Little Simz - "Lotus" (2025)

Simz' rise to one of the UK's biggest rappers is one of the most inspiring success stories for independent artists (and just life in general) as she is one of the few I can think of that has done it pretty much entirely on her own. Performing in a prime Glastonbury slot just under the headliner (Coldplay) in 2024 is pretty insane for an artist that has never signed to a major label. Simz' career really began to take off following 2019's GREY Area, where she hooked up with producer and childhood friend Inflo. The two had an amazing creative chemistry that resulted in three excellent records that were layered in rich and dramatic funk, soul and orchestral instrumentation that matched Simz' intensely personal and heavy lyrics and themes.

During the rollout of the Lotus' singles, it hit the press that Simz' was suing Inflo following an unpaid loan she gave him during 2024 to help fund the first (and at the time only) live show for his project SAULT (which Simz was a frequent collaborator); which left her unable to complete her tax return for last year. With this news coming out, it was evident that Inflo would not be producing this new record and furthermore Cleo Sol, who is married to Inflo and provided vocals to many of Simz' tracks including her biggest hits, would not be featuring. So this is a massive shake up for Simz, creating a record for the first time in a long time without two of her closest collaborators (and friends).

Miles Clinton James has been picked by Simz for production duties this time around, and looking into his work he did some additional production on 2021's Sometimes I Might Be Introvert as well as some credits with Micheal Kiwanuka and on Foal's last album. This sets the record apart from the Inflo trilogy, as while it is still sounds distinctively Simz, a lot of the extravagant orchestral instrumentation has been replaced with a grittier, darker sound reminiscent of UK post-punk. This pretty aptly compliments the main lyrical themes of the record, the majority of which is pretty explicitly about Inflo and the breakdown of their relationship.

The opening track, Theif, comes in with a rumbling bassline and eerie twangs of guitar before Simz' effects-laden vocals swoop in like a phantom from above. The multi-tracked and echo-y hook of "You're a theif!" definitely gives off the intention of Simz presenting herself as a spectre haunting Inflo's conscience. This leads straight into the lead single, Flood, which features some intense tribal drumming and mantra-like lyrics where Simz recites to her self her methods of how she's going to get through this traumatic time and how she's not going to let this happen again. Obongjayar and Moonchild Sanelly are featured on the chorus and absolutely kill it.

The other two songs released as singles are Young and Free. Young is a very interesting and unique song for Simz, being a kind of Britpop-y, post-punk-y, pop rap tune with its Kinks-ian baseline and faux-posh accent that Simz is putting on. The song is clearly a piss-take of something, but I haven't quite figured out what. I like the song, but it does feel very out of place on an album that's otherwise so serious. Free is a neo-soul jam about being kind-hearted and taking life at your own pace; and is a style of song that Simz can write in her sleep to be honest. It's a good song, but does it really do anything to stand out from the several similar songs in Simz' back catalogue? Not really. I feel like Only, which sits inbetween the two tracks on the record, is a more interesting exploration of that style. Jungle's Lydia Kitto takes on the chorus vocals and does a great job. The sauntering, jazzy beat and self assured lyrics about slowly falling in love with no hang-ups or need to rush just oozes cool.

The first half closes out with Peace and Hollow. For me Peace is the weakest song on the record and probably the only one where it feels like Inflo's presence is noticeably missing. The instrumental feels pretty undercooked with a repetitive guitar line that doesn't change or progress throughout the four and half minute runtime, and Mira May's hook of "I need to find some peace of mind" remains identical from the first chorus to the last. Hollow on the other hand, is captivating in it's starkness and simplicity. Simz' spoken word vocals are set against a string quartet and it's the first point in the record where she really starts to dig into the breakdown in her and Inflo's relationship. After a first half that somewhat struggled to find its groove, it really sets the record up for a frankly phenomenal second half.

And that second half opens up with a bang that is the Obongjayar assisted afro-beat jam, Lion. The song just makes you want to move. The chanted outro "We don't care for what they say, that's my superpower" is just so self affirming and uplifting. This leads straight into Enough, which is basically a dance punk song has similar themes about being enough for yourself and knowing that you can succeed. This whole stretch of the record gives off massive main character energy but it just works - I guarantee you that these songs will make you feel good.

Following on from this brief respite, the album takes a turn into some really dark territory in the final four tracks. Blood is essentially an argument between siblings put to music. Wretch 32 plays the role of Simz' brother in a fictional scenario where both siblings have become successful rappers, but the distance and success has only heightened the unresolved trauma in the family. The song is insanely written and delicately balances being hard-hitting and shocking while still being an enjoyable listen. The title track is definitely the elaborate focal point of the album, being a six and half minute, multi part behemoth of a song that sees Simz go to her darkest place and then back out again. The second verse is a long, spiralling rant about the expectations she feels as a public figure and the pressure to be perfect and a 'prodigy'. The track reaches rock bottom, before church bells and choral backing vocals seep into the mix and Simz drags herself out of the depths to begin rebuilding. Micheal Kiwanika provides a cathartic respite on the choruses to prevent the song feeling too nihilistic.

The final two songs are very lowkey, as if Simz has exhausted herself out with the intensity of Lotus, and is now faced with the reality that she has to confront. Lonely is about exactly that, that Simz feels lonley and isolated; and not sure how to proceed with her music career without her key collaborators. It is very raw, and without a lot of the instrumental flourishes that the rest of the album has, which allows for every word to sink in. Blue closes the record out as a very gentle tune that ties up the records themes well. Sampha's soothing vocals provide a sense of relief, as if the pain is coming to the end and Simz is slowly moving forward.

Lotus is a really great record, and proves her talent can withstand even the most traumatic of shake-ups in the artistic process. It's a shame that the first half is just a little bit wobbly (not even inconsistent, just the flow isn't quite there), because the back end is just as good as GREY Area and SIMBI. It's very rare for an artist to go an 4 album streak of work of this level of quality, and it doesn't seem like that streak is going to end anytime soon.

Top Tracks: Theif, Flood, Only, Hollow, Lion, Enough, Blood, Lotus, Lonely, Blue

9/10

Loyle Carner - "hopefully !" (2025)

Loyle Carner's third record, 2022's Hugo, stuck with me a lot more than I thought it was going to. That album pushed Loyle into a more upfront and commanding space, with more intense instrumentals and tighter, more focused writing and theming. It makes sense, with the album focusing on the meaty topics of Loyle's mixed race heritage and Absent father. Hopefully ! flips the coin right over, mainly revolving around Loyle becoming a father, and the struggles and upsides that parenthood brings. As such, this is Carner's most settled and content release so far, and sonically the most low-key his music has ever been.

I enjoyed the singles as they rolled out, and left me intrigued as to the direction as a whole. They were all very low-key, somewhat trip hop inflected tunes with a moody and smoky atmosphere. It left me wondering whether there was going to be anything even akin to the loose and jazzy highlights of the first two records, let alone the bombastic soul-inspired instrumentals of Hugo. Lead single all i need is about uptempo as it gets, with it's scratchy breakbeat, and multitracked and reverb laden synths and vocals. in my mind, which was released as the b-side and precedes all i need on the album, is a much more dreamy and hypnotic track fitting for a song about being stuck in your own head. The other singles continue down this path. The closer, about time similarly features a very gentle hi-hat rhythm, subtle twinkling keys and reverb heavy acoustic guitar. It's one of the more lyrically upfront tracks on the record, with Loyle detailing the lessons he's learned balancing a music career and fatherhood and how he's going to pass that on to his children. It's a very wholesome way to end the record.

The rest of the record follows in this suit. The gentle, formless, somewhat ambient intro to the opener feel like home teases in the record before a skittering beat pulls the song (and thus the album) into life. However it feels like its over before it really gets going. Similarly, strangers and don't fix it don't really come together into anything much of anything. horcrux brings back some of the jazz rap vibes with it's syncopated drum beat and loose piano chords. The tempo and intensity of the song slowly progresses into one of the more attention grabbing songs on the record. The very raw and intimate neo-soul vibes of purpose give of massive To Pimp a Butterfly vibes, which I will always be a massive sucker for - and so is an album highlight for me

I think hopefully !'s biggest problem is that that while all these songs are perfectly up to Loyle's usual standard when taken individually, they don't really come together into anything more impactful or notable. I have been listening back through the rest of Loyle's discography while writing this and as chill as they can be, they just had a bit more oomph and drive to them. hopefully ! feels a bit indulgent in that regard, and reminds me a bit of the rough around the edges releases that many artists released around lockdown that lacked the polish or fanfare of a major new LP. It is still perfectly enjoyable while it is on, and much like the rest of his records, works perfectly as late night wind-down music to chill out to. Check it out if you're a fan of Loyle or chill hip hop in general, but don't expect it to move the needle either way.

Top Tracks: in my mind, all i need, horcrux, purpose, about time

6/10

Little Simz - "Drop 7" (2024)

 

Little Simz is back with another EP in her Drop series, which sporadically intersperse her main LPs and are generally used as a place for her to experiment a little without the perfectionism and burden of expectation that is a common theme within her music. This one comprises of 7 tracks that incorporate techno, trap and grime with a bit of Latin and afrobeat rhythms - a stark contrast to the soul and funk instrumentals of her past few main albums. 

These tracks are all pretty short, with much less attention to detail than the lush instrumentals of SIMBI and NO THANK YOU. They're repetitive and somewhat hypnotic, and Simz' vocals and lyrics feel much more off the cuff and frankly background-y than the commanding presence she usually has. It's all a bit vibey and unfinished. I've had the pleasure of seeing Simz live a couple of times now, and I just can't see any of these tracks penetrating her live set the same way a couple of the tracks off Drop 6 did.

The opener, Mood Swings is definitely the most complete song on the EP, and midpoint SOS is quite a nice Latin meets deep house track that I can vibe to. The closer, Far Away, brings back some of the jazz and soul that Simz is more known for and I vibe with that also, even if its a lot more lightweight that I'd expect from a Simz track. 

Drop 7 is perfectly listenable but on the whole it just doesn't leave much of an impression. I would have rather this had spent a bit longer in the oven and had more of its own identity, because it is a significant step below everything Simz has put out since 2018 and I'm definitely going to forget about it within a few weeks.

Top Tracks: Mood Swings, SOS, Far Away

5/10

Little Simz - "NO THANK YOU" (2022)

Following quickly on from last year's Sometimes I Might Be Introvert which blew up Simz from bubbling up from the underground to one of the UK's biggest current rappers, NO THANK YOU surprise dropped right at the end of last year with one weeks notice and no advanced singles - showing how big Simz has blown up (especially for an truly independent artist). The record follows up on a lot of the themes of SIMBI, but without the grandiose narrative and presentation - which follows a macro-level theme that runs through her entire discography of her struggle between the desire to make grand, artistic statements and her need to make music as an immediate emotional release to whatever challenges she may be facing. Her second album (Stillness In Wonderland) was very much a prototype for the grand narrative of self-preservation in the musical landscape that SIMBI took much further, whereas GREY Area was far more raw and immediate - mainly addressing the feelings of betrayal from a messy break up. The most obvious example of Simz' need to just let it out was the Drop 6 EP, which released just over a month after the UK went into lockdown in 2020 and is one of the first examples of a 'pandemic release' I can think of.

NO THANK YOU feels like very much an amalgamation of Simz' last three releases. Inflo returns as producer and brings back a lot of the orchestral and jazzy instrumentation that made SIMBI feel so dramatic; however Simz' takes on the album are far more targeted and personal akin to GREY Area, and the whole release strategy and general off-the-cuff feel to the record is reminiscent of Drop 6. While having it's merits (none of SIMBI's melodramatic interludes, and certainly Simz' densest set of lyrics), I do feel this approach isn't necessarily the best of both worlds. The identity of the record can feel a little muddled at times, like it's caught between the two artistic directions that Simz has been flipping between for years. The majority of the tracks are long, which allows for Simz to really delve into the topics of each track, and for Inflo to add tons of gorgeous flourishes to each instrumental (including swooning orchestral swells and gospel choir backing vocals); but they don't always quite connect together.  The long track lengths also mean the pacing isn't quite as spot on as Simz usually is. On first listen the order of the tracklist made the album felt like more like a mixtape. The album opens with Angel, which is the most forward looking and positive song on the album; which is then followed by Gorilla, and swaggering bop with its jazzy bass-line and Simz' elastic flow. From Silhouette to to Broken, the album gets progressively darker and more depressing with absolutely no levity. Then after Broken, the album ends with three much shorter tracks that don't feel nowhere near as dense and monumental as the previous seven. It makes the album feel a little wonky, like it just sort of limps out after several 5min+ behemoths.

Despite the slightly off pacing, each of the first seven tracks are all really great when taken on their own merits. The aforementioned Angel opens up the record with a low-key, watery synth loop, Simz sounding very chill and laidback on the mic and the always brilliant Cleo Sol cropping up for soulful hook. The track sets the scene for the themes of the record: Simz' struggle fighting the exploitation of her art by the people surrounding her in the music business (apparently she split with her long time manager this year), and the black experience in general and the cycles of trauma and lack of support in black working class communities. After brief detour through the self-assured Gorilla, Silhouette returns to the themes established on Angel, treating the idea of betrayal as people becoming silhouettes of themselves, moving out of the clear vision of them that you thought they were. The track could have very easily fit on SIMBI, with its combination of a funk rhythm and grand orchestral flourishes. No Merci takes the orchestral swells and pairs them with a more hard hitting hip hop beat for a more direct takedown of industry BS.

X goes broader around the themes of institutional racism, and the idea of what it means to be a successful minority - and the responsibility and guilt Simz feels for essentially making it when so many don't. The gritty beat and gospel backing vocals make the song feel fit for a movie soundtrack. Heart On Fire is a little shorter than the previous tracks, but Simz' performance is so scaving and raw. The second verse is particularly impactful as Simz details how she lost sight of what she wanted to get out of making music, relying on milestones and financial goals to find some purpose. Broken is definitely the grand centrepiece to the record, as Simz ditches the music industry BS to break down mental health issues at a much more relatable and down to Earth level. The song is framed around minority communities (Simz outright states "Why is mental health a taboo in the black community?"), but the lyrics are universal enough that can relate to anyone struggling. The backing vocals repeatedly singing "When you feel broken and you don't exist / When you feel broken and you cannot fix it" really struck a nerve on first listen.

After all the heaviness, Sideways comes in with a warped soul sample and Simz sounding the most content since Angel at the start of the record. I do like the song, and it is very much needed at this point in the record; however it's barely over 2 minutes and feels somewhat underdeveloped compared to what comes before it on the album. Extending the song and adding some more instrumental layers / switch ups would have definitely pulled the song up closer to the quality of the previous songs. Following this is Who Even Cares, a washed out and effect laden synth funk song that really lacks any intensity or much depth despite how vibey it comes across on the surface. Similarly, the closer, Control, feels quite underwhelming, being a simple piano balled that doesn't really feel like it ties up the albums themes and message particularly well.

While not quite at the same level of consistency and attention to detail as Simz past couple of albums, there is still so much good stuff here that its well worth your time. It's certainly darker and heavier, so requires a more deliberate listen than the likes of GREY Area and SIMBI (and therefore I doubt it will be in constant rotation for me after years the way those two albums are), but investing your brain in the meaty lyrics will definitely reward you.

Top Tracks: Angel, Gorilla, Silhouette, No Merci, X, Heart On Fire, Broken

8/10

Loyle Carner - "Hugo" (2022)

Loyle's first two albums solidified him as the go-to 'chill guy' of current UK hip hop. The loose, jazzy samples and low-key, laidback delivery made them perfect records to thrown on late at night to unwind to. However, by the end of 2019's Not Waving, But Drowning the vibe had felt like it had run it's course and it was time for Loyle to try something a bit different. Which, thankfully, on Hugo he does. The tempo has picked up, alongside the intensity of the instrumentals and Loyle's delivery; with an increased focus on wider socio-political issues where those themes were used as more set dressing for Loyle's introspection before. It's not a drastic switch into hardcore hip hop or anything, but you can certainly see the influence of Kendrick and Kanye's more dramatic presentation with soul and gospel samples - or even Little Simz's Sometimes I Might Be Introvert from last year which has blown her up into one of the biggest UK rappers currently.

Hate kicks off the record with an eerie synth sample and a crashing hi-hat rhythm, to which Loyle drills into the things he 'hates', which is more a drilling into his own insecurities and thought patterns than just a rant. The lyricism and wordplay on the track is some of his best so far, and while it doesn't fully pop off on first listen, it really is a grower. This leads straight into Nobody Knows (Ladas Road), a groovier cut with its jazzy piano and gospel backing vocals, but equally powerful as Loyle digs deep into his mixed race heritage and absent father. This is a topic he has dabbled in before, but never in such an upfront and honest way.  The rest of the first half follows in the path the first two tracks set out. Georgetown is built around a wonky bass sample and whining synths and Loyle loosely raps over it. It's the closest Hugo comes to the outright bops from the first two records and has a certain coolness to it. Speed Of Plight has a darker instrumental and Loyle's delivery matches the town with a more direct and less swaggering tone.

From Homerton onwards, the album slows down and becomes more familiar to Loyles previous work. Homerton is still very lush and full with a swooning trumpet and soulful backing vocals from Olivia Dean and JNR WILLIAMS, but after this the moodiness creeps up massively. The following track, Blood On My Nikes, is probably the darkest (and also my favourite of the album). It has a tense and sinister beat, and Loyle delves into his experience of gang violence and the desensitisation of violence through videogames. Plastic is incredibly jazzy and smooth, I really like the instrumental on the track. However, the lyrical hook on the track is that Loyle is calling out disingenuous people (and also himself) by referring to them and their possessions / attributes as plastic, and I really feel it runs dry and becomes a little gimmicky by the end of the song. The last three songs really slow the album down and really revert back to the sentimentality of the older records. However, as they only appear at the end they don't have time to outstay their welcome; and do work as a way to wind the album down at it's finish. My favourite of the three is definitely A lasting Place. Similarly, Loyle's love for spoken word and audio bite interludes is still present on Hugo; however I feel they are much more relevant and less intrusive than they were on Not Waving, But Drowning.

On the whole, Hugo is Loyle's tightest and most consistent release so far; and it really feels like he has grown in confidence to make some more outward political statements in his music, rather than just looking inward. However, due to the more serious tone of the album, it lacks any of the fun, laidback bops that are the main draw for me when I come back to revisit his records. While I don't think they would have worked as well in this context, it does hold this album back from being vastly better than his last two. It's still really solid though, and it's nice to see Loyle branch into new musical avenues.

Top Tracks: Hate, Nobody Knows (Ladas Road), Georgetown, Homerton, Blood On My Nikes, A lasting Place

7/10

Little Simz - "Sometimes I Might Be Introvert" (2021)

Wow, turns out masters courses are hard work - so this is the longest break I've had on here. Anyway, hopefully back to more regular posts now. Little Simz burst into the mainstream sphere with her 2019 album, GREY Area; a raw and gritty hip hop record with a concise flow and poignant introspective lyrics. It was my favourite record of that year and it has not dropped out of my rotation since. Sometimes I Might Be Introvert, while still of excellent quality, couldn't be anything more different. It is a maximalist, 'magnum opus' scale record that brings back a lot of the neo-soul and funk elements of Simz' earlier output; but amping up the confidence and gravitas to another level. At over an hour long, with 19 tracks (5 of which are grandiose orchestral and spoken word interludes), SIMBI (also Simz' personal nickname) is a behemoth. This dramatic, semi-narrative structure is clearly borrows from hip hop giants like Kanye West and Kendrick Lamar; as does the theming around the struggle between the artist and the person off the stage, and the deeper introspection on Simz' psyche. It is obvious that Simz' is aiming for this record to be mentioned in the same conversations as My Beautiful Dark Twisted Fantasy and To Pimp A Butterfly. And for the most part, she gets there.

The record kicks off with its strongest run, from the opening Introvert to I Love You, I Hate You. Introvert is this massive, world shattering orchestral hip hop song that elevates Simz' lyrics from musings about her place in the world to a 'do or die' level of intensity. This instantly transitions into the gorgeous 2nd track, Woman, featuring Cleo Sol. This is pure neo-soul serenity, with its smooth as anything instrumentation and Cleo's silky vocals on the hook. Woman once again instantly transitions into the jazzy and off-kilter Two Worlds Apart. These kind of snappy transitions are common throughout the entire album and they are all brilliant. Two Worlds Apart starts hazy and relaxed, with Simz rapping in a lackadaisical flow about a failing relationship that has gone stale. She slowly morphs into a more deliberate and confident flow as the track progresses, reflecting her realisation that she no longer needs this person. I Love You, I Hate You might have the most poignant and precise lyrics on the entire record, detailing Simz' relationship with her estranged father and the trauma and baggage that comes with a parent walking out on their family. This is all set to a snappy funk beat and warped, repeated soul sample of the line "I love you, I hate you", that just oozes intensity and importance.

Following this is the first interlude of the record, Little Q, Pt.1,  a spoken word interlude from Simz' cousin leading into Little Q, Pt.2, a song which Simz' wrote from his perspective about the experiences he has been through including a near fatal stabbing which left him in a coma. The song is built around hopeful children's choir backing vocals that give a sense of joyousness and innocence; as if it is relieving itself of the cycle of anger and violence that perpetuates in the gang cultures that sent Little Q to a hospital bed. Little Q, Pts. 1 and 2 sits as sort of a transition from the very funk and soul heavy first few tracks to the much more eclectic middle section, which starts with the first of the fantastical, orchestral interludes. While I certainly get the need for some kind of interludes on the album to break up its various styles and genres, the musical theatre-esque melodrama of them is really on the nose and doesn't really do all that much to smooth over the transitions between the different styled songs. In fact I much prefer the hard, snappy cuts such as the one between Introvert and Woman.

While all the songs in the middle section on the record are at the very least pretty great, it is the part of the record with the most sonic whiplash. Speed is a raw and gritty tune that would've fit perfectly on GREY Area with its gruff bass and fuzzy synth line. This leads directly into Standing Ovation, which follows in the same dramatic and grandiose orchestral style as Introvert. The track is dynamic with a lot of tempo changes; which makes it feel like the grand centrepiece of the album. Then the album whips back to the neo-soul sounds of the first leg with the super sexy and suave I See You, before crashing into another interlude. After this we have the edgy and sinister sounding Rollin Stone, which leads into the biggest 180 on the record, the bouncy synth-funk bop, Protect My Energy. All of these songs are good tracks, but hard to place contextually within the albums flow and progression. It feels like a whistle-stop tour of everything Simz' wants to explore.

After another dramatic interlude, the album does settle down for it's last portion. This begins with the seamless back to back due of Point And Kill and Fear No Man. These jazzy afrobeat songs ooze confidence and charisma. The sound so joyous and free, like a carnival in the street. After one last interlude, the record closes with a couple of more gentle, reflective songs; where Simz reflects on her friends, family and journey. How Did You Get Here is more broad, detailing her journey through school, finding her passion for rap, finding a group of likeminded friends, and then finally striking it out on her own and finding success. Miss Understood focuses more specifically and Simz' strenuous relationship with her sister; and how the demands of being a performing artist has caused them to grow apart. Its a bittersweet and understated way to end the record and features such a soothing emotional hook that has me singing along every time.

While I think GREY Area is technically a better album on an objective level (It's tighter and more consistent in tone and theme) and I still just about prefer it personally, SIMBI's songs alone put it in the same ballpark. I managed to go see Little Simz live a few weeks ago, and the songs hold up even better in that environment. If it had just a little less sonic whiplash, and featured some slightly less on the nose interludes I would not be able to fault it at all.

Top Tracks: Introvert, Woman, Two Worlds Apart, I love You, I Hate You, Little Q, Pt. 2, Speed, Standing Ovation, I See You, Rollin Stone, Protect My Energy, Point And Kill, Fear No Man, How Did You Get Here, Miss Understood

9/10

Slowthai - "TYRON" (2021)

 

Slowthai burst onto the scene a couple of years ago with his manic, DIY and punk style of grime and hip hop. He leaned into his background, growing up on the council estates of Northampton, to create this persona of a wild, unpredictable, standoffish kid of the streets; but paired it up with incredibly poignant and powerful socially and politically conscious lyrics. This made his debut record really stand out against the usual grime bluster and posturing. Fast forward two years, where Slowthai got 'cancelled' for being drunk, inappropriate towards the host Katherine Ryan, and starting fights at an awards ceremony; immediately before a global pandemic locked him inside, forcing him to reflect on himself, his persona, and his actions. What results is TYRON, a 35 minute record where Slowthai separates his manic and aggressive, and thoughtful and emotional sides onto two distinct halves.

While I understand the artistic motivations behind this, it does mean the record runs more like two very separate EPs rather than one cohesive listen. The tracks are also short, some so short that they feel like vignettes or motifs rather than a complete song. This mainly affects the first, more aggressive half, which could've done with a bit more depth as the disassociation of Slowthai's emotions leaves this half feeling a bit lightweight, despite how hard hitting and in-your-face it sounds to the ear. This side feels very much like Slowthai playing into his leery-lad character, acting like he owns the place and doesn't care about people's opinions and criticisms. You can tell it's supposed to be a bit tongue in cheek, but there isn't much beyond that for the entire half. CANCELLED is literally about being 'too big to be cancelled'. Both that track and MAZZA have really kinetic and propulsive beats, and Slowthai's performance on both is inflected and charismatic. Skepta's feature on CANCELLED is fairly run of the mill but the beat and Slowthai carry the song. The side as a whole has a punky, trap flair which makes it very listenable despite not every track standing out.

The second half is where the record really shines. Slowthai shows much more of his emotions and vulnerability, against some really lush and detailed instrumentation. i tried opens up this half with a jazzy and low-key beat, which Tyron raps detailed and heavy lyrics dealing with his torn identity adn imposter syndrome, feeling that he's only famous for his manic antics rather than the quality of his work. The intro of the track literally states that 'I tried to die', like he feels that much of an imposter that he's contemplating suicide. Following this is focus, which focuses on the themes of mindfulness and self-improvement. This is backed by a stripped back trap beat and a simple bass riff, giving it a really relaxed vibe.

The record ends on its best run, nhs into feel away, then adhd. nhs is such a bittersweet tune, as Slowthai lists off good and bad opposites in life; reminding us and himself that bad things happen in life, and you've got to acknowledge that or you'll never enjoy the good parts. The track is built on this pitched up vocal loop which also acts as the hook and combined with the lush piano notes makes it sound very sweet and refreshed. feel away is the most overtly soulful song on the record, thanks to James Blake's smooth croon on the hook. The track is revolves around a crumbled relationship, but references to pregnancy and car accidents make it feel far more traumatic and catastrophic. The chopped up, reverb-y piano sample adds to the haunting nature of the song. adhd has a more prominent drum beat, and Slowthai's rapping is much less enigmatic and more monotone, sounding almost defeated. The track is about him growing up with adhd and how people didn't really understand how it affected him or understood him. It's a very downer note for the record to end on, but fits with the record's themes as whole, that Tyron is still working out who he is and how he feels.

Some of TYRON is fantastic, introspective and engaging hip hop; but it still doesn't feel like Slowthai has reached is full potential yet. The distillation and segmentation of his different moods leaves the record feeling a bit choppy; and out of the heavier, more manic tracks, nothing bangs as hard as Doorman or gets as lyrically heavy as Northampton's Child from the first record. I am really looking forward to what he does next, because an entire record similar to the second half of TYRON could be really up my street.

Top Tracks: CANCELLED, MAZZA, i tried, focus, nhs, feel away, adhd

7/10

Little Simz - "Drop 6" (2020)

Little Simz 3rd record, GREY Area, was my favourite record that I heard last year. She's a charismatic and captivating MC on the mic, and that record had dense and emotional lyrics and awesome, dramatic live instrumentation that commanded your attention. This EP follows that record by heading in a different sonic direction. As a continuation of her 'Drop' EP series, Drop 6 has been written and recorded recently from Simz's home during lockdown. Aside from references to the current world situation in the lyrics, this is reflected in the sound of the instrumentation here. The lush, jazzy and dramatic live instrumentation from GREY Area is replaced with more lowkey and simple beats. There's a dreamy atmosphere to tracks like you should call mum and where's my lighter.

The EP opens with might bang, might not, a track built around a jungle-ish beat with Simz's hardest hitting performance out of the 5 tracks. The track is simple and effective, and I particularly like some of the vocal inflections in Simz's braggadocios performance. you should call mum delves into Simz's reaction to and opinions of the Covid-19 situation and lockdown, and is really expressive and relatable. She details her boredom, desire and struggle to be creative, and her anxiety and worries about the socio-political context of the the entire situation. damn right and wheres my lighter have a dark psychedelic atmosphere to them that makes them feel like a sort of fever dream to compliment the surrealism of the lyrics.

This EP lacks the meticulous attention to detail of GREY Area, and all of the tracks are short and you know exactly what you're getting from them in their opening moments; but the dark, dreamy atmosphere is great and Simz kills it in her performance (as she always does). At 12 minutes, its so short and sweet that its easy to just throw on again straight after its finished playing.

Top Tracks: might bang, might not, damn right, you should call mum, wheres my lighter

7/10

Massive Attack - "Blue Lines" (1991)

Continuing on with my '100 albums you need to listen to' poster, and also Massive Attack's discography, I have jumped from Mezzanine to the band's debut, Blue Lines. This record is generally considered the origin point for trip hop, and so a more embryonic form of the genre is on show here. The genre's hip hop and dub elements are more clearly on show here than in later records, and the fusion between them is more fractious. Some tracks have a much stronger hip hop vibe, and some lean into soul, dance and dub, but these influences aren't as combined as they would later become in the genre.

Safe From Harm opens up the record with this rolling bass line and drum rhythm, with Shara Nelson's soulful vocals contrasting against the chunky synth lines and rhythms. It's very much a blueprint for the 'Massive Attack sound' going forward. One love follows a reggae beat with Horace Hinds' crooning on top, yet the tune is more chilled and stripped back than full on dub. Five Man Army is much heavier, with dubby bass and psychedelic effects floating around all over the mix. Horace's and Tricky's vocals play off each other, rapping in different registers in a call and response style. The title track is near enough a jazz rap song, where the group raps in a very 90s style over a funky beat and soothing lounge-esque keys. Be Thankful For What You Got and the single that put the band on the map, Unfinished Sympathy, are much more soulful. Unfinished Sympathy is particularly intense with swelling strings sitting on top a relentless percussion loop and sampled ad-libs from Mahavishnu Orchestra's Planetary Citizen. Shara Nelson returns for a emotional gut-punch of a performance, singing the hook "Really hurt me baby" with so much passion and intensity.

Daydreaming has a dreamy chord progression and eerie background vocals from Nelson. The group's rapping also is very dream-like on this track, floating from one topic to another, and features references to The Beatles and other famous songs. Lately has a slight R&B vibe to Nelson's vocals and melody, but the chunky beat and squelchy bass steer the song in a more spacious direction. The album closes with Hymn Of the Big Wheel, which sounds like synth-pop meets reggae. It's quite a triumphant way to end the record, with lyrics dealing with the idea that the world keeps turning, despite anyone's troubles - so you should try to enjoy yourself as much as you can despite whatever is going on. 

While Blue Lines is not as complex or intensely enveloping as Mezzanine, the more chilled out and straightforward approach make it an easier listen to throw on in more situations. I don't feel I have to give it all my attention to maximise my enjoyment. It's also engaging to see the starting point of the genre, where its influences are more clearly on show.

Top Tracks: Blue Lines, Be Thankful For What You Got, Five Man Army, Unfinished Sympathy, Daydreaming

8/10

Slowthai - "Nothing Great About Britain" (2019)

2019 was really Slowthai's year. He broke into the mainstream with his debut record, which was then nominated for the Mercury Prize; dropped co-labs all over the place and toured with the American super-group Brockhampton. And it's really not hard to see why he has made such a splash, as he is such an attention-grabbing character with an incredible presence on the stage and on these tracks.

Slowthai instantly grabs you with his very unique rapping style. It's not the most technical or flashy, but Tyron brings a punkish, DIY attitude to it which sets him apart from any other rapper I've heard. He has weird vocal inflections, and a rough aggressive tone throughout the majority of the record, although there are a few softer moments in the tracklist.

It's hard not to be sucked in by the lyrical content either. Slowthai raps about growing up in on council estate with his single mother, and some tragic childhood trauma, including the death of his younger brother and Tyrone's poor relationship with his step-father. The tracks are also stuffed full of commentary on class inequality and politics, as well as references to British pop-culture and stereotypes.

The opening track is the title track, which serves as a tone setter for the rest of the record. Slowthai lists off social injustices and ends with brash pot-shots at the Royal Family. Following this is the Mura Masa assisted Doorman, a manic, dance-able banger about going out and the related alcohol and drug abuse. It has a certain post-punk/dance punk quality to it, despite having electronic instrumentation. It is the cream of the crop of the album's tracks, I've been listening to it for months and it never gets old. Gorgeous is more organic, built around a loop of a little piano riff, with additional strings and manipulated vocals in the background. Tyrone raps more nostalgically about his youth here, despite the challenges he faced during it.

Some of the more grime-styled tracks in the middle of the record don't do much for me, I just struggle to connect of become invested in those types of instrumentals. Slowthai and his features (Jaykae and Skepta) still perform well on top. The record picks up again towards the end though, starting with Peace Of Mind. Slowthai is particularly driven and swaggering on this one, with the hook "I feel peace of mind when I'm dreaming of a life I ain't living". You really feel the anguish and anger in his voice here. Missing has a weird, creepy, warped synth-line. Similar effects smother Slowthai's voice, creating a dark, dangerous atmosphere to the track. Northampton's Child closes the record much as Nothing Great About Britain opens it, however with a more autobiographic slant about has family life growing up. It's incredibly touching, especially considering Tyrone's adoration of his mum despite everything they went through.

The lyrical side of this record is top-notch, and it is worth listening just for that. The instrumentals don't always hit the mark for me, and the ones that I do vibe with aren't exactly the most complex or intriguing. This makes the album feel slightly lopsided, but again, the lyrics carry it for the most part.

Top Tracks: Doorman, Gorgeous, Peace Of Mind, Missing, Northampton's Child

7/10

Loyle Carner - "Not Waving, But Drowning" (2019)

Not Waving, But Drowning is very much a continuation of Loyle Carner's first album, Yesterday's Gone. Here he is softly rapping over similarly low-key and jazzy instrumentals, about life and love and growing up (much like his debut).

On the lyrical front, love is a bigger topic for this record than the last, as Loyle seems to have entered a new relationship. The opening track, Dear Jean, details as much. It is essentially a poem to his mum about even he's moving out to live with his girlfriend, he is is still going to be around and be apart of her life. This leads into Angle, featuring a hook courtesy of Tom Misch. This track consists of Loyle professing his love, saying "You're my angel" over and over.

Ice Water and You Don't Know are some of the more driven tracks on the record, with stronger beats and a more angsty tone. Ice water covers Loyle's feelings as they first appear, like an energetic sugar rush. You Don't Know covers a contrasting topic, where Loyle and some interests' ideas of a relationship don't match up, where Loyle questions whether this person is really in love and knows what Loyle wants from it. It has a stomping, swaggering horn instrumental and a sassy hook from Kiko Bun. The reverby and vibrato effected instrumental of Sail Away Freestyle make it stand out among the rest of the tracks. This is also one of the more upfront tracks, with Loyle lamenting people who tell him how to 'wisely' use his earnings and people who have come to him now he's a successful rapper.

My biggest criticism with the record is that it sometimes dips a little too into sentimental nostalgia, a line which a feel the debut tread better. Some of the tracks just feel quite 'soppy'. Desoleil (Brilliant Corners) and Loose Ends featuring Sampha and Jorja Smith respectively are the worst offenders. Not that they're bad, by any means, they just feel slightly like a directionless ramble about emotions and people from Loyle's past. The fairly regular occurrence of studio bites or phone conversations as interludes also adds to this. Its not a big issue, but something that is noticeable coming from Yesterday's Gone to this.

Overall, Loyle's sophomore record is just more of what made the debut an enjoyable listen. So if you liked that, you'll like this. It is perfect for chilling too in the evening.

Top Tracks: Angel, Ice Water, You Don't Know, Sail Away Freestyle, Carluccio

7/10

Little Simz - "GREY Area" (2019)

I was first made aware of Little Simz through her performance on the Gorillaz track Garage Palace a few years ago. The energy and charisma she brought to the track made it one of the better Gorillaz tracks from the Humanz era (I'm suprised it didn't make that record if I'm being honest). So when basically every outlet under the sun praised her new album to no end (It's now bagged a Mercury Music Prize nomination) I'd thought I'd check it out. I'm so glad I did, because this record is definitely one of my favourites from this year.

Simz has an intense and exciting flow, rapping over equally powerful and snappy instrumentation. She wears her heart on her sleeve, baring many sides of her for us to see. She starts the record in a sassy, righteous state on the first two tracks, Offence and Boss. Offence is driven by this groovy bass line as Simz convincingly bigs herself up and sells that she is such a great rapper. The track provides some great quotables, "I'm Jay-Z on a bad day, Shakespeare on my worst days" and "I settle with my chest and I don't care who I offend, uh-huh!". The lavish woodwind and strings which garnish the track give it this intense sense of drama. It just sounds so cool. Boss is just as empowered and intense, but rather than selling herself to the listener, Simz is taking fire at a previous partner, and absolutely destroys it on the mic. Her performance is filled with power and anger, as she demonstrates what this person has lost by messing her around so much.

This failed relationship takes a large bulk of the lyrical content here, as Simz approaches it from different angles.On the following track, Selfish, she takes a more self-questioning stance, with some restrained and reflective vocals from Cleo Sol on the hook. The track is smooth and gentle, as opposed to the brashness of the opening two songs. The Little Dragon assisted track, Pressure, details how Simz is experiencing so much pressure in her life through other factors, and now the person she relied on to release that pressure has now become one of those contributing factors. These different approaches to this traumatic break up create this raw and real sense of confusion and hurt throughout the album. This all comes to a head in the back to back tracks of Therapy and Sherbet Sunset. Therapy details Simz's experiences with therapy and how it hasn't helped her. It's raw and poignant, as she goes on about how she's not a charity case and 'doesn't need saving'. Sherbet Sunset goes the deepest into the relationship and is blatant and honest about Simz's confusion and hurt. The placement of these two tracks gives the idea that her work is her therapy. While traditional therapy doesn't seem to work for her, she can pour her heart out into these songs and get some perspective and catharsis out of it. 

Not everything on the record revolves around this, though. 101 FM is an ode to her childhood with references to playing Playstation games and pirate radio in London's tower blocks. The track has this East-Asian styled beat and is just a lot of fun. Wounds is this reggae infused track about gun violence. Venom is exactly what the title suggests, venomous. Simz speedily and harshly raps about how she is just as dangerous as any guy and that the fact she's a women isn't a detriment, and in fact it's an asset. The closer, Flowers, is very reminiscent of To Pimp A Butterfly. It slowly winds the album down and ties the ideas together, as Simz talks about the 27 Club. It's lush and warm, and seems like a final moment of clarity as the album closes.

While writing this I realised that it isn't just one of my favourite albums of the year so far, it is my favourite. Simz has crafted this incredibly tight, cohesive album, where every track tackles something different (or something from a different angle) but it all comes together to form this fantastic whole. The instrumentation is lively and exciting, and is so lushly produced. All of the features absolutely knock it out the park, and are perfect for the tracks they appear on. A simply excellent album.

Top Tracks: Offence, Boss, Selfish, 101 FM, Pressure, Therapy, Sherbet Sunset, Flowers

9/10

Loyle Carner - "Yesterday's Gone" (2017)

With his sophomore album released this year, I've really started enjoying Loyle's debut. Before now, I was casually familiar with this record as my group of friends would often play tracks from it. However, I had never really taken the time to get to know it properly and let it sink in.

Loyle's style on the mic is a low-key, soulful approach; backed by equally mellow, jazzy instrumentation. This creates an pretty relaxed and spacious atmosphere, allowing room for Loyle's lyrics to shine. He is a strong lyricist with a knack for a smooth and catchy flow. The beats are also primarily samples of real instruments (rather than electronic beats), which I feel enhances the intimacy and connection of the record.

The lyric's are introspective, dealing with interpersonal relationships, Loyle's state of mind, and growing up. There are references to debt and having little money, but these are more in relation to Loyle's personal experiences than some wider statement. I enjoy that this record is just an expression of Loyle, rather than an attempt at any kind of profound statement. It definitely makes the album more accessible and ready for any situation.

That being said, I do gravitate to the more intense tracks here. Ain't Nothing Changed references student loans and debt with an angsty chorus, where Loyle berates the fact that 'ain't nothing changed'. Stars & Shards and No CD are groovier songs driven by an electric guitar, the latter being the albums closest thing to the typical hip hop self aggrandising bluster. It's a track about his love for the genre really, but it has this confident swagger not particularly present on the rest of the record. The one detractor this album has is that it is almost a little too chill at points. Some of the tracks, while working great on the album, don't have enough to draw me in for a listen outside of the record.

This album is such an accessible one, and a great one for newcomers to the genre. It's chilled out and cool, with engaging and emotional lyrics. It might be a little too unprofound for me to truly love this record, but it's is certainly enjoyable all the way through.

Top Tracks: Mean It In The Morning, Damselfly, Ain't Nothing Changed, Stars & Shards, No CD

7/10