a fan, or what you’re missing if you don’t get it. The posh boy voices from ‘Radio Babble On’ return on Stanley Doppelganger, as their take on the hype assigned to people in the public eye adds fresh focus to an old formula. It also sends a clear message to the biters cleverly enveloped in each verse’s storyline. Farma’s line about the tag on Google is visionary, and so close to reality he should remake the Nastradamus album with his other predictions and save it from the bad-production purgatory it’s currently languishing in. Sunless Lullably is one of the grimest things they’ve done, even for an MFTC the production is uncomfortably dingy; and the bars are enough to give Clive Barker nightmares. They both have a skill for contorting their voices to fit whichever beat they’re on, and keep the use of effects to a minimum by playing with intonation as they rhyme. Although the raucous beat on Soft Giants is as pulpy as film noir, and sounds like Frank Miller on an MPC; the song itself doesn’t quite match the overall tone of the album; but still deserves respect for it’s experimentation.

On every TF album there’s an undercurrent of sadness that often surfaces and provides moments of deep human connection; In the past, tracks like ‘Tomorrow’, ‘A World Without Love’ and ‘Better Off Dead’ have displayed that element of their sound. On this new LP it returns most overtly on A Grey Mist. The song continues Chester and Farma’s reminiscence on MFTC3’s ‘Yesterday’s Hellhole’ with a perspective that shows the growth in their outlook and a clear example of their updated production techniques. The lyrics are especially poetic; with both rappers writing at their most reflective. Chester’s chorus bars stand out for their honesty; “How can I refuse the invitation, to find a way to make it in the streets of desperation? I guess I’m really nothing but an outcast, a ghost in the machine that found it’s voice within a soundcard”. 

The return journey to the idyllic natural setting of the Butterfly Ball that began on 2000’s Voice Of The Great Outdoors EP concludes on Butterfly Effect, and both verses are even more eloquently phrased than before as they pay homage to the countryside’s micro-verse. The picturesque surroundings quickly fade to grey again though, as the album dips back into that deep well of sadness they draw from on Found A Way. It’s another definitive classically-influenced MFTC tune that’s definitely set to become a stand out part of their back catalogue. As anyone who’s been checking out his youtube channel can attest; lately Chester P’s prose has gotten even more captivating and poetic; and it’s this free-form writing style creates some of his best bars on the album. 

After Stallone’s motivating speech on the Rocky Skit, they alchemically convert his words to rap inspiration on  Keep Moving, and relay the message through another banging beat and some uplifting bars. Blunted Razors is a harsh listen on the metal-style chorus, but is saved by Farma’s mad scientist melodies that carry the verses and the listener on the last of the album’s strange lyrical journeys. Chester’s classic DJ Gone bars on the bridge match the track well and sound as fresh as they were a few years ago. As the album draws to a close with Another Day; it’s swansong is a fitting appendix to the MFTC series. The pair pen some emotive, socially conscious bars; speaking on the divisions the military industrial complex creates and the families it affects through the psychological manipulation of war. It’s another archetype of that inimitable Task Force sound that can take a common thread like heartbreak and use it to unite people globally; even if it’s only in song. The chorus as a parting message is universally relate-able and important, and ends the album as strongly as it began.

 “We live, we die, that’s life I guess, there’s war, famine, pain, and death. There’s them, there’s us, there’s you, there’s me, we live, we die, we’re rarely free, but love exists, and strength in mind, and all good things will come with time. So raise your fist and sing with me, I’m God, I’m strong, I’m proud, I’m free”. 

Buy it now. 

4/5.

Peace.