Bruce Springsteen and The E-Street Band’s live performances have become legendary tales of three hour epics filled with hits, rarities and covers, verging on a spiritual awakening, and tonight’s first Melbourne show is no different.

While the music on that beautiful summer’s night was a form of escape for most, Springsteen has become more outspoken on politics as he’s grown older and continues to use his music as a way to get his opinion across. With America in political upheaval, The Boss doesn’t miss the opportunity to take a jab at Donald Trump and Malcolm Turnbull’s telephone conversation about America accepting 1,250 refugees currently locked up on Manus Island and Nauru. Trump apparently deemed the arrangement “the worst deal ever” and it’s clear from the outset Springsteen has something on his mind.

Arriving to mass applause from the sold out crowd, the Boss takes to the mic to declare, “We stand before you, embarrassed Americans.” He continues, “We’re going to use this to send a letter back home,” kicking off proceedings with an acoustic cover of the Orlons’ 1962 pop hit, Don’t Hang Up. The political theme is current throughout the night, with American Land, Wrecking Ball and Irish-influenced protest song, Death To My Hometown, showing Springsteen’s intent. Keeping the commentary strictly lyrical, The Boss never comes across as pushy or demanding with his message, simply allowing his music to explain he thoughts and feelings on the current political and social climate.

[youtube https://www.youtube.com/watch?v=Yph45NhYqSk]

Politics aside, Springsteen and co’s marathon 29-song performance is an emotional journey covering over three decades of rock and roll anthems. The Promised Land, Glory Days, Mary’s Place, and 9/11 call to arms, The Rising, have the crowd getting boisterous and singing along. The Ties That Bind arrives early and immediately showcases the chemistry between Springsteen and his bandana wearing close friend and guitarist Steven Van Zandt. Facing each other, the two share the microphone during the chorus, with Van Zandt’s smile never leaving his face. While the two have performed together since the E Street Band first formed in 1972, there seems to be an extra kick in his step tonight, with the accomplished musician and actor showing a warmth towards the Boss not seen on previous tours. It would be rude to single out only Van Zandt, as the entire E Street Band are on point tonight. Max Weinberg’s drumming is rhythmically crisp as he sits chewing gum without a  hair out of place. Nils Lofgren stalks the stage as he alternates between his guitar and slide guitar looking eerily like an American version of Keith Richards. Garry Tallent keeps to the side as his bass anchors the band, Roy Bittan dazzles on the keyboards while Soozie Tyrell’s soaring backing vocals and violin work adds another dimension to the arrangements. Then there’s the escapable and towering presence of Jake Clemons. Since the death of his uncle and E Street legend, Clarence Clemons, Jake has assumed the role of saxophonist with gusto and fast become the ideal replacement for his uncle.

The hits continue roll out as the night passes by in a blur of good time rock anthems. A powerful rendition of Murder Incorporated follows Nebraska cut Johnny 99. Atlantic City is given an up-tempo makeover, Badlands has the seated sections of the  crowd out their seats and a rollicking cover of Patti Smith’s “Because Of The Night” has the crowd in full voice.

The Boss is in fine form throughout the night, making his way along the front barriers and standing on raised platforms in the audience while continuing to entertain. He’s offered half a beer and downs it like a champion and happily shakes hands with fans during instrumental parts of songs. Despite his age – 67 – The Boss has lost none of his enthusiasm or energy, and much like a fine wine, just gets better with age.

[youtube https://www.youtube.com/watch?v=gQ79EfXQ9LE]

The quieter moments are just as impactful, with Bruce performing an emotive I’m On Fire and being joined on stage by the Melbourne Symphony Orchestra on a breathtaking New York City Serenade. An acoustic take on Long Walk Home adds gravitas to a song about Springsteen’s relationship with America and kicks off a whirlwind six-track encore. Born To Run blasts around the stadium with the impact it still had when first released over 30 years ago and Dancing In The Dark finds Springsteen pulling a number of women whose signs have caught his eye on stage to dance with him, with one lucky lass even getting Lofgren’s guitar to play. Tenth Avenue Freeze-Out, played at every show as a tribute to fallen comrades Clarence Clemons and Danny Federici, gets a rousing reception and allows Springsteen to introduce the members of his band with his famous, “You’ve just seen… the heart-stopping, pants-dropping, house-rocking, earth-quaking, booty-shaking, Viagra-taking, love-making, le-gen-dary E Street Band!”

With the floodlights turned on and illuminating the near 50 thousand capacity crowd, Springsteen leans against the microphone stand in the centre of the stage with refuel smile. As his band continue performing a cover of The Top Notes’ Twist And Shout, The Boss looks out into the masses, breathing heavily. With his red check shirt open to the chest and saturated with his sweat, Bruce, much like his audience, looks exhausted yet euphoric. “This is it. I can’t go on anymore,” he explains, the smile never leaving his face. Screams for “more” ring around AMII Park as Springsteen and his band repeat the chorus one last time before bringing things to a deafening close, proving once again that there is no better live experience than Bruce Springsteen and The E Street Band.

Image: The Beat (Tony Proudfoot)

UK grime superstar Stormzy has today released the track listing for is much anticipated debut album GSAP. After a number of huge billboards cryptically sporting lyrics from the album with the hastag #Merky appeared around London last week, Stormzy has taken to Twitter to confirm the track listing and release date of GSAP.

Set to drop Friday February 24, GSAP contains 16 tracks and a number of high profile guest features, with Kehlani and Raleigh Ritchie leading the charge. Other artists making their presence felt include MNEK, Wretch, J Hus and Ghetts.

Although he’s yet to release an official single, Stormzy did preview the track Cold on Twitter last September. The 45-second clip shows the Londoner performing the Swifta Beata produced single in Gothenburg, Sweden, with the crowd well and truely turning up. GSAP also includes viral hit, Shut Up, the song that helped launch Stormzy’s career into the mainstream.

As both a grime and Stormzy fan, I’m really excited to hear if the Londoner can build on the success of the past 18 months. Having featured on tracks from Giggs, P Money, Little Simz and Tinie Tempha and won The Times Breakthrough Award and AIM Independent Music Awards Innovator Award, my hopes are high Stormzy can deliver an album that furthers the grime culture while simultaneously crossing over, similar to Skepta’s Konnichiwa.

[youtube https://www.youtube.com/watch?v=RqQGUJK7Na4]

Image: Capital XTRA

Having sold out her first Melbourne sideshow at The Corner Hotel soon after it was announced, the addition of a second Angel Olsen gig was a forgone conclusion. The folk-tinged indie artist wowed audiences when she toured early last year and with latest album, My Woman, receiving rave reviews, tickets have been in high demand. Headlining the much larger Croxton Bandroom tonight, a colourful cross section of Melbourne music lovers converge upon the Thornbury venue for an evening they soon won’t forget.

The Croxton Bandroom is fast approaching capacity when the lights dim and support act Jack Ladder materialises on stage. A towering presence with a haunting baritone, comparisons with Nick Cave are often prevalent, even from the girl at the merch desk this evening, who described him as “like a young Nick Cave.” But while the comparison may be easy, there’s a lot more to him than a carbon copy of Cave. There’s a dark humour to his lyrics of love and loss, and when combining with his brooding guitar work and captivating stage presence, it’s hard to fault the authenticity in his talent.

Performing without his backing band The Dreamlanders makes this performance all that more personal. The normally synth heavy Come On Back This Way and Her Hands transform into balladic numbers, giving Ladder’s voice an open platform to reach the far corners of the venue over the swirling guitar licks. Older tracks Hurtsville and Beautiful also get a look in, and although it’s obvious that most in attendance aren’t familiar with his work, he’s an engaging frontman with his dry sense of humour and captivating vocals making it hard for anyone to ignore him. I have no doubt he picked up a few new fans that night.

[youtube https://www.youtube.com/watch?v=nleRCBhLr3k]

There’s nervous excitement in the air as the crowd waits what seems like an eternity for Olsen to appear. Almost an hour after Ladder’s exit, the curtain finally parts to reveal Olsen and her five piece band at the ready. The cheering and catcalls quickly subside as Olsen launches into the country swagger of Never Be Mine.

The following hour and a half flies by as Olsen entertains with a set heavy on tracks from her past two albums, 2016’s album of the year contender, and 2014’s sleeper hit Burn Your Fire For No Witness. The 60s pop explosion of Shut Up Kiss Me, downtrodden Heart Shaped Face and sombre Give It Up elicit hearty applause, with Olsen sporting a playful smile as she rocks out.

Her band – dressed in identical light blue suits and white shirts – provide the perfect backdrop for Olsen’s lyrics on love, romance and heartache. Not Gonna Kill You is given extra depth with the dulling guitars while the harmonies on the rocking Forgiven/Forgotten and indie-folk Lights Out are a thing of understated beauty. Olsen herself is a bewitching figure. Stood front and centre with her guitar firmly strapped across her body, there’s a touch of Sharon Van Etten about Olsen’s gothic country stylings and emotionally poignant lyricism. While her songs often deal with lost love and broken hearts, she’s good natured and humours, wishing one punter named Charlie a happy birthday and asking the crowd where she can go rolling skating (the answer is Sunshine Roller Skating Centre).

Olsen slips in one of her first recordings (Drunk And With Dreams) for longtime fans before finishing her set with the explosive indie thumper Give It Up. The inevitable encore is only two tracks long, but lasts almost 15 minutes. Joined by her guitarist and bassist, she then gets behind the synthesiser for Intern, the first single off My Woman. As the song comes to a close the rest of her band re-appear for an epic version of Woman. Lasting almost 10 minutes, Olsen serenades the crowd with her soothing vocals, and as she leaves the stage for the final time, it’s easy to see why she will continue to fill larger venues as her body of work increases.

Image: Stereogum 

Kings Of Leon – WALLS

Sex On Fire will forever be known as the song that turned Kings Of Leon from a little indie-rock act into one of the world’s biggest bands. A soaring stadium pop-rock song with an inescapable hook, the song propelled the band’s fourth album, Only By The Night, to the number one spot in five countries and turned KOL into seemingly overnight sensations.

But it wasn’t all good news for the Southern quartet. For every new fan gained KOL lost twice as many. Most claimed they had “sold out,” but this was far from the truth. While there’s no doubting their first two records – Youth And Young Manhood and Ah Shake Heartbreak – are steeped in Southern traditions with an undercurrent of indie-rock, third album Because Of The Times was the band testing the waters of what was to come. Combining the indie swagger that first gained them recognition with a broader pop soundscape and frontman Caleb Followill finally delivering lyrics in an intelligible manner, KOL were destined for crossover success.

As the band wrestled with their newfound fame on the disappointing Come Around Sundown and well-rounded Mechanical Bulls, seventh album WALLS finds the Followill clan finally comfortable with their place in the music world. Embracing stadium rock hooks, sing along choruses and aspects of the 70s sound filtered throughout their first two albums, KOL have delivered their best effort in years.

Singles Waste A Moment, Reverend and Around The World open proceedings, welcoming listeners with melodic riffs and Followill’s casual Southern twang. All three are big bold rock songs, with Waste A Moment the pick of the bunch. It’s the closest they’ve come to replicating the sheer likability of Sex On Fire without the cheesy chorus. Eyes is unmistakably KOL, with a raging bassline and a guitar riff made for the live arena, with Wild a country-rock head nodder that’s one of the albums weakest points.

Much of WALLS is inspired by death and self-destruction, pretty bleak subject matter when it comes to pop music, but KOL convey their feelings well over the course of the record’s 10 tracks. The six minute Over, inspired by Joy Division, attempts a post-punk sound as Followill sings about his battle with alcohol, drugs and fame. Find Me is about someone falling in love with a ghost, and the Mariachi-esque Muchacho is a dedication to a good friend of the band who recently passed away from cancer. The album’s self-titled track about a lost love is also the record’s best. Closing out WALLS, the tune is an acoustic slow burner allowing Followill room to express his unique vocal style over the light instrumentation. It’s their 2016 version of Milk, and along with opener Waste A Moment, is on par with the band’s best work yet.

KOL have finally embraced the pop-rock sound that shot them to stardom, and while old fans will whinge about them not sounding like they used to, WALLS is the best version of the band heard in years.

Verdict: If this was a school paper it would receive an A.

[youtube https://www.youtube.com/watch?v=BdF41Ne2cnQ]

The Game – 1992

After numerous setbacks and a long winded beef with Meek Mill, West Coast rapper The Game finally delivers his much hyped 1992. Dedicated to 90s rap and focusing on Game’s outlook on the scene and Compton during the year he turned 12, 1992 is part rap throwback, part autobiography, with a sound firmly cemented in hip-hop’s golden age.

Reminiscent of the soundtrack he created for Streets Of Compton, 1992 showcases tales of gang life, drug dealing and murder in the streets of L.A. from the point of view of a young Game. Savage Lifestyle opens with a media clip from the Rodney King Riots before Game documents the problems that faced black men during that period, eerily echoing the same problems black men face today. The relationship between the Crips and Bloods is detailed on True Colors / It’s On, a song that also weaves tales of Game’s family members and samples Ice-T‘s legendary Colors.

As well as lyrically painting a picture of 92, Game samples many well known 90s track to ram the message home. Fuck Orange Juice keeps the nostalgia rolling by sampling Grandmaster Flash & The Furious Five‘s iconic The Message, I Grew Up On Wu-Tang samples the New York collective’s C.R.E.A.M., and However Do You Want It, a laid back 90s beauty samples Soul II Soul‘s track of the same name.

While Game repeatedly said there would be no features on the album, a number of guest rappers and vocalists inevitably turn up. Osby Chill adds a verse to True Colors / It’s On and Jason Derulo provides the hook on Baby You, a track dedicated to Game’s ex and mother of two of his children, Tiffany Cambridge. All Eyez, a collaboration with Jeremih, was tacked on at the last minute to help with the album sales. It’s a decent R&B type tune with commercial appeal, with it’s biggest draw being production from Scott Storch.

Verdict: Another solid Game album.

[youtube https://www.youtube.com/watch?v=BeOQNHXobpQ]

Yelawolf – H.O.T.E.L. (House Of The Endless Life)

Southern rapper Yelawolf seemed to have the world at his feet when he signed with Eminem‘s Shady Records in 2011. Riding high off the success of his well received Trunk Muzik mixtape, Yelawolf quickly followed with his feature filled debut, Radioactive. While critics applauded his honest lyricism and merging of hip-hop styles across the album, he struggled to find a commercial footing, with many hip-hop fans writing him off as the Southern Eminem. Since then he’s released a number of mixtapes integrating hip-hop with his country roots, creating a strange yet alluring combination best heard on tracks such as Till It’s Gone and American You from last year’s Love Story, his best release yet.

As puts the final touches on his forthcoming third album, Trial By Fire, Yelawolf has also been working on a new website, Slumerican, that launched last week. To celebrate the site, he’s gifted fans new EP H.O.T.E.L. (House Of The Endless Life). The seven track release is another step forward in Yelawolf’s evolution as one of hip-hop’s most overlooked superstars.

The EP opens with the unusual Supersonic Alley Cat. This is four minutes of gentle instrumentation that goes off the deep end when the production turns into a futuristic space theme with Yelawolf dropping a rapid fire rap during the tracks final 30 seconds. It’s a strange introduction to H.O.T.E.L. and not really in line with the rest of the songs, aside from the short 45 second lost 70s rock themed In Love Tonight,

Known for his love of Chevys, You Should Have Known is another track that uses the famed American car as a metaphor for Yelawolf’s relationship with a woman. Throughout the song he makes reference to the car and raps about being with a woman more interested in his fame, eventually leaving her to pursue his true love, rap. Good Love is another song about a woman, although this time it’s about a one night stand, with Yelawolf rapping about, “smashin’ that ass from the back.”

The hip-hop country-rock hybrid that’s become more recognisable in his sound can clearly be heard on the aggressive Someday. Sampling Bob Seger’s classic of the same name, Yelawolf paints a vivid picture of trailer park life as he spits with a venom similar to Eminem over a haunting piano loop. This is Yelawolf at his best as he reveals his version of Southern life. “Broken bottles and trash in the grass of a Gadsden trailer park / I’m a fucking savage / I just woke up drunk and brushed my teeth with a soap bar / Blocks under that pickup truck.” Yelawolf also samples the intro to Royal Blood‘s Out Of The Black on the steely Renegades, going hand in hand with the 70s feel of Someday.

The biggest surprise with this EP is the appearance of Bubba Sparxxx. An early Timbaland protege who didn’t quite have the Missy Elliot effect (anyone else remember Ugly?), Sparxxx has been dropping albums over the past decade without much fanfare. His cameo on Be Yourself shouldn’t come as a shock, as he recently signed with Yelawolf, but his verse has no context. Yelawolf is rapping about being true to yourself and not caring what others think, while Sparxxx spits some gibberish before getting on the same page as Yelawolf with the words, “Be yourself.” That said, it’s good to hear him on a track and realise he’s still out there getting it done, despite nobody seemingly giving a fuck.

Verdict: H.O.U.S.E. continues Yelawolf’s evolution as one of the South’s most underrated MC’s.

[youtube https://www.youtube.com/watch?v=cTJE2QzTar0]

Bruce Springsteen – Chapter And Verse

The term “legend” is often bandied about when it comes to famous and successful musicians, but it’s a word that describes Bruce Springsteen to a tee. The Boss is universally recognised as one of the greatest artists of all time. He’s written dozens of hit songs, and his ability to write music you can relate to has been the key to his success. There’s also his live shows, that have to be seen to be believed. There’s no performer who puts as much energy into playing live as the Boss, and he remains the greatest artist I’ve ever had the pleasure of witnessing in the live arena.

Along with being a musician, Springsteen can now add accomplished author to his bio with the release of his memoir, Born To Run. The book traces Springsteen’s rise from a New Jersey punk to rock and roll stardom, and by all reports, is an engrossing and entertaining read that reveals more about the man behind the artist. Along with the book, Springsteen has released an accompanying album, Chapter And Verse. The album contains 18 tracks handpicked by Springsteen, including five unreleased track from his early days playing in a variety of different bands.

All the favourites are included, such as Badlands, The River, Born To Run, Born In The U.S.A., and The Ghost Of Tom Joad, although there’s no room for Dancing In The Dark. Album cuts like Nebraska’s My Father’s House, Lucky Town’s Living Proof and Long Time Coming off Devils & Dust give an insight into some of Springsteen’s lesser celebrated songs that obviously have a greater meaning for him.

Of course any Springsteen fan would already have the majority of these songs on record, with the real gems being the unreleased tracks that open the album. The first two, the 60s rockabilly of Baby I and You Can’t Judge A Book By The Cover are from his time with, The Castiles, one of the first bands he played in. The quality isn’t very good and neither song hints at the talent he possessed, but both are an intriguing look into Springsteen’s early beginnings. Springsteen then went on to front Steel Mill, an outfit that also included future E-Street band alumni Steve Van Zandt, and offers up the Deep Purple-ish He’s Guilty (The Judge Song), with the Boss’ trademark vocal clearly audible on what’s a pretty decent tune. The final two unreleased tracks, Ballad Of Jesse James and Henry Boy, were both recored in 1972 and are clear indications Springsteen was a talent on the rise. The acoustic Henry Boy in particular, demonstrates Springsteen’s familiar rough and ready delivery and downtrodden lyrics.

For casual fans who most likely own a Springsteen great hits album, you can probably pass on this, but for die hard fans this is a must. Listening to a collection of songs handpicked by the Boss as his favourites, as well as a number of unreleased tunes is an absolute treat.

Verdict: For the die hards.

[youtube https://www.youtube.com/watch?v=utVR3EgQkHs]

Lloyd Banks – All Or Nothing: Live It Up

Three years on since G-Unit member Lloyd Banks dropped his acclaimed mixtape, All Or Nothing: Failures Not An Option, the East Coast MC is back with the follow-up, All Or Nothing: Live It Up. Once again teaming with DJ Drama, this mixtape is another shout out to New York from Banks that once again highlights the Punchline King’s lyrical wordplay.

Banks enlists a number of producers across the 15 tracks, including the likes of Doe Pesci, Mr. Authentic, Tha Jerm, and Ty James. All provide gritty, street beats that are all part of the sound that make up a Banks release. Mr Authentic in particular contributes two top notch beats in the form of the soulful trap number Land Of Opportunity and street anthem Seniorities.

Reap What You Sow, the tape’s first official single, is also one of the best tracks, with Banks rapping about the price you pay for the things you do in life, while tracks like Insomniac, Blood, Sweat & Tears and final track Price Of Life all feature Banks quality lyricism.

There are also a handful of guest verses from some of New York’s finest, with Prodigy and Vado entertaining on Seniorities, fellow G-unit affiliate Tony Yayo mumbling his way through Work Hard, Styles P cementing his status as a New York great on Land Of Opportunity and Joe Budden sounding focused on Transitions.

Verdict: Another Banks beauty.

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Juicy J – #MUSTBENICE

The latest mixtape from Juicy J finds the Southern rapper embracing the dark trap sound he’s made his own this year. With the majority of production handled by TM88, the man also responsible for Juicy and Wiz Khalifa’s collaborative project, TGOD Mafia: Rude Awakening, #MUSTBENICE is another 808s heavy mixtape about sex, drugs and living the high life.

#MUSTBENICE is the prelude to Juciy’s forthcoming release, Rubba Band Business: The Album, and if it’s anything like this tape, then Juicy is heading in the right direction. Kicking off with the Gucci Mane and PeeWee Long Way banger, Trap, #MUSTBENICE is 17 tracks of murky hip-hop sure to soundtrack many a seedy nightclub. Juicy raps about all the women he has on Plenty, fake bravado on Whatcha Gone Do, the haters trying to get him down on It’s Ok and his love of mixing syrup with high quality weed on the icy Super Fire.

Along with his solo tracks, the features are all top notch. Jeremih provides a silky hook on Panties, Khalifa and Project Pat weave their magic on Talk That Talk – also one of the tapes best tunes – and young guns Young Dolph and 21 Savage rep the new breed on bonus cut LIT.

Verdict: Trap goodness.

[youtube https://www.youtube.com/watch?v=itl686CGncg]

Image: Rockol.com

The Sparks Foundation – Parts Unknown

Two of my biggest passions are hip-hop and wrestling, so when the two collide like they do on The Sparks Foundation‘s latest mixtape, Parts Unknown, to say I’m a little excited is an understatement. Following on from the duo of Emilio Sparks (Shade45) and John Sparkz‘s (SRFSCHL) Macho Man Randy Savage inspired Forever Madness tape of two years ago, Parts Unknown once again finds the two enlisting a host of rappers to drop bars over classic wrestling themes hijacked by an array of established producers. The tape even has the approval of actual wrestlers, with Big E, one half of the tag team champions, The New Day, involved in curating the mixtape.

Dedicated to the Ultimate Warrior who passed away two years ago, the first track, Warrior, flips the former World Heavyweight Champion’s electric guitar theme song into a rap-rock number featuring Downtown Dion, America Trappist and the UK’s Sas Eurogang. The Million Dollar Man Ted DiBiase‘s theme is sampled for Money Inc., with rhymes from New York trio Fred The Godson, Adrian Lau and Murda Mook, D-Generation X’s famous Break It Down entrance is sampled for the 90s sounding rock track of the same name, and Daytona, Trap Ciudad, Add-2 and Hatty Maines come together for the chopped, DDT, named after the move made famous by Jake The Snake Roberts.

As you’d expect from a collection of songs influenced by wrestling, there are a tonne of wrestlers referenced throughout, with everyone from Hulk Hogan, Eddie Guerrero and Bob Backlund getting a mention. Bodega Bamz‘s solo track, The Bad Guy, is on par with Scorpion Death Drop as the tapes best. Sampling Razor Ramon‘s icon entrance theme, Bamz raps about his love of wrestling by cleverly weaving wrestlers names and finishing moves throughout his rhymes. The aforementioned Scorpion Death Drop finds Harry Fraud sampling Sting‘s theme as Project Pat, A$AP Twelvyy, Smoke DZA and Trae The Truth drop bars about “breaking legs, ribs, hundred dollar bills” and the famed pay per view Summer Slam.

Hip-hop and wrestling have always had an interesting relationship over the years, and projects like Parts Unknown only fuel the fire of creativity between two of America’s biggest entertainment sectors. It might not be everyone’s cup of tea, but this mixtape is worth investigating, if only for Bamz’s wonderful wordplay.

Verdict: One for the wrestling fans.

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Fenech-Soler – Kaleidoscope 

Two years on since the release of their Glow EP, UK group Fenech-Soler are back with new EP Kaleidoscope, albeit with some line-up changes. Founding members Daniel Fenech-Soler and Andrew Lindsay left the band earlier this year, leaving brothers Ross and Ben Duffy to carry on the indie-dance outfit’s successful European career.

Anyone expecting big changes in Fenech-Soler’s sound will be sadly disappointed, as Kaleidoscope follows the blueprint the band set with their 2010 self-titled debut. The EP is four tracks of feel good indie electronica made for dancing. The title track is an infectious Phoenix-esque festival anthem that has all the hallmarks of the mid-to-late 00s indie scene. Night Time TV is less poppy and more transfixed with heavy synths and a riveting bass line, On Top has a 70s disco feel and final track, Haha, is another sparkling indie tune centred around a sexually charged bass line and Ben’s rousing vocals.

While they might be churning out music that’s not necessarily as popular as it was when they started as a band six years ago, Fenech-Soler’s brand of indie meets dance efforts are enjoyable on the ears. Kaleidoscope is an especially catchy tune, and if they can manage to create an album in that vein then there might be life left yet in this genre.

Verdict: Enjoyable but no longevity.

[youtube https://www.youtube.com/watch?v=3NacHRonI_w]

Kent Jones – Too Much Too Soon

DJ Khaled protege Kent Jones scored a surprise no. 1 hit on the US rap charts earlier this year with single, Don’t Mind, taken from his 2015 mixtape Tours. Looking to capitalise on his recent success, the Florida rapper has delivered his second tape, the overly long but compelling Too Much Too Soon.

With the backing of Khaled and his We The Best Music Group, Jones is bound to be a star, but he’ll need to cut the fat when it comes to releasing his debut album. Too Much Too Soon is way too long and contains a number of throwaway tunes and skits (Axel Foley, Rick Robinson Interlude, Til Next Time, Too Much Too Soon) that takeaway from the tapes high points, like the R&B flavoured Columbiana and the giddy old school feeling of Passport.

Jones’ raps vary between Meek Mill-like yelps on the 808s of Past Life to the silky smooth delivery of Passport. Not only does he rap, but Jones can sing, and not in an Eminem kind of way. He contributes the hooks on many of the tracks, with his crooning chorus on Pretty Eyes particularly enjoyable. Jones also produces and co-produces the majority of tracks on the release, demonstrating his skill as a studio all rounder much like his mentor Khaled. Speaking of big names, Jones keeps the guests to a minimum, but when he does get some help it pays off. Ty Dolla $ign, Lil Dickie and E-40 turn up on Sit Down, with Dickie the star, and vocalist Ellie provides a lush contrast to Jones on Four 4 Four. Ty pops up one more time on another of the tapes better tracks, Hello, that includes verses from Yo Gotti and K Camp.

Verdict: Promising release from someone you’ll be hearing more of in the future.

[youtube https://www.youtube.com/watch?v=R35QHUlLZZw]

Image: Viperial2.com

Isaiah Rashad – The Sun’s Tirade

Top Dawg Entertainment’s secret weapon, Isaiah Rashad, has finally come through with his major label debut, the scintillating The Sun’s Tirade. Quickly gaining recognition amongst the hip-hop fraternity with his 2014 EP, Cilvia Demo, Rashad looked set to be the next big thing, but an addiction to alcohol and prescription pills put a dent in his career. He was sent away to get help by TDE Co-president Dave Free and after getting clean, returned to the studio to put the final touches on The Sun’s Tirade, one of the best debut releases of the year.

Taking the influences of Southern pioneers such as Outkast, Goodie Mob and Scarface and combining them with his own approach to hip-hop, The Sun’s Tirade is a mesmerising debut that plays to Rashad’s strength as an innovative lyricist, willing to tackle heavy subjects in his rhymes. This type of introspective lyricism is imprinted all over the album, none more so than on the Kendrick Lamar collaboration Wat’s Wrong. Over D. Sanders and Al B Smoov’s soulful production, Rashad details his struggles with fame and success and the feelings of homesickness he suffers from since moving to LA, while Lamar once again demonstrates his unmatched ability on the mic as he questions Rashad’s reasons for rapping and informs him to use his voice to promote a message of positivity. Rashad goes on to discusses his battles with alcohol on AA, dedicates an entire song to his Grandma (Brenda) who passed away before the release of Cilvia Demo, and hooks up with SZA for Stuck In The Mud, a song touching on the drug and mental struggles he’s had over the past few years.

It might all sound a little depressing, but the album is far from Rashad wallowing in his own self-pity. He flexes about the wealth his success has afforded him on the Mike WiLL Made It and Pluss produced A Lot, while the albums first official single, Free Lunch, finds Rashad urging you to make the most of your opportunities over a soulful Cam O’bi beat.

The Sun’s Tirade lives up to all expectations, and while controversial, it might just be the best TDE release of 2016.

Verdict: Buy it.

[youtube https://www.youtube.com/watch?v=QJksTRgY8-c]

Northeast Party House – Dare

I’ve always thought of Melbourne’s Northeast Party House as our own version of Bloc Party, and that opinion hasn’t changed with the release of their sophomore album Dare. Building upon the indie meets dance hybrid of debut, Any Given Weekend, this new album follows that same path, with a dose of tropical flavours added to their burgeoning electronic musings.

If you’ve heard first single, For You, a buzzing synth heavy arrangement that’s the perfect late night party starter, then you know what to expect with Dare. The feel-good electro-indie vibes are present on the guitar focused Love Machine, festival anthem Calypso Beach, funky Your House and personal favourite For You, a slower, melodic house infused track.

Self-produced by the band, Dare was also mixed and mastered in-house by drummer Malcolm Besley, so fans of the Northeast Party House will certainly enjoy the shiny, striking sounds the album delivers. While certainly a step in the right direction, the album doesn’t really offer up anything we haven’t heard before. Maybe by experimenting with a producer not familiar with their work they might be able to elevate themselves to another lever.

Verdict: More of the same but certainly worth a listen.

[youtube https://www.youtube.com/watch?v=K5HWjfucgXk&w=560&h=315]

B.o.B. – A.I.R. (Art Imitates Reality)

A.I.R. (Art Imitates Reality) is the fourth and final instalment in B.oB.’s controversy-filled Elements mixtape series. Following on from W.A.T.E.R. (We Are The Enemy Really), F.I.R.E. (False Idols Ruined Egos) and E.A.R.T.H. (Educational Avatar Reality Training Habitat), this latest mixtape continues to find B.o.B. commenting on such subjects as the environment, racism, politics and social issues effecting the black community.

All 11 tracks are produced entirely by B.o.B., including new features and an interesting selection of samples. Masters Of War samples the song of the same name from the legendary Bob Dylan, while Stanley Kubrick contains audio of NASA officials discussing the moon landing, along with The Police‘s Walking On The Moon. It’s safe to say B.o.B. has questions regarding man walking on the moon, which isn’t much of a surprise after he claimed the world was flat earlier this year.

War Witch incorporates a Spanish beat as B.o.B. goes in at authority and the problems with the US government. The autotune heavy Negative Space tackles failing relationships and opener, Fingerprint, a hard hitting pop-rap number that’s more akin to the sounds of his debut album, B.o.B. Presents: The Adventures Of Bobby Ray.

B.o.B. might not be the star he was when first launching his career, but A.I.R. is another example of his skill as not only a rapper, but a producer. Hopefully he’s next major release can live up to the potential shown across the Elements mixtape series.

Verdict: A good reminder of what B.o.B. is capable of.

[youtube https://www.youtube.com/watch?v=hc_Bt-FseL4&w=560&h=315]

Image: Complex

Prophets Of Rage – The Party’s Over

When rumours began circling about the reformation of Rage Against The Machine, it’s fair to say most of us 90s kids got excited. While we didn’t get exactly what we wanted, Prophets Of Rage is as close as we’ll come (unless Audioslave give it another go). Rage members Tom Morello (guitar), Tim Commerford (bass) and Brad Wilk (drums) have joined forces with Public Enemy‘s Chuck D and DJ Lord, along with Cypress Hill’s B-Real, forming the supergroup Prophets Of Rage. As for the reasons for this unique collaborative effort, Morello summed it up best in a recent interview with Rolling Stone Magazine; “We’re an elite task force of revolutionary musicians determined to confront this mountain of election year bullshit, and confront it head-on with Marshall stacks blazing.” Or for the more cynical listener, “How can we squeeze a few more dollars out our music?”

Deriving their name from the Public Enemy song Prophets Of Rage – taken from their classic 1988 album, It Takes A Nation Of Millions To Hold Us Back – the band have been touring the States and playing hit filled sets comprising of Rage, Public Enemy and Cypress Hill tracks, along with a bunch of covers and a few originals. The Party’s Over is the band’s first official release, and although it contains only one new song, is a good overview of what to expect from the group. Just imagine Rage trading Zach de la Rocha for Chuck D and B-Real, and you know what to expect with this five track EP.

The EP opens with Prophets Of Rage, an updated version of Public Enemy’s 1988 track. With added instrumentation and a brand new verse from B-Real, which urges you to stand up for your rights, it’s a decent interpretation of one of Public Enemy’s classic tracks. The sole original number, The Party’s Over, is a thumping dose of rap-rock with each member of the group given room to showcase their musical talents. A similar theme of raging against the machine runs throughout this track, with Chuck and B-Real’s distinct voices working well in unison during the chorus. The last three tracks are two live covers, Rage’s Killing In The Name and Public Enemy’s Shut Em Down, and another reworking, this time a mash-up of The Beastie Boys’ No Sleep Til Brooklyn and RATM’s Fight For The Power, retitled No Sleep Til Cleveland. While these tracks aren’t new, they provide that familiar feeling of nostalgia that’s sure to fire up many old fans of not only Rage, but Public Enemy and Cypress Hill.

While it’s great to see these legendary musicians coming together to continue to push their agenda and get people, particularly young Americans, invested in current political events and the future of their country, the lack of original songs is disappointing. While there is no doubt the tracks they cover are still relevant today, I can’t help but feel most people buying this EP or going to their shows are doing so for the nostalgia value. I applaud what the band are trying to do, but after Audiosoave failed to set the world on fire, do we really need another variation of Rage without Zach at the helm?

Verdict: The machine continues to rage but for how long?

[youtube https://www.youtube.com/watch?v=n29LR6UCjVw]

Young Thug – JEFFERY

There are few, if any other artists in the hip-hop game as divisive as Southern MC Young Thug. A leader of the new generation of rapper who favour auto-tune and trap influenced beats along with a disregard for traditional hip-hop sounds and structures, Thug is helping take the culture into uncharted territory, as highlighted by the album cover art. Young Thug appears in an androgynous dress designed by Italian designer Alessandro Trincone, doing his best to confront hip-hop’s negative views towards the LGBT community, hoping rap fans understand it doesn’t matter what you wear or what your sexuality is, we are all equal – “you can be a gangsta in a dress,” he says. This might seem like a token gesture, but anyone who’s followed Thugger’s career path knows he embraces all sexes, races and cultures and has nothing but love for everyone he interacts with, similar to the original internet rapper, Lil B.

While JEFFERY (formerly known as No, My Name Is JEFFERY) isn’t the debut album we’ve been waiting so long for, it’s certainly another quality release from Young Thug. With each track named after one of his idols, Young Thug sounds focused and committed across the 10 tracks, delivering his unique brand of rap over beats from some of the game’s best producers. Along with paying homage to his favourites via song titles, many of the mixtape tracks incorporate musical nods, with Wyclef Jean having a Caribbean vibe and Future Swag sounding like a Future rip-off, with Thugger’s high sexualised lyrics also similar to Future Hendrix‘s.

Elsewhere Floyd Mayweather finds Young Thug joined by Gucci Mane, The Gunna and Travi$ Scott for a song about the four’s excessive lifestyles and RiRi is a tribute to Rihanna, with Thug repeating the words “work” throughout the song. Then there’s a bizarre salute to Harambe, and the Wyclef dance-hall pop collaboration Kanye West (formally known as Elton John and Pop Man).

Verdict: If this doesn’t convert you then you’ll never be a Thugger fan. (Ed. note: can vouch for this. Not a Young Thug fan. Digging at least half of Jeffery.)

[youtube https://www.youtube.com/watch?v=wAhNZO7Fwd0]

G-Unit – The Lost Flash Drive

50 Cent and The Game finally buried the hatchet a few weeks ago, so it’s no surprise new music from the G-Unit crew has surfaced online. The Lost Flash Drive is a mixtape of unreleased tracks that didn’t make the final cut of the last two G-Unit EPs, The Beauty Of Independence and The Beast Is G-Unit. Hosted by the Unit’s regular DJ, DJ Whoo Kid, the tape features all members of the group in the majority of tracks except their fearless leader 50, who only shows up for end track Wait A Minute.

The absence of 50 is a blessing in disguise, as it allows every other member to flex their skills. Lloyd Banks and Young Buck are the clear highlights of the tape. Banks’ clinical one liners and punchlines are on display during tracks like Superville and Worldwide, while Buck keeps things gangster on the Mortal Kombat sampling Fatality and It’s A Stick Up. Buck even gets his own solo track, FREE Young Buck Freestyle, easily the tapes best track. Over a beat that samples Outkast‘s SpottieOttieDopaliscious and Elevators, Master P’s Bout It Bout It, Three 6 Mafia’s Sippin’ On Some Syrup and a 2Pac track I just can’t place, Buck riffs about his time in the streets and celebrates the life of many rappers and singers who have passed away. As for the other two, there’s not much to say. Game’s replacement Kidd Kidd is a more poor mans 50 who rattles off a few decent bars here and there (particularly Get Away) while Tony Yayo, the weakest member of G-Unit, fails to impress as usual.

As a G-unit fan, this is a great reminder of what the group are capable of. While Yayo and Kidd aren’t top tier rappers, they gel well with Banks and Buck. Add in a couple more 50 verses and get Game involved and the G-Unit revolution could well be in full swing.

Verdict: G-unit season is approaching.

[youtube https://www.youtube.com/watch?v=zMqWiMDfTyw]

Fabolous – Summertime Shootout 2: The Level Up

Fabulous is that rare breed of rapper who has managed to forge a successful career without ever releasing a groundbreaking album. It’s not that his major label releases are terrible, just more middle of the road, containing more filler than killer. On the flip side, Fab has released a string of well received mixtapes that trump any of his six solo albums. The latest is Summertime Shootout 2: The Level Up, the sequel to last year’s mixtape of the same name, featuring 13 tracks of original material, remixes and freestyles.

As he declares on first track, To The Sky, Fab believes he’s ready to “Level up” his career and become one of raps big names, and after listening to SS2, he’s certainly going about it the right way. Sampling some big hits and roping in a number of the new wave of rappers, Fab is doing his best to appeal to a hip-hop market fuelled by the youth. Lil Uzi Vert joins him on the Outkast sampling Godard Bag and rising New Yorkers Dave East and Don Q, both known for their lyrical prowess, feature on For The Family. Fab even includes his and Troy Lanez’s remix of Joe Budden’s Flex, now titled 4am Flex and minus Budden.

Remixes of Rihanna and Trey Songz’s Sex Wit Me, Future‘s Check On Me and A Boogie Wit Da Hoodie‘s My Shit are entertaining, but it’s Fab’s solo cuts that will have you hoping he’s finally ready to deliver a hit album. Ah Man is a thumping street anthem and Ashanti a touching tribute to the singer that loosely samples her 2000 hit Foolish. Then there’s the chilled Wale collaboration Faith In Me and the short but impacting freestyle Team Litty.

As with most his mixtapes, SS2 is a solid release that plays to Fab’s strengths and most certainly will appeal to the younger hip-hop heads not familiar with his near two decade long career.

Verdict: Soild

[youtube https://www.youtube.com/watch?v=ZegE3QpFeAw]

Image: HasItLeaked

Crystal Castles – Amnesty (I)

If you thought the absence of former vocalist Alice Glass would have a profound effect on Crystal Castles, think again. While positioned as the face of the band (if you’ve seen her live you’ll understand why), producer Ethan Kath has always been the mastermind behind Crystal Castles. With Glass now gone and replaced by Edith Frances, this new version of the electronic outfit continues to push the boundaries of hard-hitting electronic soundscapes on fourth album Amnesty (I).

Across the 12 tracks on Amnesty, Kath continues to incorporate creepy industrial themed electronica with dark, experimental synth-pop, crafting an interesting and at times harsh take on electronic music. Enth is a blistering bass pounding fantasy, Teach Her How To Hunt a torrent of static and washed out vocals, and Concrete a nightmarish rave of screeching vocals and in-your-face electronica. Of course it’s not always an assault on your senses. Kath has always been great at balancing his fevered dark productions with pop influenced singles on previous albums, and Amnesty is no different.

First single Frail has all the hall marks of an underground club hit, with house production intertwined with brooding synths and new vocalist Frances’ hypnotic delivery. Sounding similar to Glass, albeit with a more innocent tone, Frances gives tracks like Kept and the trippy Ornament a familiar feel while injecting her own personality into the music.

Amnesty builds on the legacy of what Kath and Glass started, and if Frances’ is just as animated when on stage as Glass was, then there’s no reason why Crystal Castles can’t keep on being a great act.

Verdict: Quality release.

[youtube https://www.youtube.com/watch?v=GfB4BQQcoKM]

Master P – The G Mixtape

For the young ones out there, Master P might not be a familiar name, but throughout the late 90s and into the early 00s, the rapping entrepreneur and his No Limit Records label ruled the American hip-hop airwaves. While he’s been off rap’s radar for a number of years, that’s all about to change. The Southern rap legend has been working on a No Limit Records biopic (a la Straight Outta Compton) and looking to recapture his glory years with the release of The G Mixtape.

If you’re a P fan then this mixtape will satisfy all your needs. The always engaging performer enlists an eclectic lineup of producers and guest rappers for 25 tracks of Southern hip-hop beats infused with P’s signature storytelling and catchy hooks. Of the big names present, Rick Ross keeps things gangster on Like I’m 23, Lil Wayne gives a decent account of himself on Money & Power, E-40 continues his recent run of great guest features on No Stoppin’ and The Game makes an appearance on the funky 70s Heaven For A G and street tale Real. P’s No Limit Boys – comprising Moe Roy, Ace B, J. Slugg and Blaq n Mild – a collection of young up-and-coming rappers P is hoping will help rebuild his No Limit empire with, feature on numerous tracks, the best being Made It Out. Of all the features, it’s hard to go past the remix of Usher‘s No Limit. While Young Thug’s verse is unfortunately dropped, to make up for that we get new rhymes from Gucci Mane, 2 Chainz, A$AP Ferg, Travi$ Scott and P, making it a contender for the most unusual collection of rappers on a remix you’ll hear all year.

P only contributes five solo tracks to the tape, although they’re all classic P, with the Ice Cream Man dropping rhymes about things such as his career (Too Legit), fake friends and haters (Business) and his status in the game (Can’t Count Us Out) over typical tap beats. Listening to The G Mixtape you’d think P was still one of the most popular rappers around particular the chemistry he has with many of today’s new stars. If anything, this tape proves his credentials and is a great way to introduce himself to a new legion of rap fans.

Verdict: Uhh… Master P is back!

[youtube https://www.youtube.com/watch?v=gWlEpbRYH5s]

Kur & Dave East – Born Broke, Die Rich

Philly rapper Kur and Harlem’s very own Dave East have teamed up for surprise EP Born Broke, Die Rich. The five track project finds both young MCs on point as they rap about the streets and life on the grind over a variety of beats provided by Buda And Grandz, Dougie, Infamous Rell and Maaly Raw.

Opener Got It finds the two exchanging bars about how real both MCs are over a catchy beat and is followed by the sparse production of Raw’s No Trust, with the hook, “I don’t trust not one of ya’ll,” rapped like mantra the two abide by. Themes of struggling and making it out of poverty and the ghetto are present throughout Born Broke, Die Rich, with Kur and East rapping about escaping the streets on soulful Fallen and brooding Came Up. The final track of the EP is the aggressive Flexing, another track about the hood, with Kur claiming, “Love my hood and I still be in the hood.”

Not having heard much of Kur before listening to this tape, I have to say I’m impressed with his lyricism, and it’s nice to hear someone come out of Philly who isn’t named Meek Mill. As for East, he continues to prove why he’s part of the future of New York hip-hop.

Verdict: Great introduction too two awesome talents.

[youtube https://www.youtube.com/watch?v=MSmluu4PTT0]

Image: Hypebae

PARTYNEXTDOOR – PARTYNEXTDOOR 3 (P3)

The third of his self-titled serious of releases and highly anticipated sophomore album, PARTNEXTDOOR 3 contains Jahron Anthony Brathwaite’s most engaging and personal material yet. PARTY bares his soul on P3 as he croons about failed relationships and lost love over murky, sparse production that’s become a trademark of his sound.

Taking cues from his mentor Drake, P3 opens with the seven and-a-half epic High Hopes. PARTY’s seductive vocals tell the tale of wanting to get back with an old flame over a menacing beat –  including an interloping of Blackstreet’s No Diggity – setting the scene for what is to come. Nothing Easy To Please is a sultry number about how hard it is for PARTY to fall in love, You’ve Been Missed finds him wallowing in self pity when his girl is gone and Problems & Selfless delves into issues PARTY’s encountered in past relationships and how it affected him.

While his early work is heavily autotuned, PARTY strips it back a little on P3, allowing his natural vocals to shine on tracks like Temptations and the atmospheric Spiteful, a track that includes a glorious 80s guitar solo. It’s these moments where PARTY’s unaffected voice gives an added layer of emotion to his lyrics and showcases his diversity.

1942 takes a break from the heartache, with PARTY toasting Don Juilo 1942 tequila, in what is one of the albums more commercial sounding tracks. PARTY also changes things up on a number of other songs, mimicking fellow Toronto native Ramriddlz’s flow on Don’t Run and trying his hand at dancehall on the Controlla-esque Not Nice, and to a lesser-extent on the reggae vibe of Only U. Of course it would’d be a PARTY album without a Drake cameo, with the OVO boss jumping on a classic Noah “40” Shebib beat for the booty call sleeper Come And See Me.

Verdict: One for those late lonely nights.

https://www.youtube.com/watch?v=Ockhq8E2FrA

iLoveMakonnen – Red Trap Dragon

Having left Drake’s OVO Sound label and announced his retirement, iLoveMakonnen has decided he’s not done just yet, returning with the Danny Wolf produced Red Trap Dragon. As the title suggests, the mixtape’s production is heavy with deep 808s and stinging hi-hats, with Makonnen singing and rapping in his unique, stilted style.

As he declares on No Features, Makkonen doesn’t need any help with his career (a possible dig at Drake?), setting the tone for the tape. Makonnen spends the majority of the album talking himself up and how successful he really is. The Atlanta rapper takes shots at everyone biting his flow on Sound Like Who?, raps about his riches and trading his Hummer for a BMW on Always Countin’, and how he started from the bottom on Came From Nothin.

Of course it’s not all sunshine and lollipops, with Makonnen losing his girl on She Don’t Call No More and rapping about how the drugs help him late at night on Get Me Back Up. Man of the moment Lil Yachty and fellow Atlanta artist Skippa Da Flippa are the tape’s only guests, turning up on final track Loaded Up.

Red Trap Dragon is nothing new from Makonnen, and while I enjoy his voice, I can understand why he’s a divisive figure. The real star of the mixtape is Wolf, who has quickly built a reputation for crafting enticing beats capturing the Atlanta sound and providing a solid platform for Makonnen to showcase his stuff.

Verdict: A decent return from Makonnen but nothing to get overly excited about.

https://api.soundcloud.com/tracks/277532458

Raye – SECOND

The debut major label release from South London’s Raye, SECOND is a modern take on R&B that justifies the hype surrounding the 18 year old. The five track EP incorporates a number of styles, from the synth-driven, Charli XCX co-written opener I,U, Us to the downtempo 808 slow burner Tell Me, with Raye’s soothing vocals ever present.

To be honest, every song on SECOND is a winner. The electro-meets-pop Shhh has hit written all over it, with Raye telling her former partner, “You can leave, you can leave, I don’t want you to wait,” over a beat that reminds me of 90s R&B. This theme of escaping negative people continues on the spacey, finger-clicking production of Distraction, a track originally released earlier this year as part of her two track Back 2 The Winter EP. Then there’s album closer, Ambition, featuring one of grimes biggest stars in Stormzy. The beat combines elements of hip-hop and electronica and is the perfect foil for Raye’s soulful vocals, with Stormzy reigning in his rapid flow for a more subtle approach.

Verdict: Get around Raye before she blows up.

https://www.youtube.com/watch?v=cSQF416kUVc

The Get Down – Soundtrack

Over the weekend Baz Luhrmann’s new Netflix series, The Get Down, finally premiered to mixed reviews.  Centering on the origins of hip-hop and a group of rag-tag kids caught up in the hysteria, the show appears to be a classic Luhrmann production; visually stunning but with a narrative that often loses its way and makes for complicated viewing. Be that the case, similar to the Suicide Squad soundtrack, this compilation is top notch, featuring a wide array of artists and genres influenced by the sounds of the late 70s.

At 24 tracks long, The Get Down has all bases covered when it comes to highlighting the different musical trends during the shows setting. Miguel and Janelle Monáe bring the funk respectively on Cadillac and Hum Along And Dance (Gotta Get Down), C.J. & Co. flirt with disco on Devil’s Gun while disco legend Nile Rodgers lends his skills to the soaring Set Me Free and dance floor thumper Telepathy, a song featuring Christina Aguilera on vocals. Along with Aguilera, there are a number of notable modern performers featured, with Leon Bridges reworking The Temptations Ball Of Confusion, former One Direction star Zayn Malik hooking up with Teddy Pendergrass and Grandmaster Flash on the smooth You Can’t Hide/You Can’t Hide From Yourself (Touch of Class GMF Remix)”, and Michael Kiwanuka pairing with one of the show’s producers, Nas for a couple of old school hip-hop themed tracks.

Along with the big name musicians, the stars of the show also get the chance to flex their voices, with the most recognised being Jaden Smith. He opens the soundtrack with the blistering Welcome To The Get Down and collaborates with Raury on the folk-meets-hip-hop Losing Your Mind. Justice Smith, who plays the show’s lead Ezekiel, has some of his rhymes and poetry included from the show, but it’s Herizen F. Guardolia, who plays female lead and Ezekiel’s love interest Mylene Cruz, whose singing matches her acting. Be That As It May is a high hitting ballad and the aforementioned Nile Rodgers track Set Me Free is something you’d expect to hear when in the famed Studio 54.Verdict: Quality collection of 70s inspired tracks

https://www.youtube.com/watch?v=dzEUL_vg56U

Image: HipHopDX