Yes, this blog has been pretty much abandoned, but there’s always a day when an album comes out that is so excellent I can’t but tell you about it straight away, in more than 140 characters or a quick Facebook post. Today’s project is courtesy of French favourites Pumpkin and Vin’S da Cuero. Before I tell you about them and the brand-new “CHIMIQ” EP, I have to admit that I have been listening to it on repeat since I received the email from Bandcamp in my inbox an hour or so ago and I’m so obsessed about it already and so eager to share it with you that I took a break from work, after barely getting started. Oh, well.
Also, Pumpkin is one of the few artists whose projects I ALWAYS support and buy (or even preorder in this case). My slowly growing vinyl collection therefore includes most of her previous solo albums, as well as “LE BEAU TEMPS” EP and “PEINTURE FRAÎCHE” LP, her previous two projects as a duo with her partner in crime and official producer Vin’S da Cuero, and I look forward to getting my hands on this one.
Now, about the album itself… WOW! is pretty much how I would sum up my reaction after listening to it for the first time. I had already listened to the title track, which was released recently and complemented by an excellent, original and cheeky video that I highly recommend you watch (link below), and it made me very impatient to discover the whole project. What I can always count on with Pumpkin is a crazy flow and crazier lyrics, which often make me smile and/or utter this succinct but pretty accurate “WOW!”. I use crazy in a good way, of course, and I usually feel pretty bad for people listening to her music who are not francophones, because even if music is a universal language and all that, let’s be honest, they’re missing out. The level of lyricism, technicality, wit and smartness is simply impressive. I was already pretty blown away with “CHIMIQ”, but “SCIENCE FRICTION” (pretty clever pun) is on a whole other level in terms of power and emotion. I’ll get back to the subject matter in a second, but simply in terms of lyrical prowess, Pumpkin definitely stands out. To say she has a way with words would be an understatement and it’s always a pleasure for me to listen to her tracks. Hip-hop is not dead, y’all!
Besides the MC’s skills, another quality of the “CHIMIQ” EP is of course the music, with a return to “boom-bap” hip-hop, after experimenting with electronic sonorities on previous projects. Percussive drums, scratches, and beatbox; you can find all the ingredients for an excellent soundscape that welcomes Pumpkin and the guests’ voices and flows perfectly. Yes, it does make me think of the “Golden Era” of hip-hop but of course it’s very current and another proof that you can pay homage to the past while representing the present. This is also a reminder that Vin’S da Cuero is pretty comfortable with various genres and that’s something you can’t but appreciate from a producer. Also, the aforementioned guests are a most welcome addition to the project, from frequent collaborator Sarah Gessler (Beatspoke) to Vicelow and Sly The Mic Buddah aka Sly Johnson aka TAGi, as well as Neue Grafik and Scratch Bandits Crew on remix duties, and frequent collaborator DJ Lyrik (aka A Cat Called Fritz) on scratches.
Last, but definitely not least, the concept and subject matter of the short project is highly relatable and explored in a wonderful way, from “friends with benefits” aka fuck buddies aka “plan cul” for the French speakers, to how to cope with life’s highs and lows, and domestic violence. “CHIMIQ” is an exploration of how chemistry rules our lives whether it is with sex, relationships or depression. As I was mentioning earlier, “SCIENCE FRICTION” really blew me away, dealing with domestic violence in a very clever and powerful manner. Art is a way to spread messages and I commend Pumpkin for dealing with such an important topic that is too often ignored or downplayed. Once again, that’s quite an incentive to get your French lessons on…
Lianne La Havas is a singer I absolutely love. With that disclaimer out of the way, please don’t expect this write up to be highly objective. When I first listened to the British singer’s work, I was immediately touched by her voice, her lyrics, and the music. The combination of those three elements works like magic, as was exemplified in her debut album, the excellent Is Your Love Big Enough?. After seeing the lovely lady on stage a few years ago, I was further convinced of my musical infatuation. In case you missed it, read my review of Lianne La Havas’ concert at Espace Julien in Marseille. Now, with all that said, I would be lying if I said I didn’t have a slight concern before listening to her brand-new album, Blood. Because you see, Lianne has come a long way in the past few years, signed with a major label, and became somewhat of a “big name”, with a growing fan base. All this has the potential to change a young artist for the worst. However, as soon as I listened to the first singles before the release of her second full-length album, and watched the mesmerising videos for Unstoppable and What You Don’t Do, I was reassured that the Lianne La Havas I grew to love was still here, with a twist. More mature, more confident, more sensual, she was a sight to behold. A little while passed between the moment I saw the videos and the day the album was released. On that day, July 31st, I bought Blood. It took me about two weeks to finally listen to it though. Hey, life happens… I guess I needed to be in the perfect mood and frame of mind to fully appreciate it. Since the first 3 tracks of the album were those she already made available (the aforementioned tracks, plus Green & Gold), the listening experience was like going from well-trodden paths to unknown territory. As soon as the first notes of Tokyo were played, and Lianne’s delicate voice started singing, I already had a smile on my face. Sounding familiar and somewhat similar to songs from Is Your Love Big Enough?, it was different, as mentioned earlier. Something more. While Unstoppable and What You Don’t Do have that positive, playful energy, and look at love and relationships from an optimistic place, Tokyo is the first song of the album that exudes melancholy and loneliness. Full disclosure: I have a weakness for sad songs. This means tracks like this one made me love the album. Next on my list of favourite songs, which actually happens to be the following track on the album, is the incredible Wonderful. I don’t think I even have the words to express how much I adore this song. Delicate, sad, precious, it just reaches deep inside of me and stirs memories and emotions I may have been keeping tucked in there for a long while. Before I get overly sentimental, let me move on to the lighter Midnight, which gives us a glimpse of a more mischievous young lady. Daring and confident, the singer invites us to live with her at the witching hour, an offer that sounds very tempting to me. I read somewhere Lianne saying that Blood was her most personal project to date, which is obvious with the tracks Green & Gold, Ghost, and Grow, dealing with her childhood, presumably past relationships, and what her generation is going through. Closing the project in the most beautiful way possible, Good Goodbye is highly emotional too, especially as I lost my uncle last year and have been thinking about my late grandmother a lot lately. Let’s not forget the “good” in “goodbye” though, as indeed, “no one ever leaves you“.
Now that you know a little bit more about Lianne La Havas’ second album, Blood, discover the videos for the first two singles, and of course go get your copy! The album is available on digital, CD, and vinyl via her store.
Phraim is one of the very few artists who can (and do) drag me out of my blog hiatus when they release a new project. If you have been following this site, or my radio show, you already know that the Chicago resident is one of my favourite producers. Therefore, when I discovered recently that he was planning on releasing his fourth full-length album today, I was quite excited. After the incredible Silver Lined, Kasbah Moments, and Scars To Prove It, the talented producer now presents the beautifully named Midnite Kisses For Ruby Tears. In case you are not familiar with him, check out previous blog posts about Phraim, including a very interesting audio interview we did. Now, one thing I love about him is that while you can always recognize his touch, all of his projects are quite different. Some things are recurrent, like the witty wordplay in track titles, the cinematic dimension, or the influence of travel, but the overall themes and sonorities are always unique.
With this brand-new offering, Phraim seems to have opted for much more concise musical treats, as most of the tracks are under 3 minutes, often closer to 2 minutes. On the one hand, this makes greedy me a bit frustrated, as I would love to listen to those tracks for a much longer period of time and discover how they could evolve. However, it is also a way to keep the listener on their toes, as atmospheres and ambiances change regularly.
When it comes to the title, I have to admit I looked up “ruby tears” because I had a feeling it could be a famous saying or something like that. When I discovered it was actually a flower, I was both intrigued as to what that was supposed to mean in the context of the title and mischievous in my decision to stick to my own interpretation. Yes, when I saw the title for the first time, and discovered the gorgeous cover artwork for the album, I decided it was a reference to a beautiful lady crying precious tears. Whatever the case may be, both the title and the picture hint at music dedicated to love and a muse. The “Midnight Kisses” part of the title only reinforces the sentiment, and I was therefore ready for a beautiful journey through emotions and feelings even before I hit the play button. If this album sounds slightly less cohesive than its predecessors, I could still feel a specific direction and imagine how and why the music was created through the lens of love and relationships. In addition to this theme, the wordplay in the title of the tracks, as well as the various sonorities, makes the idea of travel quite obvious. Then again, love is a journey, so that fits perfectly.
In terms of actual music and sounds, Phraim makes a clear departure from his latest project, Scars To Prove It, which was much more electronic than others, and comes back to very melodic tracks. From the samples to the notes played by the producer, there is much to please your ears in Midnite Kisses For Ruby Tears. Speaking of the differences and evolution from previous projects, the artist himself says that the album is “indeed a senior release of sorts”. Confirming my first impression, he adds that “while it combines heart from past production, something about the formula of MKFRT is clearly different. Evolved, but grounded. Keen.” The feeling I get is that both the man and the artist have indeed grown, and it’s a beautiful thing to behold and hear.
As the project ends on “Hopeful Headaches”, I am equally optimistic about music and love after listening to the whole album. That’s probably why I had to start all over again, and again. Without a doubt, Midnite Kisses For Ruby Tears will join Phraim’s previous three projects at the very top of the list of the albums I listen to the most. It should be on yours too.
Now that you know more about Midnite Kisses For Ruby Tears, you can listen to the album and purchase it on Phraim’s Bandcamp. Enjoy the journey, support, and spread the word!
Whenever I have been away from this blog for months and do not really plan on updating it, I can always count on a few artists to release a project so amazing, beautiful and powerful that I won’t have a choice but to come back here and share it with you. Phraim is one of those artists. Last time I told you about him, he had just released his sophomore album, the enchanting Kasbah Moments. Today, the Chicago-based producer offers us a third full-length album, the wonderful Scars To Prove It, and I am very happy to tell you about it now. Just before I go into more details, I just wanted to highlight the power of this project (and great music in general), as it helped me snap out of my PTDS (Post Travel Depression Syndrome) and the gloomy mood I have been in since I came back from my amazing trip to New York City and spent days under grim London skies.
Besides the inspiring power of the album, what I always appreciate about Phraim is his tendency to craft detailed, multi-layered concept albums. After his debut release Silver Lined, created after and inspired by the passing of his grandmother (something that was easy for me to relate to), and the beautiful musical journey to the Middle East that was Kasbah Moments, the producer now delves into darker territories with Scars To Prove It, as the project is centred around “invasion” and the physical or mental scars left by difficult experiences and life trials. Once again, this is something I can definitely relate to. I am actually struggling with a few of those scars at the moment and it’s always a great thing to know that other people go through similar predicaments (even though the triggers and weapons creating the scars are not the same at all), but decide to use music as an outlet for their pain. As always I may read too much into this, but that’s just how I do. There is also an obvious reference to war and armed conflict, which could very well be taken literally, considering the current state of the world. This is something that has become quite difficult to ignore nowadays, and I appreciate the duality (or multiplicity, actually) of the album, since it can be interpreted in different ways.
The music itself is a delightful addition of a myriad of details, one of Phraim’s trademarks, which was already mentioned when I told you about Kasbah Moments. As was the case when listening to that previous album, I found myself imagining the “musical architect”, who clearly deserves the nickname, spending hours and hours on each track, making sure they sound as perfect as he wanted them to sound, and adding tiny details that make them whole. While the overall atmosphere on Scars To Prove It is more electronic than the producer’s previous endeavours, I am not one to complain. Variety is the spice of life and I really appreciate when artists provide their listeners with something new with each project. What’s the point of creating a different piece of music otherwise?
Finally, something that Phraim prides himself on, and that is quite obvious here, once again, is the cinematic quality of the project. Try listening to it at full volume while closing your eyes and tell me you don’t visualise specific scenes in your head… Whether it is cruising in a car in the streets of the Windy City at night trying to fight your demons, walking along your nearest lake/river/ocean and indulging into a quiet session of introspection, or simply reminiscing on days long gone, the project is sure to create snapshots in your mind and will most likely become the soundtrack for special moments, real or imagined. Listening to the album as I type, I have to admit quite a few thoughts and emotions go through my mind and heart, and I am truly grateful for music’s ability to take me to different places and times. Traveling without moving indeed…
I guess I’ll stop my rambling for now, but not before I urge you to give the album a listen and to add it to your collection. Also, if you are a film director, please get in touch with Phraim. I would love to see what a creative mind could do with such a beautiful and inspiring soundtrack.
Now that you know a bit more about Scars To Prove It, go listen and buy the album on Phraim’s Bandcamp page, or simply by clicking on the link below. Enjoy the journey!
I have been meaning to update the blog for a while now… In the same way as life is made of ups and downs, my levels of motivation and inspiration have this way of taking rollercoaster rides, creating severe inconsistency. While listening to the album I am about to write about today, I felt a desire to share. Again. At last. Add a friendly but firm virtual kick in the ass (thanks Keisha ;)) and you get a blog post. Hooray!
While this album is not “recent” by any musical industry standard (which I couldn’t care less about), it is new to my ears and probably many of yours. Hence its presence on the blog in my regular “Newness for your ears” category. Released in 2009, Chayé Kow has this type of timeless sound that makes it enjoyable from the day of its release till… infinity? I can’t vouch for that just now, but I can say that 5 years after it came out, it pleases my ears and that is all that matters to me. I actually first heard about French singer Érik several months before he finally released the album and it was beautiful to witness his journey from new, young artist with an innovative sound to well-known personality in the West Indies (he is hailing from the beautiful island of Guadeloupe) and mainland France. The first songs I heard, sometimes accompanied with beautiful videos, are present on Chayé Kow, making the album slightly familiar at first listen. While a couple of those tracks (On bel jouné and Si ou pa la) remain my favourites, all the ones I discovered were pleasant surprises and made my ears and my soul happy. Overall, the project is a comprehensive introduction to Érik’s universe and a lovely musical journey into his various influences. Singing both in Kréyol and in French, the young man tells us about love, loss and growth, among other topics. In addition to his extremely appealing voice and well-written, heartfelt lyrics, the other strong point of the album is undoubtedly the music. From delicate strings to uplifting percussions and compelling bass and piano, all the instruments appeal to my ears in various ways and each song creates a different atmosphere, allowing me to experience a wide range of feelings. Parler de tout ça, specifically, is an emotional tale about the struggles you can encounter in a relationship and, while I didn’t experience anything similar myself, I can’t help but be touched by the quality of Érik’s words and delivery. Another favourite, the closing track, Viré tombé, is an hypnotic number that deeply touches me and entices me to vibrate to the rhythm of the percussions. Quite a wonderful way to end this listening experience and leave listeners enthralled!
As a conclusion to this short presentation, I would like to say that Chayé Kow is one of those albums that seduce me as soon as the first notes of the first song are heard and it will most definitely be listened to on a regular basis. In case you didn’t listen to it when it was released, as was the case for me, don’t fret: music like this is a gift that you receive whenever you are ready. I know I was and it came into my life at the perfect time.
PS. His new album, École créole, was released last year. I have yet to listen to it but I will most probably keep you updated once I do.
Now that you know a little bit more about Érik and Chayé Kow, I invite you to discover the whole album on iTunes (or other various digital music stores). If by any chance you still need convincing, watch the two videos below, for Si ou pa la and Chayé kow, very different but equally beautiful tracks that give you an idea of the variety of sounds and atmospheres you can find on the album. Enjoy and please share!
I discovered Shinobi Stalin quite a few years ago and I told you about him on several occasions, including with my review of his debut album Zombie School and with an interview I did with the Orlando-based artist, so it is with great pleasure that I now present you his sophomore album.
The highly-anticipated Invisible Man was released last week and it was definitely worth the wait. With this new project, Shinobi Stalin proves, once again, how gifted he is when it comes to penning lyrics and expressing them over instrumentals. While he invited several of his frequent collaborators, including his Vets of Kin crew, as well as other independent hip-hop artists such as Roc Marciano, he clearly shines on this project, from start to finish.
From the very first seconds of Anticipation, a heart-felt track, he steps out of the shadow and goes straight into the heart of the matter, taking the listeners on a journey through his thoughts and feelings, equipped with clever rhymes and seamless flow. Here Not There, which could have been the subtitle for the album, is probably the best explanation of its name. The beautiful, slightly hypnotic instrumental serves a perfect backdrop to what is probably the most relatable track for me, as it describes how you can sometimes be present physically but actually somehow aloof. This is something you can also find later on Energon, where Shinobi Stalin explains how he is more of an observer, something I can definitely relate to.
The MC then proceeds to touch upon relationships (Game Should Never Play), politics, history and the media (Control, His Story), or his Black-Puerto Rican heritage (Nigger Rican), among other topics. He also offers an ode to his city of Orlando, FL, nicknamed the Ozone, on the aptly-titled Welcome to Ozone, and invites the Vets of Kin and Kap Kallous for N.I.K.E., a posse cut that makes my ears quite happy. Another guest worth mentioning is Mike Rosa, who is none other than his brother, as well as a talented skateboarder, and joins him for Brothers Influence.
In addition to the great quality of Shinobi Stalin’s lyrics and flow, I can’t but mention the wonderful instrumentals, provided by talented producers Reeplay, Abbott, Tempermental, Soy Is Real and Shinobi Stalin himself, among others. The different soundtracks match his flow perfectly and create a very pleasant atmosphere, which helps increasing the level of replayability (yep, that’s a word). I need to give a special mention to Control, which, in addition to being my favourite track in terms of lyrical content, benefits from the most beautiful instrumental you could ever dream of (shouts out to Tone Blare). Also, Sing The Blues is a wonderful combination of lovely production and honest lyrics that stands out as one of the most personal and compelling tracks of the album.
Overall, Invisible Man is a comprehensive and cohesive project that serves both as a worthy follow-up to Zombie Skool and a testament to the MC’s brand of quality, timeless-sounding music. If you are just discovering Shinobi Stalin, this should make you want to dig deeper and listen to the rest of his discography, both on his own and with his crew.
You can now discover Invisible Man by heading to Shinobi Stalin’s Bandcamp page, or simply by clicking on the link below. Enjoy, share and support!
As a bonus, here is the official video for Welcome to Ozone, complete with cameos from his Vets of Kin crew members and other Orlando MCs.
Yesterday was just another day for me. I have never really been a huge fan of Christmas, except maybe when I was a child and it meant gathering with the whole family and enjoying some delicious food, so I decided to fill this day with music. Lots of music. Among the numerous albums I listened to yesterday, The Foreigner by KRTS is one of the few that really blew me away. Hence why I am sharing it with you now.
I just realised that I haven’t really featured any “new” artist on the blog in a little while. Also, I have been a fan of most of the projects released by Project: Mooncircle for quite a long time now and it was high time I mention them here. Based in Berlin, the label has a roster of incredible artists coming from diverse horizons and their music never fails to touch me. As for KRTS, I’ve always liked his work ever since I discovered him, even though I haven’t really followed his career scrupulously. The Foreigner is without a doubt my favourite project by him, for several reasons. First of all, despite the fact that my move from France to England didn’t involve the same type of adaptation skills, I, too, am “the foreigner” here in London. While KRTS, a Brooklynite, had to learn a new language and discover a very different culture, I simply used my knowledge of English and easily got used to the British ways. However, I can understand what it feels like to be the other, to never really feel like the place where you live is home. Through the music, KRTS shares his feelings and experiences, in the most beautiful way. From the moment he arrived in this Foreign Land, to his encounter with Berlin Girls, until his realisation that This May Be Home, the producer takes us on a journey and invites us to follow his footsteps as he gets acquainted with the German capital and settles, little by little. Two tracks I didn’t mention, because they hold a special place in my heart and deserve to be singled out, are the incredible Sunrise Over Warshauer and Nothing Grows In Red Soil, which closes the EP in the best possible way. Taking advantage of my newly-acquired speakers, I could really indulge in the music and literally feel it, while picturing myself admiring the red and orange hues of this German sunrise or wander in the streets of the capital and observe the trains passing by under the bridge as KRTS seems to have done numerous times. The whole atmosphere of the EP varies from dreamy to emotional, always making it easy for me to relate to the feelings expressed by the talented producer. Whether you are The Foreigner as well or not, you will most probably let the lovely notes and instruments touch your heart and soul.
Now that you know a little bit more about The Foreigner, I invite you to listen to it and purchase it on Project: Mooncircle’s Bandcamp page, or simply by clicking on the link below. Enjoy the journey!
Because I’m sure you have been good girls and boys, here is a little gift for you, with the official video for the hauntingly beautiful and deeply emotional Don’t Need Your Love.
K.I.N.E.T.I.K. is no stranger to this blog and after I first told you about him and his Kinesis Thesis Vol. 3 last year, I am very pleased to let you know about his brand-new release. Teaming up with fellow UK artist and talented producer Imperial, the incredible MC presents the Pencils Not Pistols EP. Following a first collaboration between K.I.N.E.T.I.K. and the Illect Recordings affiliated producer for a single, and because the two artists have a common vision, they decided to keep on working together and create a project together. The result is a wonderful treat for your ears, with a blend of spotless, soulful and jazzy production courtesy of Imperial with K.I.N.E.T.I.K.’s trademark lyricism and compelling rhymes. Dealing with anything from inspiration and motivation (Go Hard, Count Your Blessings) to relationships (Just The Way I Feel) and the need to unwind or modern ways of so-called communication (Zoning Out), among other interesting topics, the MC always laces his bars with great wordplay and well-researched information. The overall vibe of the Pencils Not Pistols EP is very chilled and engaging, which guarantees a lot of head-nodding and smiles on the listeners’ face. In addition to the quality of the music and the MC’s skills, our ears are also blessed by singer Tone Richardson’s suave’s vocals and Joanne Francis’ engaging hook. Offering an EP that stays true to the basics of hip-hop, Imperial and K.I.N.E.T.I.K. also prove that The Pencil Is Mightier Than The Pistol indeed! In short, this project gives you the perfect balance between positive energy, education and emotion. Listening to it now, while feeling somewhat down for various reasons, I can’t but feel uplifted by the different songs, and especially Count Your Blessings, which reminds me that no matter what happens in my life I don’t have any reason to complain. To finish off the project, Put Your Pencils In The Air adds a little humour, just to make sure that you indeed feel good and smile after listening. Imperial and K.I.N.E.T.I.K.: mission accomplished!
Now that you know a bit more about Imperial and K.I.N.E.T.I.K.’s Pencils Not Pistols EP, discover the album on Illect Recordings’ Bandcamp page, or simply by clicking on the link below. Enjoy and tell your friends and pencil lovers about it!
Oh, hello there! I know it’s been forever and I actually feel a bit weird, typing this after so long, but I dare to hope this is a “real” come back for me and a new start for The Wonderful World of Carminelitta. I won’t digress and write a long-winded introduction explaining why and how I have been away for so long, as it’s not especially interesting. Instead, I want to dive into the matter at hand, i.e. a wonderful little project I discovered today. Tum’Soul is a very talented French producer I became acquainted with in the MySpace days, but as is the case with many artists I first listened to that long ago, I did not really follow his work until I found him again on Facebook a few years ago. After collaborating with many French soul singers, including Osmojam, Rémi aka Tum’Soul (I’ve always loved the pun in his name, which only French-speaking people can understand) is finally ready to spread his wings and take off on his own. The title of the album, coupled with the incredible cover artwork, is a reference to this new plunge the producer is taking, as well as to the concept of the project. Indeed, the music is very atmospheric and makes you feel like you are soaring high in the sky, floating alongside clouds and travelling to distant lands. After a long week of night shifts at work and plans for my weekend to be all about R&R, ɘnvol (vol#1) is the perfect soundtrack to this Saturday afternoon. In addition to the beautiful music, my ears are also quite delighted to enjoy heavenly vocals courtesy of several of Tum’Soul’s frequent collaborators. A little under half an hour long, the project is both a lovely introduction to the French producer’s universe and a teaser for listeners, who may want more to appease their ears’ hunger. However, the replay factor is very good and it is extremely easy to put ɘnvol (vol#1) on repeat over, and over… and over again. This is probably what I will do today, as the music is very soothing and constitutes a great way to unwind. Finally, because of my very sharp sense of detail, I can’t fail to notice that this album is actually the first part of a series, which makes me rejoice and look forward to what’s coming next.
Now that you know a little more about ɘnvol (vol#1), you can discover the whole project on Tum’Soul’s Bandcamp page, or by clicking on the link below. Enjoy the flight!
Breis’ name had been on my radar for quite a while but I have to admit I didn’t really check out his music until quite recently, after I discovered his amazing collaboration with French producers HornDogz for Movin’ On, a wonderful track that also features London MC Ty and singer Peeda (in case you missed it, watch the beautiful video for Movin’ On). When he shared the link to my podcast, where I played the track, I felt compelled to have a look at his page and the various links he posted. I had actually seen him post about The Brilliant EP but didn’t take the time to check it out (shame on me, I know…). The timing was perfect then though, and I am quite happy I clicked play. As soon as I listened to the first track, wittily called Landmarks & Spencer, I knew I would not only love the project but feel “homesick” for London. Full of wordplay and references to the English capital only people who visited or lived there can catch (and I’m quite proud to be one of those), the track is therefore a great introduction to the EP and sets the tone perfectly. A wonderful blend of hip-hop, afro-beat and various other influences, the album sounds like a snapshot of Breis’ universe and what life in London town can be. From the lively and enticing Strictly to the short but funny interlude Jammin’ On The Bus, or the more personal Fear of Failure and Mocking Bird, among other amazing tracks, the MC takes the listener on a very interesting journey through his mind where the thoughts and feelings he shares are easily relatable. It is always a pleasure for me to discover a new artist and realise that I can actually “get them”, that I can understand the experiences they recount and be touched by the creative ways they use to express themselves. The Brilliant EP may touch upon dark topics at times, as is the case with Sharon, but there is always a ray of hope and a conviction that things will be alright eventually. The others tracks I mentioned earlier, Fear of Failure and Mocking Bird are probably my favourite, as they allow Breis to bare his soul and share some emotions I know oh too well. While the lyrics are always perfectly written and Breis’ flow is seamless, the music also accompanies the MC in the best possible way, only enhancing the positivity or emotion, depending on the songs (those strings on Mocking Bird!). All in all, and I am sorry if I was not able to resist the temptation, it is indeed a Brilliant EP that Breis offers the listener! From the high energy, bouncing initial tracks to the more delicate and heartfelt final ones, the album evolves in the same way as a day does, with the rising of the sun followed by darkness. The beauty of it is that we know the light will be back. It has to be back. Thank you Mr. Breis, for this beautiful reminder!
P.S. I absolutely love the album cover!
You can listen to and purchase The Brilliant EP on Breis’ Bandcamp page, among others, or simply by clicking on the link below. Enjoy the ride and pass it on!