Spawn Zero - New Album Review

‘Whatever makes you happy’ – These words echo as soft melodies play with the feel of a Lewis Carroll fantasy novel. As the first wave of audio hits our ears in the intro, we get a sense of what to expect in this project: A person who finds purpose by helping others or making them smile. While perhaps ignoring the void of happiness within themselves. ‘I’m not happy, but I’m not the priority’. Is it purely kindness that creates this aim for outwards reach? or lack of hope - that you can’t have the same impact on your own life? Perhaps if not for ourselves, outwards rants and anger could help a listener or viewer feeling similar. Afterall, isn’t that the point of making art?

While many Scotland based emcees have found themselves following UK’s recent grime insurgence and tailgate the southern movement. There is a selection of homegrown artists still creating a unique outlet of audible talent up here. Spawn fits that latter for sure. While Scottish hip-hop artists such as Gasp, G-Mo, Ransom FA, The Honey Farm and Empress really moved the scene forward in 2019, expect Spawn Zero to lead from the front in 2020. With this short album review, I’ll dive into his new album dropping February 1^st, 2020 on digital formats.

Music can be a diary, a log of achievements and inner reflection. From the start we hear a vague honesty on the record. Inner battles and self-aware contradictions. Most writers in this genre will question themselves on having the balance between a rapper’s ego and being humble as a person. This is no exception, if anything Spawn discusses this openly with self-awareness. If not in attitude as much as lyrics. As indicated on the track-list, these are audio ‘Mood Swings’ consistent in the genre.

Spawn often flows as quickly as his apparent intake of alcohol; the boasting and confrontation of addiction is prevalent throughout many tracks. ‘The Lights’ he seeks could be quick overindulgent flashes on a night out, rather than an ongoing steady glow of sobriety. But while this is celebrated, it’s clear from the lyrics that it’s becoming normality and not something he is proud of anymore.

The album in terms of recording and mixing is consistent and clear. Beat choice is progressive to the genre with a signature sound throughout. The instrumental choice doesn’t look back to 90’s hip-hop or push towards English grime, something that’s oversaturated by many writers in Scotland. This leans towards a trippy, trappy hip-hop sound more seen in the US charts and underground. Spawn’s ability to flow in various tones and emotion is clear. Whatever the tracks BMP he tends to rap at speed, however arguably his best material comes when he slows down and puts real emotion into speaking to the listener in these short breaks – often mid-song.

I won’t spoil the album any further, however I think the above will give you an idea of what to expect from the project. Although some of the subjects repeat (such as speaking on intake of substances), that is however a repeating aspect in a lot of our lives. I can’t say it’s a negative point to bring it up more than once - more so a realisation that our lives have this addictive pattern on repeat also. There are also some great vocal features from Jazz Williams and Barz Fury. With that said, the features don’t take away from the personal solo album feel at all.

Favourite tracks:

·         ‘Doom Petrol’. A short, deep and personal song written as a letter to his father.

·         ‘S U F F E R’. An incredible strong chorus with critical verses almost dissing himself on chosen lifestyle and pathways. A clash of ego and doubt.

In conclusion Swan Zero and Jazz Williams create a strong piece of work that updates Scottish hip-hop into 2020. Though the fast past will be easier to the ear on people familiar with our accent, the content isn’t limited to Scottish culture or local perspectives. Jump in and listen on the 1^st Feb. Released on all good digital outlets. 

Review by Drew Devine aka Werd.

The Van Dammage - Neon and Noisy [Review]

The Van Dammage - Neon and Noisy

Music - David Lo Pan
Vocals/Lyrics - Becca Starr

I didn't hear music of this genre growing up, being a late 80's baby it wasn't in my record collection or surroundings. Playing GTA: Vice city, or watching the iconic movie Scarface would be when I first heard this type of electronic 80's style music. So for me this type release is hard to pin down and explain. It manages to sound both current and retro. Waves of nostalgia flow over, yet the production is so clean and crisp it’s clearly more modern and suitable for 2017 release.

Becca Starr is pretty well known in the Glasgow music scene, her solo work and gig nights have been consistent and well received for a number of years. The band / duo element really adds to her talent, while sometimes more production and range of sounds squeezed together can drown out the vocals, this isn’t the case. David’s powerful music with powerful lead vocals works. Forget the auld saying; ‘less is more’, more is more, well - at least when balanced like this.

The exuberance of The Van Dammage is undeniable. There is a relentlessly cheery, uplifting and sometimes camp aspect to their music that makes it hard to dislike. It is fun music to keep you uplifted, you just can’t hate on that style and vibe.

In short: This should have been the Kung Fury soundtrack. The Van Dammage kick it harder than a Robotic Kung Fu army or Viking Laser Raptors ever could.

1.       Aim Right & Fire

2.       Electrifying

3.       Back to the 80s

4.       Liberate

5.       Winless game

6.       Cougar

7.       Darkest Night

8.       Thoughts Unheard

9.       Golden

10.   Clamber

11.   Two Sides

Favourite track: Golden.

Why: God damn it’s epic. Becca’s vocals on that hook, for f**k sake that’s outstanding. Shiver down the spine, scream on top a cliff or sky-scrapper type tune. That chorus is such high energy it’s going to leave an impact on anyone that listens. At the volume I’ll play this, that’s my whole street.

Second Favourite track: Cougar.

Why: the opening bass, the electronic backing vocals work perfectly to compliment Becca's powerful main lead. Plus, who doesn’t love a dirty cougar? haha.

Review: by Drew Devine aka Werd

Bigg Taj - SUPERSTAR SARDAR EP [Review]

Bigg Taj grabs the mic from track-one and represents. Let me be clear, he REPRESENTS something. That something that’s often missing in today’s vast collection of mediocre hip-hop music coming in the form of free downloads (and they call it an ‘album’) type releases.

This is a genuine thought-out, thought-provoking piece of work from a Scottish legend within this genre. Thought Taj only beat-boxed? Time to think again…

‘People are terrified, media be telling lies’

Bigg Taj does a brilliant job during the first few tracks of this release to get the point and direction of the EP across. We don’t have intertwined-interlocking-lyrics at play, we don’t have similes and metaphors that perplex or make you think ‘what does this mean?’ We simply have dope-raps, a strong message, with production that adds and compliments to this style perfectly. Yet rather than have depression social commentary (I’m guilty of myself), I automatically feel uplifted by the opening sounds on this release. This is positive hip-hop.

‘This ain’t no rich-boy rap, and I ain’t a poor soul’

As we progress into the track-list, the same tone and feel of track remains with varied production and vocal assertion. This clearly has a covering message throughout despite having a versatile collection of tracks. Taj is pissed off, but clearly far from given up on global issues and making a change. Tracks like ‘Propaganda’ is a signal of this. He tells it straight, and without saying ‘f**k the system we live in’, he manages to put this across in a more articulate way with a softer approach. Often we see Taj looking towards a youth scene, a youth that could grow up to change this broken lifestyle and media with some simple advice. You can clearly see he relates to younger people, and why he is himself involved in youth work projects throughout Scotland.

Constant in this project we feel a very high energy, we hear this confidence which many vocalist can lack. Look, this isn’t going to blow you away lyrically, or make you think Taj is also a wordsmith (along with being a beatboxer and producer). This is a man with something to say, backed with brilliant beats, cuts and features that also reflect his mind-state. I also get the felling Big Taj hasn’t made this because he wanted to progress, or achieve anything. Taj had something to say, something clear which fits perfectly into 7 tracks. There’s no point in dragging this out as a full LP, nor could he have covered his emotions in less tracks. It’s a brilliant release, I’d urge anyone, of any background to listen and connect. 

Review by Drew Devine (Werd).

Released 4^th April 2016 - Available on most digital retailers.

Feature acts : Singh Mahoon, Spee Six Nine, Angel S (Sarah Little).

Beat Production: DSB, Sean El, Aereka, Breakbeats Son, Richard Richardson.

Cuts: Doc bLAdez (Raman Dhillon), Dj Bud (Hardeep Matharu)

Original Artwork by: "khush".

Madhat McGore - Numbers Mixtape [Werd Reviews]

‘Wait, seriously… You’re actually going to hit me with a review that’s written by somebody he works with often and also happens to be a close friend?’ Yes, f*cking deal with it. Apart from ‘Scotland Stand-Up’ there is a lack of reviewing and discussion within hip-hop and rap in Scotland. How many blogs and online platforms can you think of just now? Yeah, thought so… Now read on people. I promise it will be as impartial as possible while avoiding mentioning a single track I’m featured on...

Madhat McGore: you know him already. If you don’t then I’m assuming you are either new to rap music in Scotland or are in one of those cliques that’s so cliquey that your clique’s got a cliques. It’s a common trait in this genre that people stick to their mates (this reviewing isn’t helping that image I admit). Furthermore, others seem to judge based on a couple songs that became popular online without looking in-depth at the artist and his catalogue. I’ve seen it happen, I’ve done it myself. It’s far too easy to dismiss certain acts and put them in a bubble, thankfully this release is the sharp pin we can wave towards those judgemental bubbles. 

The release: Already known for his high energy and rapid delivery over beats, this is exactly where we begin. Madhat clearly has a signature sound. I would think only a complete idiot could confuse the artist with another in Scotland or the rest of the UK. But, this also comes with a negative angle. Madhat can sound the same on various tracks, or similar production tricks us into thinking we have heard it before. It was only when dubstep hit the mainstream that he really took his place both on tracks and certainly raised his profile with live performances. While solo rap and hip-hop acts can struggle to get a crowd reaction and lift energies, Madhat showed many how it should be done. Now that dubstep is leaving our attention span the rapper remains spitting over harsh sounding beats and baselines. But have we heard it all before? At the start of the tape this is how you might feel, but hold off a second, let’s look into the concepts and lyrics within the first 5-6 tracks and dig a little deeper...  

First off it’s not Madhat we hear to begin with, it’s DJ Livewire introducing the release. Right away that indicates who this is for, it lets us know the audience is not the local scene but the larger UK scene as a whole. The intro track itself is standard for the artist, harsh beat, harsh voice and harsh words for both the listen and any other acts that might be tuning it. ‘Hands up, or I’ll take off’… Madhat doesn’t need to do these free tapes anymore, or live shows in the local scene. There’s a bit of anger here sugar-coated in confidence. Furthermore, ‘Bridge a Gap’ gives an idea of what he was attempting to do with the local scene and the UK perspective of it, while seeking more in his own life. ‘Going In’ produced by Show N Prove is also a continuation of the narrative, but in a more impressive and catchy way. Deezy’s distinct voice brings something more to this also, which leave us questioning why he isn’t pushing himself more. 

Skipping a few tracks in ‘What Can I Say’ really stands out, like really. Madhat is perfect on these kind of tracks, loud and imposing, yet chilled overall in feel. The beat adds to this, sounding faster than it should due to the relaxing nature of it. This reminds me in a way of ‘Simple Things’ released years ago. Sometimes talking about everyday life and the enjoyable parts is when Madhat connects with the listener. It’s all good killing a beat with a sick flow, but this is when Madhat stops rapping and makes a song for non-hip-hop fans. That is perhaps an angle he should look into more often when branching out. It is the polar opposite of tracks such as ‘Chances’ where we hear deep personal emotion and self-doubt. A run of tracks produced by Dale A Thomson gives the tape an escape with its brilliant hooks / angelic vocal samples. It’s really noticeable how the mood of the release has changed from track 10 onwards, now we’ve calmed down, we start to pay more attention to lyrics.

As I’m over half way into this I’m starting to notice I should be in the car, not listening behind my desk. It contains far too much energy for a solo listen indoors. ‘Quality’: And it is. Now that we’re this far into the release we have fully tuned in as a listener, now we find ourselves not listening to him, but with him. I mentioned it should be played loud, or in a car, but now I’m listening to the track named ‘Fast Car’ I want to be in the Meadows with a zoob and fruit cider…

‘Sitting With Bottles’… Produced by Jigz… why I have heard this before? Oh wait I’ve not, I’ve also used this same beat by Jigz on the Vagabonds album with Wardie Burns haha. I actually love that, that’s what mixtapes are and do. Re-use production and create different tracks, I’m loving the fact that Scottish hip-hop has grown to such an extent this is happening internally too. The following track ‘Stand There’ is a stand-out track. Madhat’s emotion has changed, a little depressing with a beat that shouldn’t suit, but does so well. I am honestly very impressed and into this second half content, Show N Prove returns with an incredible remix of Oasis’s Wonderwall which Madhat excels on. The last track I will mention is simple, and for good reason. A ‘Pure Grim Love Story’ is a brilliant piece of story-telling which drags the listener into a real audio experience. I can’t do it justice. Listen, and make sure you are sitting down towards the end…

Conclusion: This isn’t his best work, far from it. It touches his brilliance but repeats much of it’s content and message over a few times. Perhaps it could have been shorter, but it is a mixtape after all. Everyone following the music in Scotland knows he hasn’t hit his potential either. But remember this is a FREE MIXTAPE. Nothing more than keeping up the buzz before the main album drops. That said album should be incredible, personally I have heard tracks from it over the years and it blows everything else away. Yes, this is a review of the mixtape, but while writing it I really want to phone Hatter up and tell him to get his f*cking album out. Madhat has the potential to bring Scottish hip-hop into the UK scene in a way not done before (ironically from an artist which backed Scottish independence). While the Scottish scene has become over-saturated and messy we need acts such as this to fly the flag in a professional manner. He’s not everyone’s cup of tea in the local scene, but he doesn’t need to be, he out-grew it long ago. It’s about time everyone was fully aware he isn’t seeking your approval, he’s far past that. Now Madhat is getting to the stage he’s planning his direction and style for a larger audience. So listen to this, mainly the second half of the release is where you should pay key attention and I guarantee you will find something new to the Edinburgh artist. As he plays with styles and his image it’s apparent this is still only a preview, clearly the best is yet to come… I mean, if ‘Pure Grim Love Story’ didn’t make the album… what did?

Thank you for reading.

Pea-suit. Werd x

Photos used by TDSLR Photography. All rights remain.

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