Napoleon Da Legend & Giallo Point – “Buckets” (NapoleonDaLegend.BandCamp.Com) – There may be an ocean and thousands of miles separating this US / UK partnership, but the latest outing from Napoleon Da Legend and Giallo Point flowed so seamlessly you would have been forgiven for thinking they were sat next to each other in a studio throughout the entire recording process. Confident, street-savvy verses were paired here with tight, polished production.
Triple Darkness – “KURAYAMI” (TripleDarkness.BandCamp) – Coming through like an army of battle-ready Hip-Hop warriors swinging heavy lyrical swords, the UK’s mighty Triple Darkness collective dropped their first group album since 2015, with members such as Solar Black, Ray Vendetta and Cyrus Malachi spitting evocative, powerful rhymes over thunderous beats from Soss, Tony Mahoney and DJ Drinks. This album was proof that TD remain one of the most talented and formidable crew’s in the rap game.
DIE-REK – “Year Of Redemption” (Illect.BandCamp.Com) – Drawing inspiration from both his spiritual beliefs and personal experiences, this second album from Canada’s DIE-REK was an impressive collection of life-affirming rhymes and standout, self-produced tracks. Music designed to invigorate your mind, body and soul.
Tom Caruana – “Strange Planet”(TeaSeaRecords.BandCamp.Com) – UK producer Tom Caruana voyaged back-to-the-future on this sci-fi-influenced concept album, with intergalactic rhyme explorers such as Mr. Lif, Jehst and Prince Po defying gravity as they floated over the unique beats on offer here with their lyrical phasers set to stun. Lift off!
ActProof – “Between Us And The World – Ep 1: Amped Up” (ActProofOfficial.Com) – Ten years after the release of their well-received “Black Boy Radio” album, North Carolina’s Sundown and Enigma made a welcome return from their musical hiatus with a three-part EP series, with this first instalment featuring the pair trading conversational rhymes over drum-heavy, neck-snapping production from long-time collaborator AMP.
Prox Centauri – “Emergence” (ProxCentauri.BandCamp.Com) – Flint, Michigan’s Prox Centauri has quickly become one of my favourite artists of recent times, with this release placing tracks that dropped throughout 2022 (featuring Skyzoo, Planet Asia and KXNG Crooked) alongside a handful of new cuts, all of which effectively showcased the Midwest-based microphone master’s intricate wordplay and self-assured flow.
Backwood Sweetie & Furious Stylez – “Sweetie Got Stylez” (BackwoodSweetie.BandCamp.Com) – Following-up 2021’s brilliant “Christina Shauntay” album, Maryland’s Backwood Sweetie teamed-up with talented Chicago-raised producer Furious Stylez for a seven-track dose of passionate Hip-Hop rooted in empowerment and integrity. Possessing the type of delivery that demands attention, this EP further highlighted Sweetie as being a gifted artist with much to offer the rap world (also, a special mention has to go to featured emcee K!ng jvmes for dropping one of the hardest-hitting verses of the year on “Long Story Short”).
J Rawls – “#jazzhop” (PolarEntLLC.BandCamp.Com) – The Ohio producer exceeded his own high standards with this album, a warm, welcoming collection of expertly-crafted instrumentals which, as the man himself said, were “reminiscent of the J Rawls sound from the late 90s and early 2000s”. A perfect sonic snapshot of the Midwest maestro’s well-rounded musical abilities.
I Self Devine – “That Which Is Hidden” (ImprovisedWeaponry.BandCamp.Com) – The veteran Minneapolis artist pondered questions around religion, spirituality and life on this concept album produced by The Original Copy. As we all find ourselves attempting to navigate the maze of today’s increasingly unsettled times, I Self Devine sought to encourage listeners to walk towards a path of enlightenment that would ultimately allow us to transcend the constraints of the matrix we find ourselves surrounded by.
Westside Gunn – “10” (GriseldaxFR.Com) – Love him or hate him one thing was for certain, Buffalo’s king of curation Westside Gunn wasn’t about to allow anyone to prevent him from continuing to supply the culture with his distinctive brand of art in 2022. Although “10” featured a long list of carefully chosen guests such as Black Star, Busta Rhymes and Ghostface, it was Gunn’s inimitable vocal delivery and vivid street commentary that remained the main attraction here. The FlyGod continued to soar above the clouds.
Agallah Don Bishop – “The Year Of The Tiger” (Agallah.BandCamp.Com) – Brooklyn’s Agallah has had a storied career both behind the mic and behind the boards. Since the 90s the NY-raised artist’s name has continuously rung bells within Hip-Hop circles and deservedly so. But not content with resting on past glories, the Don Bishop’s work rate in recent years has continuously proven his ability to compete in today’s underground scene whilst he’s dropped some of his best work. “The Year Of The Tiger” was a testament to Agallah’s staying power, combining moments of raw honesty and reflection with sheer confidence and boldness.
Sean Boog – “Between Midnights” (SeanBoog.BandCamp.Com) – The talented Sean Boog dropped the third release in his “Midnight” series, which was another brilliant EP from the North Carolina emcee that was full of down-to-earth, contemplative rhymes laced with sharp wit, backed by masterful production from Chris Charles.
T-Nyce & Jorai – “Supreme Talk” (JoraiMusic.BandCamp.Com) – South Carolina-based duo T-Nyce and Jorai delivered personal, heartfelt rhymes on this collaborative album, with production from Sypooda, Juno, Happy Walters and more matching the mood of the pair’s verses. Fully aware of the influence Hip-Hop can have on its audience, this Southern partnership clearly wanted this album to have a positive impact on those who heard it thanks to their honest approach to the music.
Sol Messiah – “GOD CMPLX” (SolMessiah.BandCamp.Com) – Having initially caught the attention of many thanks to his work with the great Sa-Roc (who was featured heavily here), eyes and ears were on Atlanta producer Sol Messiah when this album was announced. Thankfully it lived up to expectations, with the likes of Murs, TriState and Che Noir spitting over SM’s diverse and unpredictable soundscapes.
Daniel Son – “The Bush Doctor” (FXCKRXP.Com) – It’s a real talent to be able to make rhymes that have clearly been crafted with attention and precision sound completely effortless. This is something that Canada’s Daniel Son has been doing since the early days of his musical journey and that he continued to do with charismatic flair throughout this release for Germany’s FXCK RXP label. Cinematic verses detailing capers and escapades created vivid images in the listener’s mind, with sonic contributions from the likes of Futurewave, Finn and Giallo Point adding to the feeling of dramatic tension running throughout the album.
Chill Rob G – “Empires Crumble” (ChillRobG.BandCamp.Com) – As a member of New Jersey’s legendary Flavor Unit, Chill Rob G secured his place in Hip-Hop’s history books with his involvement in a handful of late-80s / early-90s classics. Over three decades later, this C-Doc-helmed album found the veteran emcee proving that ain’t a damn thing changed but the year, coming correct with elder statesman rhymes over lively, energetic beats which nodded respectfully towards the golden-age.
Storm Watkins – “Blue” (StormWatkins.BandCamp.Com) – Dedicated to the memory of his father who sadly passed away in 2022, Baltimore’s Storm Watkins channeled his feelings into this very personal instrumental project with powerful and poignant results. Emotionally-charged beats that made speakers pop at the same time as they tugged on heartstrings.
Sadat X – “Science Of Life” (Soulspazm.BandCamp.Com) – One of the most recognisable voices in rap, Brand Nubian’s Sadat X continued to add-on to his legacy with this aptly-titled album, which found the Now Rule emcee dropping grown man jewels laced with Five Percent lessons accompanied by underground favourites such as Crimeapple, Roc Marciano and Planet Asia.
Stan Ipcus – “Foliage” (StanIpcus.BandCamp) – If you were looking for an emcee with genuine character and personality in 2022, then NY’s Stan Ipcus deserved your attention. Possessing an easygoing, laidback flow and a natural lyrical wit, Big Ip showcased his notable rhyming talents on this seven-track selection of both previously-released and brand new cuts, with production from Jason Griff, Disco Vietnam and Max Bent.
Enrichment – “It’s A New Day” (Enrichment.BandCamp.Com) – Having worked with the likes of Snoop Dogg, Lloyd Banks and Benny The Butcher, New Jersey artist Enrichment offered thoughtful, contemplative rhymes here with smooth-yet-sturdy self-produced beats which perfectly matched his confident, conversational flow.
It’s that time again. Hard to believe that 2021 has ended already. The last twelve months seemed to pass by at a lightning pace and as I approach my late-forties I’m not sure if that’s a good thing or not.
That said, it was another difficult year for most, regardless of how fast the days and weeks may or may not have felt like they were moving. But music remained an essential escape for many of us. Listening to it. Talking about it. Making it. Writing about it. Remembering it. Arguing about it. Loving it.
Rhythm is life, as the great philosopher Warren G once said, and life is rhythm.
As I post the five installments of my 2021 list over the coming week, there will, of course, be releases missing that people may have expected or hoped to see. If an album or EP hasn’t been included, that doesn’t automatically mean I didn’t like it. It could just mean I didn’t like it as much as everything else I have included. In today’s social media-driven world, it can often feel like it’s all or nothing when discussing music (or anything for that matter). If you don’t love an album or think it’s an instant classic, that must mean you hate it or think it’s worthless. The middle-ground in-between where constructive debate occurs appears to be shrinking by the day. But I digress.
As always, this round-up celebrates the Hip-Hop I connected with most over the past twelve months. It contains the Hip-Hop I revisited most throughout the year. It shines a light on the Hip-Hop I enjoyed most in 2021.
So, let’s set if off…
Juga-Naut & Giallo Point – “Smoke Filled Room” (JugaNaut.BandCamp.Com) – Having already worked together on 2019’s sterling effort “Back To The Grill Again”, expectations were understandably high for the second full-length collaborative project to come from the UK’s Juga-Naut and Giallo Point, with the finished product finding the pair further cementing their reputations as masters of their respective crafts. An exquisite combination of top-tier lyricism and perfectly selected sample-based production, this album brilliantly showcased Juga-Naut’s natural talent for penning intricate verses packed with multiple layers that were a joy to follow, unravel, rewind and listen to again and again.
Skyzoo – “All The Brilliant Things” (MMG-Skyzoo.BandCamp.Com) – Another year passed by and NYC’s Skyzoo added yet another masterpiece to his already stellar catalogue. At this point in his career, Skyzoo’s ability to make his lyrical brilliance appear effortless should never stop us from remembering just how much work no doubt goes into every bar, every line and every verse that he commits to the pages of his rhyme pad. Like many of Skyzoo’s previous releases, this was a concept-driven project which found the talented emcee commenting on the gentrification of his beloved Brooklyn over an impeccable selection of jazz-infused beats from the likes of Kenny Keys, MarcNfinit and Tuamie. Writing with incredible attention to detail as always, Skyzoo pulled listeners into his world, placing us all amongst the sights, sounds and experiences of past, present and future New York.
IAMGAWD & Doc Da Mindbenda – “Hell’s Angels & Heaven’s Demons” (GawdsGift.BandCamp.Com) – Being able to create meaningful art out of the uglier aspects of life is a unique skill and one clearly shared by Chicago partnership IAMGAWD and Doc Da Mindbenda, as demonstrated on this captivating album. A quality example of the greatness that can be achieved when an emcee and producer share undeniable creative chemistry, GAWD’s commanding flow was matched perfectly here with Doc’s robust beats. Touching on a variety of topics, including the vicious cycle of gang life, structural racism and street politics, this album offered a powerful and sobering dose of reality.
Funky DL – “Beautiful Soul” (FunkyDL.BandCamp.Com) – Paying tribute to the soul music of the 60s and 70s in clever and subtle ways, this 21st (!!!) album from the UK’s Funky DL was an ambitious and expertly executed project. Accompanied by the organic sound of live musicians, DL delivered personal, heartfelt rhymes with sincerity and feeling, resulting in an album that was both inspiring and uplifting. A much needed ray of musical light.
Sons Phonetic – “Nakatomi” (SonsPhonetic.BandCamp.Com) – Having spent the last decade consistently delivering their own unique brand of quality Hip-Hop, Ireland’s mighty Sons Phonetic crew dropped their new long-awaited album “Nakatomi”, a skilful combination of sublime, sample-based production and expertly penned verses full of meaningful depth and striking imagery. A remarkable release.
Genesis Elijah – “A Prophet In His Hometown…” (GenesisElijah.BandCamp.Com) – A lot of artists will talk about keeping it real, but how real are they really keeping it? Are they talking about their struggles, emotions and mistakes? Are they letting you hear their true feelings through music? Are they being genuine? Watford-based emcee Genesis Elijah did all of the above throughout this striking collection of beats and rhymes. We cheered when Genesis spoke on his successes and cared when he touched on his personal battles. Backed by unique production from Pastor Dutchie and Shapes that blurred lines between genres, Elijah stood loud and proud throughout “A Prophet…”, rightfully staking his claim as one of the UK’s finest lyricists.
Codenine – “LVNDR” (TragicAlliesCodenine.BandCamp.Com) – Mood music of the highest quality, this latest album from Tragic Allies member Codenine was a towering creative triumph, blending sharp lyrical darts with smooth, emotive production from the likes of Chronic Tone and Karnate, lending the release a cinematic, soundtrack-like feel. This wasn’t an album you could (or should) just dip in and out of. It was a body of work that deserved to be listened to in its entirety in order to be fully appreciated.
TrueMendous – “Misdiagnosis Of Chyvonne Johnson” (TrueMendous.BandCamp.Com) – Personality. Flow. Ingenuity. Three things you’re guaranteed to hear on any release from Birmingham emcee TrueMendous. Having signed with the High Focus label in 2020 and subsequently dropping the well-received “HUH?” EP, this album release for the imprint found the UK talent in full artistic flight, clearly seeing every moment here as an opportunity to revel in her own individuality as she touched on relationships, self-image and personal history, accompanied by diverse and inventive production.
Tall Black Guy & Ozay Moore – “Of Process And Progression” (TallBlackGuy.BandCamp.Com) – A celebratory album with a message, Tall Black Guy and Ozay Moore combined their individual expertise and crafted something truly special here. Whilst the hype sticker on the front of this album boasted of the duo being here to “revive the pulse of Hip-Hop’s golden-era”, that statement only told half the story. Far from simply being a collection of predictable throwback tracks full of 90s nostalgia, this was a vibrant, inspirational release that respectfully nodded toward its back-in-the-day influences, yet very much remained a soundtrack made for the present day.
Fresh Daily – “The Quiet Life 2” (HighWaterMusic.BandCamp.Com) – Raised in Brooklyn, now residing in Oakland, Fresh Daily came correct on his long-awaited sequel album “The Quiet Life 2”, an absolutely brilliant release which found the talented artist matching his observational rhymes and conversational flow with warm, melodic production from the likes of Chris Keys, Lakim, Suff Daddy and more.
Jazz Spastiks – “Camera Of Sound” (JazzSpastiks.BandCamp.Com) – Scotland’s Jazz Spastiks never fail to operate at the top of their game whenever it’s time for the gifted production duo to bless us with a new release. This latest album from Coconut Delight and Mr Manyana featured a who’s who of underground heavyweights taking full advantage of the pair’s full-bodied beats. Wee Bee Foolish, Artifacts, Soundsci and more stepped up with their best microphone techniques, ensuring this album had maximum replay value.
Wavy Da Ghawd – “Ghawd’s Eden” (WavyDaGhawd.BandCamp.Com) – Having worked with the likes of Rome Streetz, Bub Rock and Sauce Heist in recent years, Brooklyn-based producer Wavy Da Ghawd entered 2021 already known for delivering quality soundscapes. This album further cemented the NY music man’s reputation for stellar work behind the boards, with underground favourites such as Planet Asia, Eddie Kaine and Ty Farris all eager to spit over one of Wavy’s carefully selected loops. Producer-based albums can sometimes sound disjointed, but the dusty-fingered basement vibe running throughout “Ghawd’s Eden” ensured it stood out as a cohesive collection with plenty of musical character.
Rita J – “The High Priestess” (RitaJ.BandCamp.Com) – Chicago’s Rita J made a welcome return to the rap game with this superb album which found the skilled emcee being joined by fellow Windy City representatives Neak (producer) and Rashid Hadee (executive producer), who both also added their lyrical talents to the mix. Full of potent, thoughtful rhymes laced with a strong b-girl attitude and delivered over quality beats, “The High Priestess” stood out as a refreshing listening experience which fully tapped into the potential Hip-Hop has to touch the soul.
Charlie K – “Sunshine Philadelphia: The God Hour” (CharlieK1.BandCamp.Com) – Accomplished Philly emcee Charlie K filled his well-crafted verses with spirituality, social commentary and poignant observations on this concise EP, backed by soulful production from the likes of Lim0, Kulture, DviousMindz and more.
Twizzy – “Crabs In A Bucket” (Twizzy.BandCamp.Com) – With a wink and a knowing smile, Bristol’s Twizzy offered his thoughts on the world around us and his place in it throughout this thoroughly enjoyable Chillman-produced album. Highlighting the growth that can come from personal struggle, as well as the importance of not allowing the matrix of daily life to distract you from what really matters, Twizzy focused on silver linings here rather than the dark clouds we all find ourselves under sometimes.
Eddie Kaine – “A Tree Grows In Brooklyn” (BigGhostLimited.BandCamp.Com / 2021) – For me, what elevates a good emcee to a standout emcee isn’t just their ability to put words together, but whether an artist can deliver those words in such a way that makes you genuinely feel them as a listener? A rapper can be technically gifted, but if the verses in an artist’s book of rhymes don’t come alive with character and emotion once they’re in front of a microphone, is it really worth it? Whether speaking on personal hardships, painting images of Crooklyn life, or simply stating his lyrical prowess, NYC’s Eddie Kaine made you feel his bars, accompanied by the wailing soul samples of the always impressive Big Ghost Ltd.
Philmore Greene – “Knowledge And Power” (PhilmoreGreene.BandCamp.Com) – On this album, Chicago’s Philmore Greene delivered a soul-stirring collection of honest, contemplative rhymes rooted in the reality of his Windy City life experiences whilst reaching towards a better future. Produced by fellow Chi-town representative Rashid Hadee with features from Natasha Robinson, Skyzoo and Vic Spencer, “Knowledge And Power” lived up to its title with Greene possessing both in abundance.
I first interviewed Nottingham’s Juga-Naut back in 2012 (read here). In his early-twenties at the time, what quickly became apparent during that conversation with the then upcoming UK emcee was that he already possessed an extremely strong sense of identity, which was coupled with a crystal-clear vision of the artist he wanted to be.
Fast-forward to the present day and Juga-Naut has undoubtedly reached the levels of brilliance that were hinted at on his earliest releases, building up a catalogue of albums and EPs which now runs into double figures, becoming one of the most impressive and consistent Hip-Hop figures of the last decade in the process.
Skills, technique and talent aside, the sheer passion Jugz has for his various creative endeavours can easily be felt through his work, whether he’s holding a microphone, chopping a sample, painting or experimenting with ingredients for his cooking business.
Whatever he may be doing, you can guarantee that Juga-Naut will be putting his heart and soul into it.
Shortly after the beginning of the first lockdown last year, Jugz and I jumped on the phone to discuss his then new album “Bem” (read here). At that point in time, nobody could have foreseen that the circumstances we were living in would still be our shared reality over twelve months later.
Staying busy by dropping a handful of projects throughout the pandemic, Juga-Naut added another one to the list this week with the release of the excellent “Smoke Filled Room”, his second full-length collaboration with gifted producer Giallo Point.
In this interview, the Notts representative discusses trying to remain inspired under Covid restrictions, the world of social media and the importance of staying on your own path as an artist.
Let the smoke signals begin.
A lot’s happened since our interview last April with Covid changing all our lives in one way or another. What sort of impact has the last year or so had on you from a creative point of view?
“It’s had a big impact, man. We haven’t been living life in the same way that we were. For me, in my brain, a day I’ve had or a place I’ve been attaches itself somewhere and then when I sit down to write or make beats the influence comes out and you feel inspired. But we’ve not been living the same way, so we’ve not been out having those experiences. meeting people, going to new places, eating something different, having those crazy times that come out in my raps somehow. So I’ve not had that inspiration. So, in a negative way, it’s been hard to be inspired over this past year. But then when I have sat down to write, and a lot of this new album was written during this period, it’s made me have to dig deeper into myself and be more personal because that was the material that I had to use. But yeah, this past year has been hard because we’ve not been able to do shows and be around people and have those experiences, so it has been difficult to feel the fire I usually feel. I mean, I can always work, but I don’t like forcing it. When you force your creativity I think that’s when you start treading water and coming up with stuff that might be just good enough, but you’re not necessarily bettering what you did last time.”
You released the “Bem” album just before lockdown started last year and then “12 Bricks” with Micall Parknsun was released towards the end of 2020. How did you have to adapt to effectively promote those releases and do you feel they suffered because of the circumstances or do you think they perhaps got more attention because people didn’t have the usual distractions with so many of us spending more time at home?
“It was a double-edged sword for sure, man. “Bem” did really well. It came out before the pandemic and I was really pushing it. It also got picked up for a vinyl release on Daupe which did really well for me. I loved “Twelve Bricks” and I pushed it as much as I could when it came out in October last year, but it kind of didn’t go where it needed to go. I also did “Polo Palace” as well last year with Sonnyjim and Da Flyy Hooligan, which again was a wicked album but I think it was affected by the pandemic. There was so much music that was coming out with people putting out more than maybe they usually would have and stuff just wasn’t reaching people because there was this flood of material. Also, and it’s so s**t that we have to think about this, but the internet algorithms and social media stuff has been wild. man. Every single thing you see me do, except for the vinyl drops where labels have partnered with me, I do myself from a grassroots level. So you put all this work in to the music itself and then putting it out, and you’re kinda doing it and hoping for the best, man. I mean, I do a lot of the internet s**t to try and make it work, thinking about the best time to drop, what days, but it’s exhausting and you never really know what’s going to get picked up and what the algorithms are going to be okay with. It sounds so weak to talk about, but it has been a big part of this last year. Especially with some of the big companies seeing how people have been using the internet to their benefit and so they’ve messed with the algorithms which makes it harder to get through. So even though people have been at home more and have perhaps had more time, it’s been difficult to get the music and the videos into the hands of the people on their phones and everywhere else. I’ve got a really good mailing list and I’ve got a loyal following, but it’s getting the music to have a wider reach that’s been difficult.”
A struggle that has no doubt been compounded by the fact that everyone has been trying to do the same thing through the same platforms over this past year…
“The big part for me I’ve noticed is that I’ve always just put music out. I don’t have that thing in me as a person that makes me see everyone as competition. But because of the pandemic I think there’s been a dog-eat-dog capitalistic mind-frame that’s been exacerbated. So any music that’s out, people have jut seen it as competition so there hasn’t been as much sharing of each other’s work happening and trying to get more people involved in it. It felt like there was about three weeks last April when everyone was like, ‘We’re all in this together’, and then after that I feel like everything got real dog-eat-dog. Especially this year, man. I mean, I put out my “Been Away” video off “Bem” earlier this year and that was one of the best videos I’ve ever done. It really encapsulated Nottingham and a lot of effort, time, money, love and pain went into that, but it wasn’t received in the way I thought it would be, which was interesting. I felt a lot of distance which kind of helped me to push even harder, but at the same time I felt a bit alone after that which was weird. So yeah, I think this past year has felt very competitive and I think there’s been a lot of chatter rather than it being mostly about the music. Because we haven’t been able to do shows and connect with people in that way, it feels like it’s become more about what attracts people the most online. What’s the brashest, biggest thing that can capture someone’s attention rather than it being about the actual art, which is hard to deal with. It feels like a selfie of you can get more likes than your album that you’ve been working on for two years.”
We’ll get into social media a little further into the interview because I had picked up on a couple of lyrics on the album about that subject that stood out to me. But first, and correct me if I’m wrong and totally off the mark here, but to me this new album feels like it has a different tone to it compared to previous projects. Particularly with some of the dialogue snippets you’ve used with some well-known individuals talking about suffering for their art etc. For me, it felt like I was listening to an artist who has been perfecting their craft for a number of years now, you’re past trying to figure out why some people still aren’t listening, you’re on a creative path that you’re going to continue to stick to, and this album was about not only reaffirming your belief in yourself, but also about reassuring and inspiring other artists in a similar position to stay true to themselves and push on. Would you say that’s an accurate overview of what you were trying to get across on this album or am I totally wrong?
“That’s pretty bang on, man, pretty bang on. I’m glad you took something away from the dialogue samples that I used because to take it one step further, I used samples from Kurt Cobain, Amy Winehouse and Jimi Hendrix talking about being artists. They’re all part of the 27 Club. They didn’t make it to thirty-years-old. But they’re some of the greatest artists of all time and they knew what they were talking about. Now, for some weird reason when I was a kid, I never thought I’d get to that age. I don’t know why, whether it was my anxiety or growing up where I grew up, but I didn’t think I’d make it to thirty. At the end of the first track on the album, the title track, I’ve also got John Coltrane talking about being more lyrical with his horn and pushing himself further, and I wanted to use that bit of dialogue to highlight how I want to become even more lyrical and push myself more. People have often said I’m too lyrical, so I’m saying I’m going to become even more lyrical. Exactly like you said, this album is about me cementing who I am as an artist for myself and it is also about other artists out there who might listen to this album who need that little push to just continue being themselves and stay on their own path. Especially in this day and age when you don’t need to adhere to any of the bulls**t rules about what you look like, where you’re from, how much money you’ve got. All that stuff really is just smoke. It’s bulls**t. What happened for me this past year is that the veil really did drop around all of this industry stuff and all of the bulls**t. It really is just smoke and mirrors, man. I mean, I already knew that, but seeing so much of it unwind on the internet has just been wild, man. But what you said you took from the album is definitely correct and I’m glad you picked up on all of that.”
The way you’ve conveyed those sentiments on the album is just masterful though because you’re not banging people over the head with it or jumping up and down shouting about how people are going to miss you when you’re gone or talking about leaving the game or anything like that. You’re still doing what you do, but there’s just an added layer to it this time around that lets the listener know exactly where you’re at as an artist right now after a decade of releases.
“It can make you crazy and very bitter trying to please everyone so you just can’t do that. Everyone has got a piece of advice or thinks they know what you should be doing. Nowadays, everyone’s an expert except for the person who’s actually doing it. So I’m really glad you picked up on all of that in terms of the tone of the album. But that tone is also partly down to the beats Giallo Point gave me. We’ve got a synergy now and Giallo knows me as an artist after doing our first project together, “Back To The Grill Again”. But he really knew where to go with it for this album somehow and the s**t he sent me, I didn’t say no to many of them (laughs).”
So the beats on this album were tailor made for you?
“Yeah, they were made for me, basically. There’s fifteen tracks on the album, and I’d say that eleven or twelve of the beats on there were ones that Giallo made to send to me. The others were beats he’d done and put little snippets of online that I heard and I was like, ‘Bro, I need that!’ But Giallo is just so easy to work with, man. Like I said, that synergy is there and it’s always a really positive back-and-forth.”
When we did our interview last year talking about the release of “Bem” you mentioned that you didn’t feel embraced by the UK Hip-Hop scene. Do you still feel that way?
“Yeah. It’s hard because I know I’m a part of it, but at the same time it’s hard to feel cemented in the scene and embraced by it and like I said, it’s very competitive and dog-eat-dog. But I’ve got some amazing artists that are around me, some are associates, some are close friends. but they really have my back and I love that. But it’s hard, man. I mean, I hear little things, like people think I’m a problem because I am who I am and I’m good at what I do, but then I don’t get put in the conversations. It would have bothered me more a few years ago, but now I really am just telling myself to keep going with what I’m doing instead of trying to get into the cool kids club. I’ve never been that person, I’ve just always done my own thing. Which was hard when I was growing up, but it’s kind of the same in the Hip-Hop world. Sometimes it feels like being in the schoolyard, man. But I’m just going to be that same guy (laughs).”
There’s a lyric on the title track of “Smoke Filled Room” where you say “The modern age is a comedy script” and you mention Twitter. What are your thoughts on the influence and impact social media has on people in general, and more specifically on artists?
“It’s so hard not to get tied up in the bulls**t rather than concentrating on the art, as simple as that sounds. I mean, someone can put out some really good music that they’ve put their heart and soul into, but you’ll get more attention for talking some s**t about politics, or saying something about another artist. Or someone might misconstrue something that you’ve said. Just the wild other s**t that’s not about the art, man. I know that the simplicity of humans means we all like gossip and we all like dumb s**t, we all do at some point, but at the same time it’s so hard to not get caught up in it. But I just have something in me that says ‘I can’t do this’, all the back-and-forth s**t and putting all my thoughts and feelings online. It’s just such a weird landscape, man. But I think I’ve been able to deal with it quite well up to now, but this past year online has been wild. I mean, the way people judge each other and then will forget about someone in an instant, it’s just crazy. The microscope that we’re under online and the way we’re judged by each other is just so unhealthy. Unless someone has done or said something wildly despicable, you don’t need to be calling people out for some s**t. That energy could be directed in so many amazing ways, but instead we get into the gossip and the bulls**t. It comes down to that same tribal, throwing stones mentality , which is a very old, prehistoric way of doing stuff but people still seem to buy into it so much. The online world is just a strange ocean of information, personalities and egos, man.”
One of my biggest frustrations is the amount of time people will spend online talking about artists they don’t like whilst complaining that music isn’t in a good place, instead of using that time and those platforms to consistently support artists they do like who may really need the exposure. Plus, there can be a real sense of superiority involved in the way some people will try to introduce others to music they may not have heard, which I think can in turn actually put someone off checking out a particular recommendation…
“Yeah, man. It’s weird when people position it in a way where they’re saying ‘If you don’t know about this particular artist you don’t about music’ and stuff like that. Also, when people describe an artist as being slept-on or being your favourite rapper’s favourite rapper, I think that can sometimes put artists who’re really good in a position where people look past them because describing them in that way means that they’re not viewed as being fresh or new, so instead it’s a case of ‘Well I should of known about this person so I’m not even going to bother anymore.'”
There’s a line on “Eternal Sky” from the new album where you describe your love of what you refer to as the art life as being your biggest curse. Did you mean that in terms of everything we’ve just talked about and what you have to navigate in order to maximize your art to its fullest potential, or did you mean that being creative is a curse because it just isn’t something you can switch off and step away from?
“Exactly that. man. Whichever way I turn I’m up against it and my art is never ever something I can just drop. I mean, tomorrow I could say that I quit and I’m going to do something else, but I would never be able to get away from it because it’s woven into the fabric of my being. It’s who I am. I love what I do everyday and I include music, painting and cooking as all being part of that art life. It was my favourite director David Lynch who I heard say that he lives the art life. It’s about waking up every day and creating somehow. But it’s also a curse because it’s relentless. My brain is plagued with these thoughts that I need to do more. Or I’ll wake up at three in the morning with a new idea. That’s the art life. I can’t hold down a normal job. I mean, I’m not making the money I might make if I was doing a regular job, and that’s for real. I’m not some rapper that’s out here pretending to be rich. Far from it. I’m a working artist. I sometimes find that really difficult and that’s part of the curse, y’know. I can be around friends that I went to school with and they’re all making triple what I’m making. I’m not afraid to say that. But I have got the freedom that comes with being an artist, even though it’s not all roses. So I do think that deep, deep love I have for what I do, it is a curse, man. My mind is constantly working, creating, tying it all together, and then somehow I’m able to do the business side of things as well. I don’t know how, but I am. But like I said, it’s relentless, and that’s the curse of the art life. There’s a beauty to it, which is that I can wake up everyday and create, but at the same time it’s held me back in certain ways, But that’s the reality and the double-edged sword of what we do as artists.”
Because as hard as living that art life may be sometimes, the alternative of not doing that definitely isn’t going to lead you to happiness…
“Yeah. The choice is either not being happy much but being really happy when great things happen, or not being happy at all (laughs).”
As I said earlier though, what’s so good about this new album is that everything attached to what you do that may be seen as a negative, you’re still able to take that and craft something like “Smoke Filled Room” at such a high level, and incorporate those thoughts and feelings into your music but without it becoming the driving force in terms of your content. It comes across in the music that you’re at a different point now in life and you’re contending with certain things, but there’s still such an elegance to what you do and how you’ve put this new album together.
“Thank you, man. Elegance is such a great word, man. That’s really such a great word.”
It’s the best way to describe how this album sounds and feels to me. I mean, you listen to this album and it literally floats. As I was playing the album, I was thinking, it’s like you’ve been climbing a mountain for the last decade releasing your music. But now you’re at the top of that mountain in terms of the level of skill you’re operating at. There are still clouds around that sometimes can blur your vision and stop you from seeing off into the distance, but they’re just below that peak and you’re still stood on the top of that mountain having achieved as much as you have artistically over the years. You’re above those clouds and whilst your music may touch on certain issues this time around, it’s not weighed down by negativity, complaining or bitterness.
“One hundred percent. Thank you, man. That means a lot. I mean, I struggle saying these things about myself, but it’s a conscious effort to not be all those things, like bitter and negative. It’s a process you have to go through and it can be very tiring but I do it because that’s where I want to be. At the end of the day, when someone sits down to listen to my album, I don’t want them to be burdened with my bulls**t. I don’t want people to feel like listening to my music is a chore or a task. Also, can someone who doesn’t even listen to Hip-Hop put it on and be like, ‘Yeah, this sounds sick.’ That’s still always my goal. But it means a lot that you can hear I’ve got to that point on that mountain because getting to that point has been heavy on me. It’s been me climbing that mountain over the years with everyone telling me ‘Don’t quit! Keep going’ but not actually having much help on the way up (laughs). But I kept going and I’m glad I got to this place and you can see it. I feel like maybe above those clouds that are getting in my eyes there’s a very tall, jagged peak that I’ve still got to climb, but hopefully I can get up it. There are eagles flying around and vultures waiting for me to die, but I might get there (laughs).”
You released “Fine Furniture Vol. 1” earlier this year which showcased your beat-making skills. Are there plans to drop any more instrumental projects or produce for other artists?
“That project had to come out. I mean, I’ve been making beats for almost as long as I’ve been rapping. People had been saying to me for a long time that they’d love a beat-tape from me and I’ve always wanted to do it. So it just felt like the right time to put it out and I knew there were people out there who really wanted it. I’d love to get into producing for people more, but I’ve got so much going on, it’s difficult to take on projects. But I’d love to work more with upcoming artists and try and do some stuff. I mean, when I do commit to working with someone, I don’t just throw them something and expect them to work with it. It’s a real collaboration, man. So hopefully in the future when I’ve got a bit more time I can work with some already great artists and also some up-and-comers. But I have got a couple of things coming up. I’ve produced a whole project for Vandal Savage, who I’ve worked with forever and he’s my best mate, so I’ve done something for him which is very interesting. I’ve also produced an album for a rapper named Taja. She’s not put anything out before but she’s amazing. That should be coming out this year and it’s exciting because it’s her first ever project. She was on the last track on my “Bem” album and she really is wicked. I’m really looking forward to that coming out. There’s some different styles on there from me as well, like there’s a house track on there I did for her. But the way Taja’s spitting on there is crazy, man. I loved collaborating on that album and putting it together. I just love collaborating, man. That’s what the art life is all about. Just being in that zone and having that flow.”
How’s the cooking business been going?
“It’s been okay, man. I’ve had a few things on. It was hit hard by the pandemic, with a lot of my bread-and-butter work and normal jobs getting cancelled. But I’ve not been running around trying to do too much. I’ve just been trying to be careful with my family and everyone else. I mean, I could have done some things, but I wasn’t comfortable. But I have got some things on the cards with my catering and I can’t wait to get back into it because I love doing it. Obviously we’ve not been able to bring people together for my normal events like Food & Film and my pop-up shops, but hopefully it will pick back up again.”
So if you were to look back on all your releases so far, would you say “Smoke Filled Room” represents a line being drawn in the sand with you now entering the next stage of your career as an artist?
“I think so, I think so. It’s interesting you said that and I’m really happy you took that in from listening to the album. It’s also the reason why there are no features on the album. It’s just me and Giallo, back-to-back, really just focussing on the music and the message. That’s it. Line in the sand is a great phrase as well because that really is what this album means. This is where I’ve got to, this is the level I’m at and what I’m doing, and I’m going to try to continue going up. But if this was to be the last thing I did, I hope it’s a piece that people would consider as great. I mean, it’s not the last thing, but it definitely is that line in the sand. This is Jugz, full-stop. People in the past have said that they really like my music but that they don’t really know who I am or what I’m about. I kind of addressed that with “Bem”, but “Smoke Filled Room” is really about me digging in and showing people where I stand and the level I’m working at. This is me, take it or leave it. This is where I’m at. If you’re along for the ride and you love what I do, that’s amazing. If it’s not for you, c’est la vie. That’s cool. I’m not trying to please you. I’m never going be in that boardroom where people are telling me they’re going to make me a million dollars. That’s never going to be me and I know that. I’m going to be a working artist and I’m happy about that because it will keep me free to be who I am.”
Little Brother – “May The Lord Watch” (LittleBrotherNC.Com) – An absolute masterpiece of an album, this reunion project from Phonte and Rapper Big Pooh found the two North Carolina emcees offering mature, honest views and opinions on life, career and society, backed by the soulful thump of producers such as Khrysis, Nottz and Focus.
Ded Tebiase & Ash The Author – “Apex” (VillageLiveRecords.Com) – Succeeding in their shared mission for 2019 which was to “step the levels up”, this joint effort from UK producer / emcee combo Ded Tebiase and Ash The Author was full of sublime, drum-heavy beats and sharp, charismatic wordplay. Tebiase proved himself to be a true master of his craft here, blending the influence of golden-era greats with his own sonic personality, whilst Ash remained lively and engaging throughout. Brilliant musical team-work.
Sleep Sinatra – “Sources Of Nature” (GourmetDeluxxx.BandCamp.Com) – Delivering more of that “intricately manufactured quality product” that he’s become known for, Sleep Sinatra continued his run of consistency with this Custodian Of Records-produced project. Showcasing his impressive brand of thoughtful, introspective wordplay over melodic, full-bodied beats, the Nebraska-based emcee once again proved himself to be a lyricist who is clearly invested in elevating the art of rhyme.
Kev Brown & J Scienide – “Drum Machine Tape Cassette” (KevBrown.BandCamp.Com) – The DMV duo shared their undeniable creative chemistry throughout this full-length collabo project, packed with impressive beat science and accomplished verses. Grounded in a satisfyingly raw and spontaneous dusty basement sound, this album proved itself to be a joy for crate-diggers and lyric-lovers alike.
Knowledge The Pirate – “Black Cesar” (FXCKRAP.BandCamp.Com) – Following up 2018’s “Flintlock” album, East Coast emcee Knowledge The Pirate dropped more street-related rhymes from an OG’s perspective on this Elemnt-produced project. Detailed, cinematic verses sat perfectly atop a meticulously crafted selection of loops and samples.
Big Tone + House Shoes – “Big Shoes” (StreetCornerMusic.BandCamp.Com) – Years of combined personal Hip-Hop history were poured into this collaborative effort from Big Tone and House Shoes, two individuals who each played a key role in the Detroit Hip-Hop scene during a pivotal period for the city in terms of it receiving attention on a global scale. Aside from dope bars and quality production in abundance, this album resonated with experience, passion and determination.
Ronnie Bosh – “All People Expect” (HighFocus.BandCamp.Com) – Full of character and understated swagger, this long-awaited debut album from London’s Bosh definitely delivered the goods. Mixing punchline-heavy verses and concept-driven tracks with infectious hooks and the well-executed production of Dirty Dike, this was a slow-burner that offered something new each time you played it.
Murs – “The Iliad Is Dead And The Odyssey Is Over” (MursRaps.Com) – Time has proven again and again that when former Living Legends member Murs gets together with producer 9th Wonder, good music is guaranteed. This concise project from the LA lyricist (featuring additional musical input from 9th’s Soul Council) continued that tradition. Murs’ talent for blending humour, social observations and emcee arrogance was in full effect here, backed by brilliantly tailored production which gave his personality-filled rhymes just the right amount of sonic kick.
Freddie Gibbs & Madlib – “Bandana” (Madlib.BandCamp.Com) – Following up 2014’s brilliant “Piñata”album, sonic odd couple Gibbs and Madlib once again demonstrated that opposites really do attract, with Freddie’s Indiana-influenced gangsta rhymes sounding right at home over the eclectic, unpredictable sample-heavy soundscapes of the West Coast producer.
DJ Muggs & Crimeapple – “Medallo” (SoulAssassins.Com) – Another fine example of Cypress Hill’s Muggs keeping his ear to the underground, this release found the LA-based producer linking with New Jersey’s Crimeapple, an artist who has steadily built a buzz for himself over the last few years with his sharp lyrical wit. The sparse, stripped-back sonics heard here gave the East Coast artist’s verses plenty of room to breathe, allowing Crime’s skills to be fully appreciated.
MED & Guilty Simpson – “Child Of The Jungle” (BangYaHead.BandCamp.Com) – An entertaining meeting of two sonically like-minded individuals, this joint effort from Cali’s MED and Detroit’s Guilty Simpson was organic, impressive and thoroughly enjoyable. The pair delivered blue-collar bars throughout, backed by some of the finest production of the year from the likes of Madlib, Nottz, Apollo Brown and more.
Griselda – “WWCD” (ShadyRecords.Com) – Having flooded the market in recent times with a string of quality solo projects, Buffalo’s Westside Gunn, Conway The Machine and Benny The Butcher finally delivered the crew album that Griselda fans had been waiting for. Produced by Daringer and the UK’s Beat Butcha, this project was another dose of uncut street music, with the trio showing no signs of running out of hard-knock stories to tell.
Nolan The Ninja – “SPORTEE” (MelloMusicGroup.BandCamp.Com) – Detroit’s Nolan The Ninja rhymes like his life depends on it, and that sense of urgency was felt throughout this 5YNot-produced album; a well-crafted collection of vibrant, energetic verses, broken beats and crackling samples. The Motor City artist’s passion for Hip-Hop could clearly be heard on every track included here.
Micall Parknsun & Giallo Point – “The Magnum Opus” (GialloPoint.BandCamp.Com) – Arguably the hardest working producer of 2019, Giallo Point closed the year out alongside fellow UK representative Micall Parknsun, delivering this epic sixteen-track project packed with robust rhymes, understated, drama-fuelled loops and strong appearances from the likes of Da Flyy Hooligan, Juga-Naut, Jehst and more.
38 Spesh & Big Ghost Ltd – “A Bullet For Every Heathen” (38SpeshAirVinyls.BandCamp.Com) – Continuing his relentless work ethic of recent times, Rochester, NY’s 38 Spesh teamed-up with the mighty Big Ghost Ltd for this impressive display of gritty, street-related beats and rhymes. Vivid verses matched with atmospheric production ensured this project stood-out from those in a similar lane.
Sean Price & Lil Fame – “Price Of Fame” (SeanPriceLilFame.BandCamp.Com) – Tag-teaming like a heavyweight Hip-Hop wrestling duo, the late, great Sean Price and M.O.P.’s Lil Fame delivered some good old-fashioned Brooklyn hard-rock flavour on this rowdy collection of stripped-down beats and New York straight talk. BK all day!
junclassic – “SIZE: Husky” (junclassic.BandCamp.Com) – Veteran Queens, NY emcee junclassic dropped a new addition to his already extensive catalogue of unique Rotten Apple rap in the form of this quality Husky-produced project, which mixed true-school sensibilities with moments of musical experimentation.
Klashnekoff – “Iona” (Klashnekoff.BandCamp.Com) – UK rap legend Klashnekoff has always had a talent for injecting heartfelt emotion and personal experience into his verses, but on this particular project (his first for seven years), the London emcee proved that his pen game had elevated to even higher heights since we last heard from him. A concept-driven album, based around the loss of his mother, K-Lash poured raw honesty and feeling into every track here, resulting in a genuinely soul-stirring listening experience.
Pounds x Buckwild – “Trafficante” (Pounds.BandCamp.Com) – Rochester, NY’s Pounds paired his gruff, street-savvy delivery with the dusty-fingered production of Diggin’ In The Crates legend Buckwild for this brooding collection of East Coast head-nodders. Appearances from Roc Marciano, Benny The Butcher and Crimeapple added further lyrical weight to the project.
Foreign Beggars – “Matriarchy” (ForeignBeggars.BandCamp.Com) – Since the 2003 release of their classic debut album “Asylum Speakers”, London’s Foreign Beggars crew have built a strong reputation for delivering genre-blurring beats and rhymes of the highest standard. This final long-player from the group was a brilliant blend of styles, offering a grateful nod to the late-90s / early-2000s UK Hip-Hop scene the Beggars came out of, whilst embracing the more contemporary sounds of the present day. Sonically refreshing and lyrically inspiring, this was a fitting way for the FBs to say farewell. Thanks for the musical memories!
Inimitable UK emcee Sonnyjim delivers larger-than-life rhymes over smooth production from the ever-consistent Giallo Point, with Estee Nack, Crimeapple and Vic Spencer on-hand to offer lyrical assistance.