Flames Dot Malik x DVNTBEATS x Pastelle Records "Two Face" [ALBUM]

Flames Dot Malik raps out of Rochester, New York and records for Benny the Butcher's Black Soprano Family. Two Face, released today, is a thirteen-track album produced by DVNTBEATS with Pastelle Records a Chicago label with DVNTBEATS as its in-house producer taking a third billing alongside the artist and the beats. That's an unusual triangle: a Rochester MC, a Chicago label and the producer between them. The format is the decision Thirteen tracks in twenty-three minutes. Almost nothing crosses the two-minute mark; the opener "Joe" runs 1:22, "Vietnam" 1:21, "Wrist In The Jar" 1:32. This is not an album of verses with room to breathe, it's a run of statements, and at that density the sequencing has to do the work that individual songs usually do. Guests are used sparingly Hunnaloe on "Magic," DJ Lucas on "To Whom It May Concern," Panamera P on "Wrist In The Jar" and the rest is Malik alone. Context Malik has been prolific across two lanes: BSF records with the extended Butcher network The Fix 2 in August carried Benny, Fuego Base, Estee Nack and Che Noir and a parallel run with Pastelle and DVNTBEATS, including Scarface last November. Two Face sits firmly in the second lane, and it's worth noting that one of its strongest tracks, "Mirrors & Smoke," already came out as a single with a video in September. Anyone who followed that one knows what the album sounds like. No mix or mastering credits are listed. For listeners who like their rap concentrated rather than sprawling, twenty-three minutes that refuse to pad is a better offer than most hour-long records.

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Los Chicos Criollos & RUEN "GunPowda NoseBumpz" (feat. Daniel Son) [VIDEO]

Los Chicos Criollos Kingdom Kome, an American MC, and Che Uno out of Toronto, operating out of Miami have put a video to "GunPowda NoseBumpz," and the reason it matters now is the date attached: Merca Musica, the duo's first album produced entirely by RUEN, arrives on November 10 through Walking With Enoch Music. That's the piece of information this release finally settles. The track itself is one of two singles put out ahead of it, and it carries Daniel Son, whom Kingdom Kome describes as "Che's people" a Toronto connection rather than a booking. RUEN produces, and the beat is built for two MCs switching between English and Spanish mid-verse: "Kingdom Come Latino Americano de la selva," Kome raps, and later "Every bar kicked like kung fu. War room cadence." The hook does what the title promises "doing nose bumps of gunpowder" and the whole thing sits in the rugged, unpolished register the duo has worked in since the Brujos tapes. The album title is the best part of the concept. Roughly translating as street slang for dope music, it lets Kome make the joke explicitly: "we are trafficking this pure uncut and unfiltered product, which is our music." Two MCs with shared Argentine roots calling their own distribution network a smuggling operation is funnier than most album concepts manage. The previous single, "Olmedo Y Porcel" named for the Argentine comedy duo was shot at a café in Toronto. No director is credited for this one.

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The Premonist "RETURN OF SPOOKYMAN" [EP]

 

The Premonist produces out of Phoenix, is part of the Ugli Business collective, and came up as a member and producer of The Society of Invisibles. RETURN OF SPOOKYMAN is six tracks and just under eleven minutes closer to a mini-album than a full record and he produced, mixed and arranged all of it himself. The shape is deliberate: a seventeen-second intro, four songs, a sixty-seven second outro. Sunn Sunn and Judgement appear twice, on "PEDIGREE" and "MARCH OF GRIEF"; 2UGLi takes "EVERYTHING IS UGLY" and returns for "ELVIRA" alongside Blizz From Juice. That's a tight cast for eleven minutes, and nobody gets a wasted bar. Reading the titles "March Of Grief," "Elvira," "Everything Is Ugly" and knowing the Ugli Business affiliation, this sits in horror-adjacent underground rap, though nothing in the credits says so outright. The one-minute closing statement and the fact that the record refuses to pass fifteen minutes suggest a project built as a mood piece rather than a statement. No mastering credit beyond the producer's own mix, no artwork credit, no label. Eighty releases into a catalogue that includes Violent Messiahs and Meet The Cannon Makers, The Premonist has stopped making records that explain themselves. This one is short, self-contained, and better for it.

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Lord Juco & Jamal Gasol "Book Of Revelations" [VIDEO]

Casino Niagara is four tracks and ten minutes and two seconds Book Of Revelations, Das Ruger, Child Support, Holly Robinson with production by The Standouts and Sayzee. There's no fat on it, and the scale is the point: a short collaboration between two MCs rather than a full-length padded out with interludes. Lord Juco raps out of Toronto and has a deep catalogue behind him White Walls, Raised Right, Two Birds working in a lane that runs through Asun Eastwood, Daniel Son and Estee Nack. "Book Of Revelations" opens the EP, and the video, directed by Manolo 3rd Eye, is the new element here. The verse is compact and apocalyptic in the way the title promises, but it's the small details that land it: "I do this for my people like Huey Newton," "Money and violence keep the chains moving," and then the record's sharpest turn "Y'all normalizing devil shit. That's Pazuzu," invoking the Mesopotamian wind demon rather than anything from the Christian canon, which is a better reference than the title suggests. Juco closes on "You either evolve or die. Most of you won't survive." No mix or mastering credits listed. Already covered here as a project when it dropped; this is the visual, and the opener is the right one to have picked.

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Emerg_Da_Mc "7 Laws" (Prod. TMB The Master Of Beats) [ALBUM]

 

Emerg_Da_Mc records out of Atlanta and has well over a hundred releases on his own page, most of them full-length projects made with a rotating cast of producers BK Bonez, Bobo Production, Kiza G Beats, Wilderness and now TMB The Master Of Beats. At that rate, cataloguing stops being useful and you start looking at what the titles are reaching for. 7 Laws is eight tracks and about nineteen minutes, released at the end of last week. The running order gives you the framework: "Center Thyself," "Find Kingship," "Come Home," "Raise Your Hands," with "GhxstFace Pt.2" featuring DjG1 and King Bobo taking two spots. The tagging on his own page reads conscious rap, god hop, boom bap and psychedelic, which is a self-description rather than a genre ruling but tells you where the intent sits. What's honest to say is that I can't tell you what the seven laws are. There's no lyric sheet published, no transcript, no statement the title track runs 2:46 and the content isn't recoverable from the credits. That's a gap, and it's better named than filled. What the structure does show is an artist working in short forms with a devotional throughline: two tracks under two minutes, nothing over three and a half, and a title sequence that reads like instruction rather than entertainment. For listeners who work through the Atlanta underground outside the industry pipeline, this is a prolific and consistent name.

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Son of Tony "Foresight (Heirowayne Mix)" [VIDEO]

Son of Tony has already paired "Foresight" with "Black House" in a black-and-white video from the forthcoming More Than I Was project, with production split between Standoutmusik and Heirowayne. This is the song on its own the Heirowayne mix, in colour, two minutes eighteen, shot again by Scorcese Tiz. The separation suits it. Heard alone, the verse reads as a single sustained meditation on foresight and its cost. "I possess foresight and I'm with the force like frigid temperatures," he opens, and then spends the rest of the record on what foresight is actually for: funerals. "There's ghosts in every hood. Try some of them die young. Memorials everywhere and teddy bears don't describe them." The detail work is doing the lifting medics who arrive too late, balloons and candles that don't answer anything. "So what's balloons and candles when you zipped up by a vandal?" The closing movement is the sharpest part, because it turns the title into an accusation about witnessing: they'll read about it in the paper, he says, written in black and white the phrase doing double duty and by then it's already happened. Then: "Phones got recorders." That's the whole modern condition in three words. No label or mix credits listed, and More Than I Was still has no date. The hashtags point to Buffalo; a sampled voice at the top of the track mentions San Antonio, and I can't resolve which one is home.

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Polo Baby Flako "TAMAGOTCHI" (feat. RJ Payne) [SINGLE]

Polo Baby Flako works out of Kissimmee in Central Florida, describes his sound as gritty boom-bap-influenced street music, and also shoots video which is worth knowing, because it means the visual side of this operation is being handled by the artist rather than a hired crew. "TAMAGOTCHI" is his new single, produced by Ty of Dirty Bakerz, with RJ Payne on the feature. Two things make it worth more than a mention. First, the producer: Ty of Dirty Bakerz is a new name and the record is built to put him forward rather than bury him, which is rarer than it should be on a single with a name guest attached. Second, the guest RJ Payne has been recording across several generations of this music, and Polo stepping into that company rather than trading sideways is a deliberate choice. Polo's working method, described in an interview late last year, is to record verses in one take with no punch-ins and let the beat determine the cadence and the emotion. That approach produces a particular kind of record committed, slightly rough at the edges, never second-guessed and it's audible in how the verse sits. Two minutes forty, and it's the first single from a forthcoming EP called Half A Dozen, scheduled for early November. No mix credits or label listed. For listeners tracking the Florida underground outside the Miami orbit, this is a name to log.

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Motman & Raggo Zulu Rebel "Konahriks Time Goes On" [VIDEO]

Motman and Raggo Zulu Rebel have been working as a duo since 2021 under the name Konahriks, and the title of this new one puts the group name out front, which is either a signal or just a title. Either way it's the first Konahriks material since Everyday Blues in 2023. Both artists come out of Bristol Motman from the south west of England, based in the city, releasing through Runt Life Records and the producer is Micall Parknsun, who has built five albums with Motman on his own: The 3rd Tier, The Fourth Quarter, Plead The Fifth, Revenge Of The SiXth and Sunburn, which came out in the spring. That's a ten-year working rhythm, and it shows in how unforced this sounds. The hook is a contradiction held in place: "Felt so right but it's still so wrong / No matter what they try to say, life goes on." Motman's verse sits inside it "Sometimes I feel like an insane clown on a spiral slide," and then the old proverb, bent slightly: "the road to hell's paved with good intentions." Raggo takes the back half and lands the record's best couplet: "Been a long way from doing free events / Now I'm trying to get paid for my speech." Dfacer shot the video. Two minutes forty-two. No mix credits listed, and no confirmation yet whether this is a one-off or the front of a new Konahriks project worth watching either way.

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Elgee da Beatdetonator "GRIM NIGHT" [ALBUM]

 

Elgee da Beatdetonator produces out of the Netherlands, and GRIM NIGHT has been out since the start of the month nine tracks, just under twenty-five minutes, and built as a producer record rather than an artist album. That distinction matters, because the guest list is the point. G Fam Black takes "Savage 24/7." Greybeard gets "And You Don't Stop" and is credited with cuts as well as writing, which is the only explicit turntable credit on the record. "Rude Awakening" stacks four voices Assa, Chron Burgundy, Mic Dyson and Benzo. FunkySparrow appears three times, on "Blink of an Eye," "Marked for Death" and "Embrace." Gamblez tha Lucky Bastard, L.E.O., Mista Sweet, Mister Personal and the Siversmiths fill out the rest. Fifteen releases into his own catalogue, Elgee has clearly spent that time building the address book. The sequencing is tight: a forty-nine second "Night experience" as an opening statement, then eight tracks that stay between 2:48 and 3:20 and never sprawl. Each guest gets a single feature, no repeat pairings except FunkySparrow, and the record moves rather than settling. No mix or mastering credits are listed, and there's no label attached. For listeners who follow the transatlantic underground circuit the American MCs working with European producers, which has quietly become one of the healthier scenes of the last few years this is a well-assembled entry.

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Blaze Gee "DARKSIDE" [VIDEO]

Blaze Gee comes out of Springfield, Massachusetts by the look of the tags boom bap, street music, and the rest and "DARKSIDE" is a new video shot by Lavish Life Films over a Jamar Johnson beat. It runs under two minutes, and that's the honest scale of it. The verse is a straight piece of street economy with no hook cushion: "My first four bricks of sniff cut them all in half / Then gave eight [] five and I saw the math." It's craft talk the arithmetic of cutting product, the standard he holds himself to ("If the coke ain't locking correct, then it's not me") and then it turns, which is where the record earns its two minutes. "The laws we living by daily and the oaths we took / Glad I don't got [] to hide, I'm a open book." And the line that closes the thought: "I lost it all, discipline is what it taught me." That's a rarer move than it sounds. Most street records either celebrate or mourn; this one does the accounting. "Writing rhymes only time that I'm telling truth" sits in the middle of it as the justification. No label, no mix credits, no biographical material available on the artist three separate searches turned up nothing, so this stays close to the record. Almost two minutes, and worth them.

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Audio Messiah & KHEYZINE "CHATGOD" [EP]

 

KHEYZINE is a French beatmaker working out of Bordeaux, and CHATGOD is his new six-track EP with Audio Messiah, an emcee from the Pen Lordz camp. KHEYZINE produced and arranged the whole thing and did the cover; BOSSY mixed and mastered. It arrived today, and it runs about sixteen and a half minutes. The title track shares its name with the project, and the running order makes the argument before you hear a bar. "Rage Against The Machines" opens. "A.I (Allah's Intelligence)" sits at three. "ChatGod" closes. Read together, the titles put machine intelligence and divine intelligence on opposite sides of the same question, with the pun on A.I. doing double duty artificial or Allah's, depending on which track you're on. That's my reading of the sequencing rather than a stated concept, but it's hard to hear it any other way. Four of the six tracks carry Pen Lordz features, and the duo's Fam Ross and Arsinel are named on the release. The two tracks without them "Black And White" at 2:13 and "Body Problem" at 1:16 are the shortest on the record, which suggests interludes rather than full songs, though the credits don't say. Six euros sixty-six, which is a deliberate number for a record about faith and machinery. For listeners who follow the Pen Lordz orbit, this is a producer-led entry point with a real idea behind it.

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Taj Austin "GODBODY FOLKLORE" (Prod. by Jake One) [VIDEO]

Taj Austin is one of four MCs in Coast Contra, the Los Angeles group he formed with his twin brother Ras Austin alongside RioLoz and Eric Jamal a crew that made its name on straight-ahead rap craft rather than a gimmick. Since early October he's been running his own parallel series, "Saturday Rap Cafe," releasing one piece a week with no stated end point. This is the third instalment and the producer is Jake One, which is the reason it lands. Jake One builds warm and unhurried, and Austin uses the minute he's given to compress rather than stretch: "I peep the economics in the words / Let's break them down like phonics" is a thesis about reading language as a transaction, and the verse moves from there through grace, gumbo and rice to "smooth as James Brown estate." It's dense, devotional without being preachy, and it fits inside sixty-eight seconds without feeling clipped. The two that came before it "Just Blue" with Rzu, then "Thank Yall Niggas" with Khrysis established the format as a producer showcase more than a theme. Jake One is the biggest name yet, and the pairing suggests Austin is calling in people he wants rather than beats he can get. No camera or edit credits are listed. Short, deliberate, and worth the minute.

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E Murda x Reke x Jotabit "El Mejor" [SINGLE]

Three names, and the one worth knowing about is Reke. Gustavo Ferrín, born in Caracas in 1983 and raised in Catia-Gramoven, is one of the foundational figures of Venezuelan hip-hop he came up through Guerrilla Seca and Subterráneo Records in the late nineties, released his solo debut El astronauta in 2010, founded the Una Sangre social project, and eventually emigrated to Europe as the country collapsed. Eleven albums deep, he is not a guest verse you book for reach. On the other side is E Murda, an American rapper whose credits run through the Griselda and Black Soprano Family orbit "Stuntman" with Conway the Machine, "Stay True" with Benny the Butcher, and 2nd Degree Murda last year. The two have worked together before, on "3030 Rifle" with Maverick Magadino in 2024. "El Mejor" runs two minutes fifty-five and is filed as Latin rap. Beyond the three-way credit there's very little published: no producer named, no mix details, no artwork credit, and nothing verifiable on Jotabit at all, who appears to be the third voice. What makes it worth a listen anyway is the collision. A Caracas veteran who spent two decades documenting a country's collapse and an American street rapper from the Benny the Butcher extended network are not obvious collaborators, and the track exists because of a relationship rather than a placement. Title aside "the best" this is a handshake record, and those are usually more interesting than the boast.

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Rap Noir "The Professional" [SINGLE]

 

Rap Noir is Black Hoodie and UnJust, and it's worth saying who that is: Black Hoodie is Tajai from Souls of Mischief and Hieroglyphics, working under an alias, and UnJust produces Chosen Few, First Light, and a long run of records besides. Since 2018 the project has been built as film noir rather than rap: Tajai narrates "tales of crime, vice and passion" instead of starring in them, and he's described the persona as sitting somewhere between Rod Serling and the Crypt Keeper the voice that introduces the story, not the one who commits it. The hitman monologue "The Professional" is exactly that, and it's the most disciplined thing in the catalogue. The hook is an instruction: "I get that call? You gotta go / If don't nobody know, don't nobody know / This ain't your amateur hour, I'm a professional / Have a seat, welcome to the murder show." Then the details that make it work "My office? A box with a cot and a weapon wall / Small kitchen, no children, no bitches, just a couple old benches." A contractor describing his workspace, and the banality is the point. The closing couplet is the sharpest in the whole piece: "I ain't paranoid I'm cautious / I ain't cheap murder costs / I ain't sloppy, I take pride in mine / I'm never late I be right on time." UnJust builds underneath with room for the voice to sit forward, and Tajai doesn't raise the volume once. The release itself It's the second single from the forthcoming WORK/RELEASE EP, and the rollout is genuinely unusual: the project pairs each single with its own customised Carhartt jacket colourway, made with the Osaka design outfit Viva La Mort. This is the second one gravel duck, "Viva La Rap Noir" crest limited to a hundred, four hundred dollars, made to order. The single ships with two versions of the same track, the second labelled "Final Master Mix." That's a strange and interesting way to release music in 2026, and it fits a project that has always treated itself as a film rather than a discography.

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Spectacular RGM "Freestyle 6" [VIDEO]

The "F Series" is a run of freestyles from Spectacular RGM, described in the release note as a super group, and this is the sixth instalment. It runs fifty-eight seconds. That is very nearly all the verifiable information attached to it. There are no production credits, no line-up listed, no press page, and no biographical material on the group itself the video surfaced through the channel of Ja'Preme Magnetic, a Washington, D.C. artist who also records as Patagonia Preme and has a deep catalogue of EPs behind him. Whether Spectacular RGM is his project or orbits it isn't stated anywhere I can confirm. Under a minute, a freestyle is a statement of intent rather than a record, and assessing it as more than that would be dishonest. What can be said: the series is being built deliberately, numbered and released one at a time, and number six is out now. For anyone tracking the D.C. underground, the name to watch is the one on the channel.

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Tone Chop & Frost Gamble "Missing Links Vol. 2" [EP]

 

Most artists announce an album and then record it. Tone Chop and Frost Gamble are doing the opposite: Missing Links is the material they recorded over years and never put out. The duo's own framing is blunt "we have recorded far more music than we've released" and the series exists because leaving it unreleased seemed worse than releasing it late. Some of these tracks are close to a decade old. Others were cut in the years leading up to Beautiful Foundations. The second volume arrives this week, five tracks and about fifteen minutes, with DJ Looks featured on "Trampled On." Volume one came out in September; volume three is scheduled for late November. Why this is more interesting than an outtakes dump The premise sounds like a vault-clearing exercise, and usually that means a folder of leftovers. What makes this one worth attention is the shape of the partnership. Frost Gamble produces out of Winnipeg; Tone Chop raps out of Binghamton, upstate New York. They have spent more than a decade working across an international border as a two-person unit, and the backlog is a structural consequence of that arrangement rather than a sign of indecision you accumulate sessions faster than you can place them when the whole operation is two people. The line on the release page is the one to hold onto: "Great music doesn't always arrive on the original schedule." That's an artist defending work that missed its moment, and it's a better argument than pretending the timing was deliberate. No mix or mastering credits are listed. For listeners who've followed the duo since Beautiful Foundations, this is the best kind of archival release not demos, but finished records that simply never had a home.

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QB Rap P "QBC Stomach" [VIDEO]

"QBC Stomach" has a video now, three months after the album it comes from. qbc bklyn queenz day a joint record credited to qb rap p and bash came out in the middle of August: fourteen tracks, most of them produced by Rap P himself, skits placed between the songs like a tape rather than an album. The track is number three, and the album version runs four twelve against the video's three. The hook does the work and it's a good one: "Eyes be too big for they stomach." Rap P takes the idiom about ordering more than you can eat and points it at rappers who have taken on more than they can carry "Rap cats don't keep it a hundred," over and over, until it stops being a boast and starts being an indictment. The second half of the verse turns reflective: "I left the childish games alone and start living / I put down the drugs … Invested in property, conscious decisions. / I love hip hop but the love is missing." That last line is the one worth sitting with, because it's the only moment where the record stops prosecuting other people and admits something. Rap P's delivery is clipped and conversational, and he's working in the register where the point is the argument rather than the flow. No director credit is listed for the video. Rap P records out of New York, and this is a solid entry point to an album that didn't get much of a press cycle in August.

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Kool Keith "Wall Street / Rework" [SINGLE]

 

"Wall Street" is not a new Kool Keith song. The original came out at the end of 2021, produced by Junkaz Lou, and later turned up as track nine on Mr. Controller. What's arriving now is the same vocal, rebuilt: Mister Modo & Ugly Mac Beer have produced it from scratch again, and the release is called a rework rather than a remix. The label's own reasoning is that the track was "completely flipped … with a fresh production," which is a distinction worth taking seriously a remix adds to the original, a rework replaces its floor. There's precedent for this pairing. In 2020 the same French outfit reworked "Wood Grain Panels" from Computer Technology with the identical arrangement: Junkaz Lou's original on one side, their version on the other, pressed as a seven-inch. This one follows that format exactly rework on the A-side, instrumental on the B on pink vinyl, 300 copies, through Beatsqueeze. Artwork is by Veenom. Three minutes seventeen, out at the end of the month. The interesting question isn't whether it's good, since nobody outside the pressing plant has heard it yet; it's that Kool Keith has spent a decade letting other producers rebuild his vocals over entirely new beds, and treating that as a release format rather than a bonus track. At 26 releases deep on his own page, this is a man who has stopped distinguishing between the catalogue and the variants.

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MC Eiht "8 LAWZ" (feat. Glasses Malone) [VIDEO]

MC Eiht turned 59 this year and has been recording since he was a teenager in Compton's Most Wanted, so the context for "8 LAWZ" isn't the single it's the album. The Story of My Life arrives this week, twenty tracks and just over an hour, and it lands roughly a year later than the date originally announced back in the autumn of 2025. When it was first discussed, Eiht said it "might be the last album." The rollout Ferhan C produced the record, and he's produced the singles too "Everyday" with Conway the Machine, which led, and now this with Glasses Malone as track one. The guest list is the argument: Conway, Pete Rock, B-Real, Dave East, Jay Worthy, Brotha Lynch Hung, and Tha Chill, Eiht's running mate from Compton's Most Wanted. Eiht and Conway have history "Honcho" from Lessons in 2020, also a Ferhan C beat, with DJ Premier on the cuts. The joke in the hook "8 LAWZ" is a numbered-code record, and the structure is a deadpan bit. Eiht runs through the count: law two, get the dough. Law three, get the dough. Four, five, six, seven all get the dough. Then law eight: never keep a real one waiting. Seven identical commandments and one that isn't about money at all, delivered in the flat, unbothered voice that made him one of the most recognisable presences on the West Coast. Glasses Malone takes the back half and matches the register rather than trying to out-do it. The beat is hard and uncluttered, the way Ferhan C has been building them for this campaign. Eiht gets in a nod to Ice-T and drops "eight chill banging" as a small signature. Whether or not this is really the last one, it's being rolled out like a career summary and the guest list suggests people showed up for it.

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DJ LOTMIX - LOTMIX SHOW - S8 EP08 [Boombap Mixshow]

 🔊LOTMIX SHOW - S8 Ep08 by Dj LOTMIX with Mixtape Addict 

feat NAPOLEON DA LEGEND | BUSTA RHYMES x LIL WAYNE | APOLLO BROWN x SKYZOO | VIC MONROE | INDIGO PHOENYX | SLIK JACK &more

Prod by J DILLA | VINZ VEGA | TONE SPLIFF | VINCENT PRYCE &more

BROADCASTED WORLDWIDE over +65 radios on

🇺🇸 🇫🇷 🇩🇪 🇿🇦 🇬🇧 🇦🇺 🇨🇴 🇬🇷

 

BROADCASTED WORLDWIDE over +65 radios

🇺🇸 KSHZ | GCR RADIO | BLAZE1RADIO | IGR MIAMI RADIO | THE RAW UNDERGROUND | WNRV1081/Nervedradio | WE ROCX R920 | STREET TAKEOVER | ON THE RISE RADIO | GROUND UP RADIO | LIVE SIDE RADIO | KAWON J MEDIA | 216 THE BEAT RADIO | QSM RADIO | DALLAH RADIO | HUSH Music Radio | DPS Radio | PUSO 82.3FM | BIG SHOT RADIO | KDUB RADIO | HUSH Music Radio | 168Radio | Dream Team Promo | Power904 Radio | THE HILLTOP RADIO SHOW | BLAZIN MICS FM | RICH RADIO BKNY | Urban REALITY Radio | LEGAL CRIME Radio | Radio JLR | BEATS LAB Radio | DCN COMPANY Radio | MEDIA MADE MUSIC Radio | DIS n DAT Radio | BREAKING TRACKS Radio | BUSHWICK Radio | WHN NY Radio | MIXAPE HEAD radio | MOTION 95 | Rebellion 91FM | MECCAH MALOH Radio | MY DETROIT HUSTLE Radio | 94.4FM JAMS VALDOSTA | INFINITE PLUG Radio | WBX 107.1 | WE BLAZIN HIPHOP | PLUGG CITY Radio Fm | SGM Radio | LOUD LAB Radio | Insanely Gifted Radio
🇫🇷 APOLLO RADIO | RADIO RAPTZ | STREET HITS WEBRADIO | MUSIC ADD ROUEN | BPM WEB TV | RADIO KLAN-D | PUNCH RADIO | VYBZ FM | STAYHIGH Radio | RADIO LASER | MOB RADIO87 | FREQUENCE MOJITO
🇩🇪 DIGITAL MEDIAVERSE | PELIONE Radio 
🇿🇦 UBUNTU FM HIPHOP
🇬🇧 INTERNATIONAL FLEET RADIO | LWR Radio
🇦🇺 KLR RADIO | TUNE1OZ
🇨🇴 WARRIOR FAM
🇬🇷 GHOST12 Radio | DREAM CITY Radio

Podcast on 
🇺🇸 MJS Connex
🇩🇪 HH Headz | World Wide App
🇸🇰 NOBE OF YOKOMIX RAPZ
 

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Terror Van Poo "OLE ASH KUSH" (feat. Pretty Bulli) [VIDEO]

Terror Van Poo and Pretty Bulli have put a video to "OLE ASH KUSH," the Stu Bangas-produced track that's been circulating as part of the Bernadette Price EP. ReemoFilmedIt directed. Bangas the Boston producer whose credits run deep through the underground supplies a hard, uncluttered beat, and the two voices trade across it without a hook doing much work. Just under three minutes, no fat on it. Pretty Bulli's verse is the sharper of the two. The song itself has been covered here already; this is the visual, and it's worth a look for anyone who followed the EP. Beyond the credits listed there's little new verifiable material no label, no mix details, no transcript available so this stays short on purpose.

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Wu-Tang Clan, LEE YOUNG JI, Jay Park & E SENS "C.R.E.A.M. (Call of Duty: Modern Warfare 4 Remix)" [SINGLE]

"C.R.E.A.M." has been reworked for the new Call of Duty, and the reason it's more than a licensing sync is the choice of who was asked to rework it. RZA produced the remix with Martin Wave of Parasol Music, and the new verses come from three of the most prominent names in Korean hip-hop LEE YOUNG JI, Jay Park and E SENS delivered in a mix of English and Korean. Method Man's original hook stays exactly where it was. Why this pairing exists The game's campaign is partly set on the Korean peninsula, and the remix is the musical counterpart to that: the original "C.R.E.A.M." is used in the opening cinematic, this version runs over the end credits. RZA's framing is worth quoting because it explains the logic better than the marketing does the song "brought our group to new heights worldwide," and hearing it come back from "a new generation of rappers from the other side of the globe" is the point rather than the side effect. The track The production keeps the Charmels-derived piano figure and rebuilds around it rather than replacing it, which is the right call you don't improve that loop. What changes is the centre of gravity. LEE YOUNG JI opens fast and technical, flipping the "southside" geography onto Seoul. Jay Park follows. E SENS takes the last verse and does the heaviest lifting: "Cash still rules the fuckin' world / C.R.E.A.M. got my money but I ain't sell my soul" which is a genuinely interesting thing to say on a track that is, functionally, a brand partnership, and he knows it. Three minutes twenty-five, out through Epic Records. It's a game tie-in and it should be assessed as one: a competent, well-cast reworking that gives three Korean MCs a global placement, not a new Wu-Tang record. On those terms it works.

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WateRR x Wavy Da Ghawd "Bigger Than Arsenio" [VIDEO]

WateRR and Wavy Da Ghawd released Did You Miss Me in the final week of September fifteen tracks, about forty-five minutes, the follow-up to Washed Ashore and "Bigger Than Arsenio," track three, is the song getting a video now. WateRR raps out of Chicago's South Side and Wavy Da Ghawd produces, and the duo format is the point: this is one emcee and one producer working as a unit rather than an album with guests bolted on. The record is built around a talk-show framing, and you can read it straight off the tracklist it opens with "The Varnell Hill Show," and "Madonna in the Green Room," "Varnell Origins" and "Lake Varnell" are placed through the running order like segments. "Bigger Than Arsenio" is the most direct expression of it. The hook escalates "This is bigger than music. This is bigger than rap. This is bigger than that. Bigger than Arsenio" and the Arsenio Hall reference does two jobs at once: it names the format the album is borrowing and it sets the ambition. Wavy's production is the strongest part of the record. He builds warm, layered loops and leaves the drums unhurried, which gives WateRR room to work in a conversational register rather than a technical one. Bub Styles, Ty Farris and Imani Nichele take the guest spots across the album. Worth noting honestly: the concept is more interesting in theory than it is sustained across fifteen tracks, and the interludes don't always earn their place. But the rapping and the beats hold up on their own, and "Bigger Than Arsenio" is one of the songs where the framing and the music actually agree.

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DOZA THE DRUM DEALER "SUPERDozie / DOZIE:Soulful DELUXE" [ALBUM]

 

Doza the Drum Dealer has built one album and then produced it twice. That's the whole concept, and it's a better idea than it sounds. One version, DOZIE:Soulful, is sample-based. The other, SUPERDozie, contains no samples at all same songs, rebuilt from the ground up. Doza describes the relationship between the two the way you'd describe an argument with yourself: it's about what the sample is actually contributing, and whether the record survives without it. It's the same question a producer asks in private a hundred times, made public as a thirty-two-track package. The Brooklyn context Doza comes out of Brooklyn and heads up the Narcotechs. His production credits run through Raekwon, M1 of Dead Prez, Flee Lord, Saigon, Ill Bill, Hus Kingpin and Paul Cain, and his stated influences are the obvious and correct ones Premier, RZA, Pete Rock, Easy Mo Bee, Havoc. He grew up around working musicians; his father played, and an uncle did time in Kool & The Gang and the Bar-Kays. That upbringing shows up in how the no-samples version sounds: not like a sample emulation, but like an arrangement. The release itself Thirty-two tracks, produced, mixed and mastered by Doza alone, with D. Goynz and Kaeson Skrilla featured. The vinyl runs fourteen tracks seven per side and is limited to twenty-five copies. The CD is also capped at twenty-five. The full deluxe edition, with two extra tracks and all the instrumentals, is sold direct only, and SUPERDozie is scheduled to reach streaming platforms at the end of the month meaning the sample-based version and the instrumentals stay off the DSPs entirely. There's a listening party for the record scheduled the day after release. This is a producer's album for people who care about production, and the dual-version structure makes it more interesting than a standard beat tape: you can hear the same song twice and argue with it. For anyone following the Narcotechs orbit, this is the most substantial thing in the catalogue.

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PREZ ART "Scenic Route" [VIDEO]

PREZ ART comes out of the Chicago area and works with Sound Scandal Music Group, the imprint that's pushing the record. "Scenic Route" is a single off Take Notes, an album that's already available, and the video is the new element here shot and directed by DA WRECK, with production by RIOTSSMG. Beyond that, verifiable information is thin: no production credits beyond the beat, no mixing or mastering details, no tracklist published, and no biographical material available for a rapper who appears to be working entirely outside the press cycle. That's worth saying plainly rather than papering over. What the record itself offers is roughly three minutes of straightforward, unhurried Midwestern rap no hook gimmick, no guest verse, a single voice over a single beat. For listeners who work through Chicago's independent tier artist by artist, this is one to log.

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Ben Hedibi & uMaNg "Help Less" [VIDEO]

Toronto producer Ben Hedibi and Salt Lake City emcee uMaNg have a collaborative album called Stray Dogs arriving at the end of the month eighteen tracks, their first full-length together and "Help Less" is the first single and video off it. The title does the work before the verse does. uMaNg spends the record on the mechanics of being judged by people who aren't making anything: "They don't rap, they just review / Tell 'em: help less." Then the darker turn "Tired of my own thoughts, so I dug my own grave / Poured dirt on my dreams and I blamed the whole game." Hedibi's production underneath is soul-based and slightly unsettled, the kind of loop that keeps shifting weight so the verse never quite settles into it. The second verse sharpens. "Snakes on the path, but the grass stays cut" is the best line on the record, and the closing movement flips the pitbull idiom the whole album is arguing with: rappers doing a poor dog impression, "I'm a nightmare livin' in your dream." It's a genuinely uncomfortable closing image and it lands. What's promising here is the pairing. Hedibi works in the haunted-boom-bap register that Canadian producers have been quietly excellent at for a decade, and uMaNg writes dense and imagistic without losing the thread multi-syllabic, horror-adjacent, but anchored to a subject. Two veterans, no label machinery, and an album that's been built across a national border.

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Sankofa x August Fanon "A Tree Grows" [SINGLE]

Sankofa works at a rate most rappers would find alarming. Since 2020 he's put out dozens of projects, and the format is almost always the same: one MC, one producer, one album, done. Monster Factory with G Fam Black, Show & Tell with Gensu Dean, Planet Rock with Draztik. He comes out of Fort Wayne, Indiana, which is not a city that generates much coverage, and the volume is partly a response to that. "Calm on Purpose," the full-length he made with Houston producer August Fanon, came out in July thirteen tracks, under forty minutes and "A Tree Grows" is the track getting the visual treatment now, three months on. The pairing makes sense. Fanon is a patient producer, the kind who lets a loop run long enough that the drums start to feel earned rather than dropped, and he has a working relationship with G Fam Black that suggests he likes MCs who write inward. "A Tree Grows" does what the title promises: slow, organic, an opening that stays open. Sankofa's delivery is measured and conversational, the opposite of the rapid-fire approach his release schedule might imply. That contrast is the whole appeal a rapper who could release anything choosing to release something this considered. For heads who like the one-MC-one-producer album format, Sankofa is one of the most reliable names working in it.

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Shydak "Rapratikant" (feat. NGS) [VIDEO]

Shydak has been releasing Parisian hip-hop since 1995 and runs his own Disklexique imprint, and "Rapratikant" is a veteran's complaint about the difference between making rap and practising it. The title is a pun the hook spells out: "Ils font du rap mais sans s'impliquer" they make rap but without being involved and then, the claim: "je suis pratiquant," I'm a practitioner. It's a familiar argument, and the writing is what keeps it from souring. Shydak works in tight, balanced couplets and builds the verse around a maritime conceit crews, rafts, quitting ship for a hit, the captain's hat you have to know how to wear which turns a rant about authenticity into something closer to a fable. The sharpest line is the one about pissing where you drink. NGS takes the second voice, and the track alternates rather than stacking, so the record stays a conversation. The credit that matters here is on the turntables: Deejay Anhonym handles the scratches, and cut work is still rare enough in contemporary French rap to be worth naming. No producer credit is listed for the beat itself, no mix details either what's audible is a loop built to leave the centre open for two MCs and a scratch chorus. Raphifilm shot it. Just over two minutes, out through Disklexique. For listeners who want French-language boom bap from someone who predates the current wave and is still arguing with it, this is a good entry.

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J Scienide vs Morlockko Plus "Slow Burner / Genghis" (feat. Sonnyjim & Morlockk Dilemma) [VIDEO]

The billing is a geography lesson. J Scienide records out of Washington, D.C. by way of Charlotte. Sonnyjim comes from the UK. And Morlockko Plus the producer behind the beat is Falko Luniak, better known as the Leipzig rapper Morlockk Dilemma, who has been releasing production under the Plus alias since 2011 and who turns up here twice, on the boards and on the mic. How this circle formed The connection isn't new. Luniak and Sonnyjim released the full-length Less Labour More Fruit in 2025, an album that pulled in Samy Deluxe, CRIMEAPPLE and Lee Scott alongside J Scienide who took "Five Minutes." What Morlockko Plus has effectively built over several years is a hinge between German and Anglophone underground rap, and "Slow Burner / Genghis" is that hinge working at speed: three MCs, three scenes, one beat. The track Luniak's production is the tell. Where RZA reached for soul and funk, Morlockk Dilemma has always gone for obscure film and library music, roughly 1965 to 1985 and this beat has that slightly off-centre, slightly staged quality, the sense that the sample was never meant to be a hip-hop record. The drums are placed under it rather than over it. J Scienide opens with the travelling verse Venice for lunch, splitting the bill, going Dutch and then undercuts it with the line that gives the track its name: it's just a slow burner. Sonnyjim takes the second movement and does his relaxed, food-obsessed thing ("I let the pasta simmer," "the tree smells like Madagascar vanilla"), which sounds effortless and is not. Morlockk Dilemma closes in German, and the switch in language doesn't break the record because the beat never resolves either way. pretty.dirty shot the video. Vinyl for the project goes up for presale this week through Kapitalismus Jetzt. For anyone who has been watching this German-Anglophone axis develop, this is the most concentrated version of it yet.

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Dex the nerd who loves Jesus "Holy Barz" (feat. TNV & Bill B.) [SINGLE]

Christian hip-hop has its own infrastructure its own press, its own charts, its own ecosystem and Dex the nerd who loves Jesus works inside it rather than aiming across at the mainstream. "Holy Barz" is his new single, produced by Bedroomflips, with TNV and Bill B. taking verses alongside him. The setup is a three-MC record over a boom-bap beat, which is a deliberate choice in a lane where trap and contemporary R&B production dominate. The stated subject matter is redemption, resilience and purpose, and the title does the framing holy bars as both a boast and a description of intent. Dex has been releasing steadily through the last couple of years: "Pray About It," "A Sinners Mercy," "Battlefront (Spiritual War)," and now this. What's worth noting for listeners outside the CHH world is that the technical standard doesn't drop. Three verses on one beat with no hook cushion is a structure that exposes weak writing, and this is built as a cipher record rather than a worship song. For heads who dig boom-bap and don't care where the rapper goes to church, this is a solid three minutes. For anyone tracking the genre, Dex is a name that keeps appearing.

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Henri "Shinin'" [VIDEO]

Henri's debut album Welcome To The Show has been out since the spring, and he's been releasing videos for it the way other people release singles one at a time, as a serial. "Shinin'" is the ninth instalment of that short-film run, which is a real commitment for an album that already has a DJ Premier lead single on it. The video is a proper piece of narrative rather than a performance clip: Henri wakes handcuffed in an unidentified room, gets strapped to a chair by two doctors, sedated, tested, hypnotised, escapes, wakes up strapped down again, escapes for real, and ends in an alleyway with the briefcase he's been protecting the whole time. SPR Kane shot and cut it; POI Entertainment produced and co-directed, and the whole thing is distributed with Fat Beats. Cozyy and Apache appear. Stoic and pilotkid produced the record, and they build it bright a clean, melodic loop that gives Henri room to do the thing he does best, which is sound like someone talking himself into a better mood. The hook is literal: "I don't know what you want from me / so I'mma keep shining." The verses are full of small, concrete details whiskey drops, building nights in New York, moves in the ATL and the flow stretches and compresses rather than sitting on the beat. Henri comes out of Alabama, which is not a state that produces many Fat Beats debutants, and that distance shows up in the writing: no regional posturing, no scene obligations. SPR Kane mixed and mastered, and the vocal sits right on top. Nine films in, the serial has become the more interesting project. Worth watching in order.

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Beedie "Hell In A Cell" (feat. Boldy James) [VIDEO]

Beedie's Beedromania came out twelve months ago, and the video for "Hell In A Cell" arrives almost exactly a year on which is either a coincidence or a very Pittsburgh kind of anniversary present. Either way, it's the right track to revisit. The concept, one more time Beedromania is built on a single comparison: modern rap behaves like professional wrestling. Fifteen tracks, interludes included, cut like a card entrance music, promos, a backstage interview, a finishing move. The production roster reads like a pay-per-view billing: August Fanon, Wino Willy, Nicholas Craven, illdigger, Stu Bangas, Nice Rec, Brainorchestra. Skyzoo, Blu, Fam Ross and JvGGY Hendrix take the features. Beedie recorded the whole thing at The Panther Den, Big Jerm and Beedro mixed it, Kevin Nix mastered it, DJ Brace cut it up, and the vinyl was pressed by Hellbender in Pittsburgh. Why this track Nicholas Craven produces, and he builds the kind of loop that already sounds like it's waiting for something bad to happen sparse, cold, drums placed to leave space. Beedie opens with a message to someone inside, which is the record's real subject: not the ring, but the phone call you can't make. "I heard your bed was close to over. Might be home before the summer time." Boldy James takes the back half and does what he does, which is sound unimpressed by everything including his own good fortune. Detroit to Pittsburgh and back, and neither of them raises his voice. Then the outro: a hardcore-legend voice introducing himself, complaining about nearly breaking his back when the Undertaker threw him off the top of the cell, and then nearly doing it again nodding along to the beat. It's a joke, and it's also the album's whole argument in thirty seconds the spectacle and the damage are the same thing. Louis Petrone, James Hill and Phillip Thompson shot it, Marcos Ochoa cut it, Beedro and Phillip Thompson directed. If you slept on Beedromania the first time, the anniversary is a good excuse.

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OGUN (GOD OF IRON) "HEXAGRAM TEN CHAMBER OF WINGZ" [ALBUM]

 

Ogun describes himself as owner, artist, producer and DJ of Wargun Militia and a Wu-affiliate, and he has somewhere near a hundred releases behind him which means Hexagram Ten Chamber of Wingz isn't a debut or a comeback. It's an instalment. According to the release notes it's the first volume of a series and the prequel to a forthcoming United Kingdom Yellow Jacketz LP, and it's dedicated to DUSK, described as the newest member and General of the Yellow Jacketz. DUSK also produced the whole thing. The mythos, taken seriously That combination an in-world dedication to the person behind the boards tells you how to listen. This is the Philadelphia rap equivalent of a kung-fu serial: Killa Wasp Familia, Yellow Jacketz, Shaolin, hornets and stingers, revenge cycles. Titles carry parentheses like chapter headings "SHAOLIN VS WASP (CHALLENGE OF THE BALANCED)," "REVENGE FOR MY FATHER (THE SMILING KNIFE)," "THE GIANT KILLER HORNET (HEXAGRAM TEN)." There's even a track called "THE WASP MESSIAH (MEDIA MONOPOLY)," which suggests the whole insect theology has a point beyond world-building. It would be easy for this to collapse into noise, and Ogun's output rate makes that a live risk. What keeps it standing is that the framework is load-bearing rather than decorative the titles promise a plot and the sequencing delivers one, moving from the chamber through challenge, revenge and the hornet to the wasp messiah. The record itself Ten tracks, thirty-three minutes, produced entirely by DUSK, with DJ Razor Blade Sharp and DUSK featured. Two tracks push past four minutes "THE GIANT KILLER HORNET" and "THE WASP MESSIAH" and they're placed at eight and ten, so the album gets heavier as it closes rather than front-loading. There's a UK record in the middle ("PEACE UNITED KINGDOM (UK IN THE HOUSE)"), which is either a wink at the next instalment or a straightforward transatlantic nod; with the series heading toward a United Kingdom Yellow Jacketz LP, probably both. No mix credits are listed, no artwork credit, no city on the sleeve. For anyone who has been following the Wargun Militia catalogues Swarmers, the Ramen Noodlez tapes, Yellow Jacketz Chamber this is the chapter that explains the rest.

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Taran Richards & GnT "GnT | GIFTED" [VIDEO]

Revolutionary Records operates out of the North West of England, and "GnT | GIFTED" is the label doing what small labels actually do putting two regional MCs on a beat and letting the record stand without a campaign. Taran Richards and GnT share the billing, Bootleg built the beat, and Thundersound Productions handled the visuals and shared recording, mixing and mastering duties with Hollow Earth Productions. The track opens on a sung hook rather than a verse: "Yesterday I nearly sold my soul / I walked away / I took control." That's the whole thesis, and everything after it fills in the cost. Richards works in a clipped, conversational register, piling up spiritual imagery fire the world can't extinguish, forty days and forty nights, parting seas like Moses without ever tipping into sermon. The best line is the plainest: "Every breath I take is a gift from God." GnT's contribution sits in the call-and-response, and the two voices trade short phrases rather than full verses, which keeps three and a half minutes moving. Bootleg's production is unhurried and loop-based, mixed so the vocals sit forward appropriate for a record that's essentially a confession with a chorus. GnT records out of Carnforth and Richards out of Lancaster, and the pair have been releasing together for a while now; the chemistry sounds like it. Nothing here is aiming at the mainstream. For listeners who dig regional UK scenes rather than London press releases, this is worth the three minutes.

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Meyhem Lauren "Radikon" (prod. DJ Muggs) [VIDEO]

Two things make Meyhem Lauren's Table For One unusual before a note of it plays: there isn't a single guest verse on it, and it's the first release on his own label. Eleven tracks, a rapper who has spent his career trading bars with half the underground, and nobody else in the booth. "Radikon" is the DJ Muggs track, and Muggs gives him exactly the right frame a slow, freighted loop with the low end sitting heavy and the drums placed so that Meyhem's drawl has somewhere to sit. It's a beat that rewards a rapper who doesn't hurry, and Meyhem has never hurried. He opens on wine and air ("Let the warm air out, it tastes better"), then moves through inventory: "We got flavors. More packs than Newports stocked at Apple Vegas." The chorus is two words and a thirst "Crack the Radikon, lord, I feel thirsty" and it repeats just often enough. What's interesting is how little he does with the space. No second verse to show range, no guest to break the monotony, no hook built to travel. Just a rapper in a pocket, moving from Vegas to Queens to Cali to Miami, closing on gold medals and Tonys. It's a flex record with the flexing turned down, which is more effective than the loud version. The rest of the album's production comes from The Alchemist, Buckwild, Daringer, IceRocks, Ghost Dave, Real Bad Man, Ern Dogg and Don D, and the track titles "Win Son," "The Centurion Lounge," "Jerk Turkey Wings," "Deadstock Pasta" suggest a record about eating well alone. Gusto Gold Productions shot the video. Eleven tracks, no features, one voice. That's a statement whether or not it was intended as one.

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Tali Rodriguez & CLOAQxDAGGER "Devoid of Orbit V.7" [ALBUM]

 

Seventh instalment of Tali Rodriguez's Devoid of Orbit series, and the change this time is structural. According to Rodriguez, production on previous volumes came from elsewhere; for V.7, CLOAQxDAGGER the duo of Mathias and Crack Sizzlack handled the music and the mixing and mastering. His own comment on the arrangement: "hooray for that." You can hear why it would matter. An album where the people who built the beats also set the levels tends to sound like one object rather than a collection of sessions, and seven tracks is the right length to test that. The Atlanta MC keeps his vocals at the centre of it credits list him on vocals, CLOAQxDAGGER on music, with no division of labour fudged. Three guests come through: Money Mogly on "The Gains," and G Fam Black and P-Ro together on "The Anthem," which at just over four minutes is the longest record here and the one most likely to justify its length. The rest are short "The Splinterlude" is an interlude at one seventeen, and most tracks land between two thirty and three fifteen which keeps the album as a single sitting. P-Ro also did the artwork. Rodriguez lists affiliations with Knuckle Dragguz and Wxtch Wxlvez. A series entry from an artist who keeps making them, with the production finally under one roof. If you've followed Devoid of Orbit this far, this is the volume where the sound should lock in.

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Jackpot Scotty Wotty "Parkhill Nightmare II: Four Horsemen" (feat. Killah Priest, Shabazz The Disciple & Frukwan) [VIDEO]

Jackpot Scotty Wotty's "Parkhill Nightmare" arrived at the end of last year with one MC. The sequel brings three more, and the billing is the concept: Killah Priest, Shabazz The Disciple and Frukwan of Gravediggaz, four voices on one beat, each describing the same apocalypse from inside it. Four riders, one beat Shaka Amazulu The 7th produces, and he builds for atmosphere rather than for impact a slow, minor-key loop with space at the edges, closer to a score than a banger. That's the right call for material like this. Scotty Wotty opens with the narrative verse: martial law, camps, a bathroom, a chainsaw, and the decision to die rather than renounce. It's horror as political fiction, and he delivers it flat, which makes it worse. Killah Priest takes the second turn and immediately raises the register "To me MCing is more than just rap," then a run of priestly, baroque imagery delivered with the unhurried authority he's had for thirty years. Frukwan follows with the most concentrated verse on the record: "Death is underrated. Roll the decapitated," and a steady accumulation of body counts, shadows and closed rooms. Shabazz closes with the loosest flow of the four, half-spoken, and gets the last word on Park Hill. Why this matters The Staten Island MC (Park Hill, specifically) has been a rumour in hip-hop longer than he's been a documented presence RZA has name-checked him for years and the company he keeps here is the argument. Killah Priest and Shabazz came out of Wu-Tang's outer circle; Frukwan was in Gravediggaz, the other half of 1994's horrorcore explosion alongside the Flatlinerz. When all three show up on one record, they're not doing a favour. Saïd Kanoun directs the animation, and it's genuinely eerie rather than cheap. The track is on The Legend, The Mystery, The Myth, out through Black Stone of Mecca. If the rest of the album is built like this one concept, four riders, no compromise it's worth clearing space for.

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Wolfman Jeckyll "Blue Collar Blues" [SINGLE]

Providence, Rhode Island's Wolfman Jeckyll describes himself as a lyricist and beatsmith, and he's been releasing like someone with nothing to prove and a lot to get out Body Bag Tapestries, The Dust of What Once Was…, two Meets the Nerds volumes, the Night Terrors collaboration with Bugsy H., WOLF GANG, and a limited 7" for "A Win Is A Win," which he produced himself. "Blue Collar Blues" is the new single, self-released, three minutes twenty-four. No producer credit is listed for this one, so the write-up stays with the title and the catalogue: Jeckyll's lane is dark, loop-based boom-bap with the vocal pushed to the front, and he works in the grainy register that's made him a fixture of the New England underground, where he also runs with Goon Union. The title sets an expectation work, wear, and a complaint you can't file and three and a half minutes is enough time to make it rather than announce it. No video, no announced album, no artwork note. Just a single from an independent who has put out more records in four years than most artists with a deal. For anyone digging the Rhode Island and Massachusetts end of the East Coast underground, this is a name worth having on the list.

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Datkid "Virus" [VIDEO]

The first thing to get straight: Very Heavy Lead isn't out yet. The album is scheduled for late November on High Focus Records, Datkid's first full-length for the label in five years. "Virus" is track sixteen, out now as a single with a video shot by Illinformed and Jenna-Louise Crooknorth. The production is the story

Illinformed and Dumb Logic produced the whole album together not splitting tracks between them but working the same rooms, playing instruments, building each record jointly. That's an unusual method for a UK boom-bap LP and it's audible. "Virus" has the weight of a live take: the drums sit slightly behind where a sampled break would land, the bassline moves, and the whole thing breathes in a way that loop-based production generally doesn't. It's a darker, dirtier sound than a straight crate-dig record, and it suits Datkid. The verse, and the joke He spends the track as the contamination. "I got the poison. Don't let me get into your head," then: "we rain down very heavy lead" the album title doing double duty as a pun the record earns rather than announces. The writing is Datkid at his most Bristolian: absurd, specific, and funnier than it first sounds. "Catch me rapping like a Christmas elf and sleeping like a crack user." "I peel your pride back like a satsuma." "Nice things, I spoil them." The flow is loose to the point of sprawl, and he never raises his voice; the menace is entirely in the imagery. The outro is the trick: a sampled voice discussing lead poisoning as an occupational hazard nausea, nerve damage, hallucinations as a clinical diagnosis of the rapper we've just heard. It's a smart, dry way to close a record called "Virus." Where it sits

Eighteen tracks, and the features are a who's who of the UK underground rather than a guest list: Jack Jetson, Bil Next, Leaf Dog, Eric The Red, Smellington Piff, BVA, Sean Peng, Jman, Crossbow T, and Young Zee the Fugees and Eminem collaborator on "Fresh Out." Two posse cuts close it out. Five years since WAKMO is a long time in a scene this fast. If the rest of the album holds the standard of its sixteenth track, the wait will look justified.

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Daniel Son x Asun Eastwood x Futurewave "Catch A Limit" [VIDEO]

Toronto's Daniel Son, Asun Eastwood and Futurewave first did this as a trio back in 2018 with Physics of Filth, and "Catch A Limit" confirms that the chemistry wasn't a one-off. Futurewave produces; the two MCs take it from there. The beat is textbook Futurewave: a grim, textured loop with the drums pushed forward, no melodic comfort, built to make a rapper sound harder than he is. Both MCs know how to use it. Daniel Son rides the pocket with the confrontational, slightly slurry delivery he's been refining across a decade of collaborative albums, and his closing lines are the record's sharpest: "The fall never comes from an enemy / cuz it comes from the friends who pretend to be." Asun Eastwood born in Belize City, raised in Toronto counters with a tighter, more clipped cadence, packing internals into short bars and leaving air between them. The two don't sound alike, which is the point. The hook ("Who got the light? Who got the spark?") is a chant rather than a melody, and it recurs often enough to structure the record without softening it. Lucas Espinola shot it, Son Tzu cut it, and the camera work is as unglamorous as the beat. "Catch A Limit" is the latest single from NOM DE GUERRE, the trio's album due later this month through Wav.God Music, the label Futurewave runs with Daniel Son. Two singles in after "Clean Up Nice" and "Dejounte Murray" this is shaping up as the most significant thing any of the three has put out since the first record.

Transparency Note: Content & research created independently by HHHEADZ. AI tools are strictly used for translation and language refinement.

Real Bad Man, Gabe 'Nandez & ICECOLDBISHOP "Trifecta" [SINGLE]

Three names on the marquee and no wasted syllables between them. "Trifecta" is a single on Real Bad Man Records, the imprint Adam Weissman runs out of Los Angeles a label that has spent the last few years putting out limited-press records with a consistent sonic signature: hypnotic loops, heavy drums, and enough negative space that an MC has to bring something to fill it. Which is what makes this pairing worth noting. Gabe 'Nandez spent last year on Sortilège with Preservation, one of the densest rap records of 2025, and writes in compressed, image-heavy bursts. ICECOLDBISHOP comes from South Central and has never fitted a lane: Generational Curse arrived in 2023 after sitting unfinished for years, was recorded before a one-album deal with Epic, and earned its reputation on word of mouth rather than on a campaign. He's worked with Denzel Curry, Boldy James, Ab-Soul, Larry June and McKinley Dixon, and his delivery moves through more tones in a verse than most MCs manage in an album. Put both on a beat built around restraint and the contrast becomes the record one rapper compressing, one expanding, neither yielding. Three and a half minutes, no features beyond the billing, out on Weissman's own label. The constellation is the story, and it's the kind of single that makes you check what else the imprint has lined up.

Transparency Note: Content & research created independently by HHHEADZ. AI tools are strictly used for translation and language refinement.

AWKA FUNKE x SMONKY x MAD PLUGH "NO PROBLEM" [VIDEO]

Every credit on "NO PROBLEM" is listed, and one of them is the reason to care: DJ ROPO on scratches. Turntablism is rarely credited explicitly in underground releases anymore, so when a record names its cuts, it's telling you how it was built. MAD PLUGH handles musical production with the beat credited to MAD PLUGH and SMNK BEATS, MORBAS BEATS mastered it, and three artists share the billing. The track is Spanish-language boom-bap out of Chile. AWKA FUNKE comes from Cartagena, a coastal town near Santiago, and has been part of the country's boom-bap scene for a few years now Carta Para, then A Sol y Acierto, and a spot on the sprawling Chilean posse cut "El Sur Es Hardcore – Hijos del Boom Bap" alongside Cevlade, Grafy, Jonas Sanche and others. That scene has been building patiently and gets very little international coverage, which is a reason to pay attention rather than a reason to skip. The record runs on a ticking-clock hook "y este tic tac suena, no hay ningún problema" repeated often enough that it becomes the argument: pressure exists, it isn't a problem. The verses move between the everyday and the declarative, delivered relaxed over a loop that never quite resolves, and the scratches sit in the seams rather than on top. Franko Jiménez directed the visual, with stills and lighting from JOTVPE MP4 and lettering from NOCHANCE.CL. Clean, unfussy, no set pieces. Three minutes of craft, fully credited, from a scene that deserves more listeners than it has.

Transparency Note: Content & research created independently by HHHEADZ. AI tools are strictly used for translation and language refinement.