Internet – Cloud – Digi – Drainer
Internet – Cloud – Digi – Drainer Electronic,Experimental,Rap A new TNAM series exploring the intersections between electronic music, cloud rap, and hyperpop, tracing the microscenes and sonic movements shaped and accelerated by online spaces. Sprung from the loins of drain gang, and early cloud rap torchbearers, a new generation of artists move through loosely defined collectives, online networks and shared digital atmosphere. Rhode Island’s Shed Theory are an example of this, a collective sound: experimental, ambient infused production, they have coined ‘nod’. Cross pollination replaces genre loyalty. Sounds circulate freely across networks, shaped collectively through shared tools, aesthetics, linked by autotune as texture, digital pristine, and a distinctly online emotional sensibility. In the shed, in the clouds, and on the web. TNAM.UK Playlist {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
Artist Playlist: TheAdult, Lonestar & SleepyC
Artist Playlist : TheAdult, Lonestar & SleepyC Rap Music from/selected by/inspired by TheAdult, LONESTAR & SleepyC – with help from the TNAM team. Find our original interview over on our Instagram! TNAM.UK Playlist {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
The Sounds of UK Underground Rap #4
The Sounds of UK Underground #4 Part 4 of a monthly TNAM series exploring the current sounds and sub-genres of UK rap music: Jerk, Rage, Cloud Rap and ‘UK Underground’. *Now including Republic of Ireland artists.* People’s Playlist by Eli Callingham {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
The Sounds of UK Underground Rap #3
The Sounds of UK Underground Rap #3 Part 3 of a monthly TNAM series exploring the current sounds and sub-genres of UK rap music: Jerk, Rage, Cloud Rap and ‘UK Underground’. Here are my notable artists and song picks: 1. W0nderthug: #KNIFEWORK South London rapper W0nderthug is emerging as a new forerunner of the ever-evolving metal influenced rap sound, merging UK drill flows with the blown-out abrasiveness of rage production. Appearing on underground line-ups from Post Party to Antivision, a live circuit that favours the cutting-edge and confrontational, which W0nderthug leans into. His debut project METAL GANGSTER RAP, released February 2026, leaves little ambiguity about where W0nderthug is positioning himself sonically. ‘#KNIFEWORK’, built around a barrage of distorted 808s and blown-out textures which create a deliberate sensory overload. The bars feel knowingly exaggerated, tongue-in-cheek, threatening and ironic in equal breath, channeling Gen-Z surrealism and internet-age absurdity. 2. Magnus Brandt: Selfie London-based artist Magnus Brandt first built an underground following through releases under the aliases ‘Mag’ (2017-21) and ‘Magthegod’ on SoundCloud, where his DIY aesthetic gained a cult following. Moving fluidly across genres from trap and alternative pop to slacker indie, Brandt has developed a reputation as something of a sonic chameleon. From Genius user ‘@mungorse’ (suspected to be a Brandt burner account), the change of artist name is framed as a kind of “Jungian integration of the whole” – multiple approaches consolidated into a single identity and under a single name. The Smile EP (July 2025), his most recent project, feels like the outcome of this process, an extensive hodgepodge of influences siphoned through Brandt’s particular lens. ‘Selfie’ exemplifies this integration. The production is sparse yet intricately detailed, punctuated by digital chirps and camera snaps that mirror its title and thematic concerns. The lyrics are earnest and confessional, circling questions of self-identity and the uneasy act of comparison with another. 3. Mnwa Echs – bullets At just 20 years old, Mnwa Echs (pronounced “Man Wa Ex”) is an artist whose trajectory feels difficult to ignore. Echs has steadily built a catalogue defined by consistency, experimentation, and a clear sense of authorship. Regularly releasing new material and collaborating across the underground UK rap scene, including work alongside ‘Llondon Actress’, he occupies a space within the loose lineage of post-emo SoundCloud rap, drawing on its emotional directness while pushing its sonic palette somewhere stranger and more individual. His ‘Emergence EP’, released in January 2026, crystallises much of what makes his work compelling. A fully self-contained project, Echs takes on every role himself: artist, producer and engineer, resulting in a record that feels both diaristic and meticulously assembled. Hazy melodic fragments, brittle percussion and sudden ruptures of distortion pair emo rap’s confessional impulse with a sharp ear for texture and atmosphere. ‘bullets’ stands out as the EP’s emotional centre. Over a sparse instrumental, Echs delivers the line: “Music is the only thing I really love”, a fervent sentiment, heard within the context of a project he has built entirely himself; it reads as a statement of intent. 4. iamawakesorry: Making It Out At just 20 years old, Mnwa Echs (pronounced “Man Wa Ex”) is an artist whose trajectory feels difficult to ignore. Echs has steadily built a catalogue defined by consistency, experimentation, and a clear sense of authorship. Regularly releasing new material and collaborating across the underground UK rap scene, including work alongside ‘Llondon Actress’, he occupies a space within the loose lineage of post-emo SoundCloud rap, drawing on its emotional directness while pushing its sonic palette somewhere stranger and more individual. People’s Playlist by Eli Callingham Add Your Heading Text Here You Might Also Like Recent Posts
The Sounds of UK Underground Rap #2
The Sounds of UK Underground Rap #2 Rap Part 2 of a monthly TNAM series exploring the current sounds and sub-genres of UK rap music: Jerk, Rage, Cloud Rap and ‘UK Underground’. The “underground” in the title refers to both the status of the artist across multiple UK rap styles and to the emerging UK underground sub-genre spearheaded by artists such as Fakemink, Feng, and Jim Lxgacy. This series functions as a curated snapshot, a macroscopic view of standout tracks shaping the current moment. Since the last mix, the UK Underground scene has rapidly approached mainstream visibility, rendering the label ‘underground’ almost antithetical. Masked rapper EsDeeKid, in particular, has reached new levels of notoriety. At the time of writing, he ranks among Spotify’s most-streamed rappers, globally, bolstered by industry co-signs and a now put to rest online conspiracy claiming his true identity to be actor Timothée Chalamet. View this post on Instagram A post shared by Timothée Chalamet (@tchalamet) EsDeeKid’s rise feels inseparable from both his Scouse accent and the sleek, futuristic production of the ‘PHANTOM AUDIO’ collective (more on them later). His success highlights the importance of regional accents in rap music and underscores the need for broader mainstream representation of differing vocal identities in the UK. American rap has long embraced regional variation as a strength, so why not the UK? PHANTOM AUDIO operates with deliberate opacity. For producers Wraith9 and Lancer, anonymity is inseparable from the project’s aesthetic, even as both maintain visible stakes across a broader creative network, including the brand ‘No Fear’ and ‘Virus London’ events. Wraith, in particular, obscures his face with an array of head coverings across visuals and live appearances, reinforcing the collective’s spectral branding. Both producers’ solo releases prove just as compelling as their collaborative production work. Standout tracks, and words on which below: 1. Lancer: White Stag I came to Lancer’s ‘White Stag’ before registering his affiliations, which in hindsight the sonic connection is unmistakable. His solo releases pull from alternative, footwork, and modern rap styles, resisting easy categorisation. On White Stag, Lancer is personal, vulnerable, and introspective. He talks about a misalignment in a relationship and in action, frozen like a deer in headlights, yet whipping through red lights. Where Jerk production defined much of Summer 2025, with LV Sandals by EsDeeKid, Rico Ace and Fakemink emerging as a defining anthem of the UK underground. White Stag demonstrates the breadth of PHANTOM AUDIO’s sonic palette. A glassy, rompler-style digital piano anchors the track, invoking the spirit of pluggnb’s melodic haze, while skittering percussion draws from footwork’s restless rhythmic language. Interjections of vocal samples act like call and response and play off Lancer’s musings. – “Slackjawed lost my keys on the 202, why the fuck am I in Blackheath?” As a South London native, I was often dragged here, I can relate. It speaks to the anguish in my heart. 2. Jaxzun: oneofone interlude Little information is known so far about rapper Jaxzun, including where he is based. According to Genius, his debut track, ‘Speakerz’, appeared in May 2025. Yet from his output, he doesn’t sound like a novice. Much like earlier algorithmic finds such as TheAdult and LedByHer, his music appeared unprompted and demanded attention. Instagram Reels remains an unexpectedly fertile space for discovery, even through the noise of endless “reels music.” His listener base has grown rapidly, reportedly surpassing 20,000 streams within a week of this track’s release. The discourse surrounding Jaxzun online is intriguing: equal parts admiration and confusion, with listeners debating possible influences and production techniques. Is it Sstepteam? Does he use tremolo, ring modulation, or sidechaining? What is clear, however, is that he produces his own material. On ‘oneofone interlude’, the sonic palette is unstable; the 808 erodes the instrumental around his voice, collapsing the sense of spatial depth as he explains why he is “oneofone.” As we move into 2026, I think he is an artist we should all keep an eye on. 3. Trellion: Fresh Paint In a conversation about under-rated UK rappers I was reminded of Trellion, the Sheffield rapper whose work occupies a singular space within UK Hip Hop. Active since the mid 2000s and closely affiliated with cult label ‘Blah Records’, co-run by Lee Scott, Trellion has long operated outside mainstream visibility, despite reported collaborations with heavyweight producer ‘The Alchemist’. His sound and approach feel increasingly rare in today’s landscape: ‘boom-bap’ built on skillful sampling and steeped in moody atmosphere. Online discussions about Trellion hold a mythic quality. The r/ukhiphopheads thread ‘Anybody know what happened to Trellion?’ had users speculating about his disappearance during a lengthy absence from solo releases, with rumours placing him either working or running an Italian restaurant somewhere in Sheffield. After roughly a decade without a solo project, Trellion resurfaced in 2025 with a trio of releases, Ok, the fire, Big Sur and The Man Who Couldn’t Die, reasserting a presence that never faded among devoted listeners. ‘Fresh Paint’ exemplifies his return. Built around a dust-covered piano sample reminiscent of a vintage horror soundtrack, the sparse production leaves deliberate space for Trellion’s laid-back delivery and introspective bars. Themes of renewal, identity and surreal rebirth run throughout: 4. LONESTAR: PERFECT TIMING ‘PERFECT TIMING’ is a single from West London rapper LONESTAR’s upcoming January album, ‘LIFE IN COLOUR’. A release he told me to watch out for when I interviewed him with Sleepy C after their performance at Antivision Vol 3 in November. Rooted in the UK rage sound, with hard-hitting, confrontational production, LONESTAR nonchalantly raps about his position in the scene, a mix of braggadocious musing and vulnerability: “I was never meant to get this far. I am an anomaly”. He also keeps the mood light with quips like “sending that boy back to the lobby”. The LONESTAR and SleepyC Interview. View this post on Instagram A post shared by The UK Playlist Collective (@tnam.uk) People’s Playlist by Eli Callingham {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }}
The Sounds of UK Underground Rap
The Sounds of UK Underground Rap (2025) Pt.1 A beginner’s guide to the burgeoning UK underground rap scene, spotlighting a diverse group of artists and sounds. Expect the sounds of Jerk, Rage, Grime, and Cloud Rap, ranging from the experimental to the more grounded. TNAM.UK playlists by: Eli Callingham Instagram Grime,Rap 6 December 2025 {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
IN CONVERSATION – Meduulla
IN CONVERSATION – Meduulla discussing her debut EP ‘Oblongata’ Meduulla discusses her debut EP Oblongata, making connections through music and her love of language 05.01.24 Words by Paul Bacon https://www.youtube.com/watch?v=G49ttieW6vE Oblongata is Meduulla’s 8 track EP released late in 2023. First and foremost, and to put it simply, it’s an amazing listen. Meduulla combines her smooth Mancunian voice with a versatile, unpredictable flow that toys with words whilst simultaneously controlling the beat. Although it seems like a contradiction, Meduulla’s sound is both chilled and intense, somehow relaxed but with moments of defiant observation. The tracks blend nostalgia with modernity, taking you back to the Hip Hop golden era, evoking the vibes of Arrested Development and the Pharcyde, before catapulting you back to contemporary Manchester. Oblongata is Meduulla’s debut EP, “I wanted to allow people to get to know me deeper and give them different flavours of myself through my music and my style,” she says. The release is the culmination of a long running process, “Some of the tracks have been around since 2021, so I feel like I’ve been sitting with it for quite a while. It’s very easy to become detached from your project once you’ve made it, but I’m glad I gave it my attention because it’s still very new to everyone else.” “How do I know where my limbs reside? Living two lives tryna synchronise, Don’t get me wrong I’m a simple guy. Tryna find peace in a simple life.” Meduulla – Limbo Part of what makes Meduulla such a special artist is her ability to interweave insightful observations into her music. Often, such as in her track Limbo, these are reflections on identity, “I was born in Zimbabwe and moved to Manchester when I was three years old. So I feel like I grew up with two very different cultures, however they do have a strong historic connection due to colonialism,” she explains. “So growing up that was quite conflicting because basically, my family has seen this like the land of opportunity, the land of dreams, but now I’m here. I’ve grown up with not much context of where I’ve come from, and I feel kind of alienated sometimes.” Despite emotions of isolation, Meduulla has actually found belonging via these feelings, “I make music that’s for people that are a bit off the curve, people that might see themselves as outside. But then I embrace that and connect with other people.” For Meduulla, viewing difference as a form of connection makes perfect sense, “Embracing the fact that I’m not the same as other people has been my superpower and informed a lot of the music that I make.” “Yeah, times like this, Got me thinking how a concept like time exists, Its our planet so we got the power, Every minute of the day we spend, its all (h)ours” Meduulla – Night Trip View this post on Instagram A post shared by Meduulla bby (@meduulla) Meduulla prides herself on following in Hip Hop’s rich tradition of manipulating language for maximum impact, “I love wordplay. I think it’s sick. I think it’s dope how words are the way we understand what people are thinking in their heads.” It’s such an inherent aspect of her craft that its shaped not only her work, but even her name, “I called myself ‘Meduulla’ because I want to be able to give people different perspectives in their minds, that’s how I write. I might think, okay the way I’m saying this means this, but what else could it mean? You can find multiple meanings in absolutely everything.” This is fundamental when it comes to her word play and the choice and power of words she uses. But Meduulla being Meduulla, she goes a step further, “I’m blessed that I speak three languages, French, Shona and English, so if I can’t find an alternative meaning in English, I’m able to find it in a different language.” And that combination of linguistic capability, musicality and a background in poetry, means that Meduulla’s writing can hit you in many different ways on many different levels, “That’s the beauty of language, because everything is connected or you can make it connected which gives me different ways of thinking, literally just a spiral of talking to myself on paper. I’m trying to find a way to say the things that I feel about the world.” Although Meduulla’s art is distinctive, it evokes reminiscence for some of Hip Hop’s greats and her work is influenced by an eclectic selection of music, “Growing up, my older cousins used to listen to a lot of DMX, I loved his unique voice, and that peaked my interest into Hip Hop. As I got older, I found my own vibes, I was drawn to Kendrick Lamar, then J Cole and Chance the Rapper.” When you listen to Oblongata, this affection for clever lyricists who can also make popular bangers makes a lot of sense. And much like many Hip Hop fans of her age, she discovered a lot her musical tastes in reverse chronology, “Later I went back and started listening to stuff that was before my time, like A Tribe Called Quest, Lauryn Hill, Erykah Badu. I just love innovative minds.” “What’s that thing about the horse? You can take it to the river but to drink you can’t force. I’m tryna do me, that’s the message I endorse, And the fit is looking clean, you know I got the sauce.” Meduulla – Mish Muulla https://www.youtube.com/watch?v=DRu_KnpXNzI Its well documented that the music business can be a challenging space for female artists, and perhaps that is even more prevalent within the sphere of Hip Hop. A few years ago, Meduulla experienced barriers when she participated in the BBC’s Rap Game UK, “It was quite clear that to be praised, or do well, you had to have either a hyper-feminine persona or be hyper-masculine. I feel like there wasn’t room for an artist
IN CONVERSATION – Dahlia Rae
IN CONVERSATION – Dahlia Rae Dahlia Rae discusses her new single ‘Purpose’, her artistic intentions, and appearing on the BBC’s Rap Game UK 22.12.23 Words by Paul Bacon So many demons in disguises, yet society just walks around it, I got some pain up in my heart wish I could talk about it, Trying to find my purpose while I’ve barely scratched the surface, Of the universe’s time and of my spiritual emergence. When the first four bars of a song feature demons, disguises, pain and purpose, the listener’s attention is immediately grabbed. There’s no time to settle in, no gentle intro, no filler. “I decided to go straight into it because it’s written from a perspective of me talking to myself, like a diary entry,” explains rapper and singer Dahlia Rae, about her new track ‘Purpose’. Between her new release, commitments connected to her BBC Rap Game UK appearance, being in the final year of a Criminology and Criminal Justice degree, and her youth mentoring work, Dahlia Rae is an extremely busy woman right now. But despite all of that, and the unsociably early hour of our Saturday morning interview, she is generous with her time and thorough with her answers. Just like her new track, our interview is immediately into the action, “When I first started writing it I was in a transitional period in my spiritual journey, transitioning from my old habits and creating new ones, and seeing the world for what it really is,” she reflects. As a listener, the opening bars of ‘Purpose’ conjure nostalgia of ‘Lost Ones’ by the legendary Lauryn Hill. Whilst the lyrical content is entirely different (Hill’s explosive intro addressed the changing nature of her relationship with former Fugees bandmate Wyclef), that sense of there not being a second, or a multisyllabic word, to waste is shared by both tracks. The audience is immediately captivated, engrossed into thinking you better not blink, or whatever the listening equivalent of blinking is, or you might miss something crucial. ‘Purpose’ continues to convey thoughtful reflections, delivered in composed, intricate rhyme schemes throughout its entirety. A range of subjects are coherently interwoven, and Dahlia succinctly moves between them, seeming to allow each topic sufficient focus before embarking on her next angle. Although she doesn’t draw upon her singing talent on this track, the cadence of her rapping alludes to her vocal capabilities, and her lyrical proficiency and conscious intellect are showcased. When I ask Dahlia why she called the track ‘Purpose’, it seems like a perfectly reasonable question at the time, “At first, I wasn’t sure what to title it. But when I finished it and listened back in its entirety, there was a sort of journey and fulfilment that stood out to me, so I felt like purpose was right.” Over the course of our conversation, the answer seems to become so obvious that my question is rendered redundant. This concept of purpose, of intention and meaning and of making music which has a tangible impact, is a constantly reoccurring theme which permeates every aspect of Dahlia Rae’s energy. I gained 2 angels to the hands of suicide, It got me contemplating and meditating on the meaning of life, If suicide ever crosses your mind, I’ll always be here, I’d rather be your shoulder to cry, On. Even in a song full of evocative emotion, the tenderness of Dahlia’s discussion of suicide stands out, “I actually started writing the song in 2021, and at that point I had lost a family member to suicide. I didn’t really process it or understand it properly, like how there were no signs,” she recalls. “I was a bit stuck writing it at that point. Then later on that same year I lost one of my secondary school friends to suicide as well. Writing helped me to process it, but I wasn’t ready to delve too deep.” But rather than focusing on her own feelings in response to these tragedies, Dahlia uses the track to offer support to others who might be struggling, “I wanted to explain, the person that I am, no one’s ever a burden to me. I don’t care if we haven’t spoken for ten years, but I am a source for you to come to if you ever need to.” https://www.youtube.com/watch?v=UrD29hdd7sw Dahlia comes from Birmingham, and the city has played a big part in shaping her, “I grew up in a very multicultural part of Birmingham called Handsworth. That played a massive role in my development, the primary school that I went to really celebrated the diversity of every student”, she explains. “But later I moved to a predominantly white school where I was the only black girl in my class. That was a massive culture shift for me and I didn’t understand how it could be so different in the same city. It made me see the reality of life from a young age.” Birmingham has also been a factor in Dahlia Rae’s development as an artist, where creative community collectives enabled her to grow, through open mic events and performance opportunities, “I’ve always loved music, there’s pictures of me at nursery performing with a plastic mic! I knew I wanted to be a music artist from a young age, but sometimes Birmingham feels like it has this ‘only one can make it out at a time mentality.” Another growth opportunity for Dahlia came when she was selected to be a contestant on the BBC’s Rap Game UK, “My journey to the Rap Game was really crazy! I’ve always loved the show and watched it religiously,” she says. When the show’s producers reached out to her, she was initially wary following an unsuccessful audition in 2020, but encouraged by a friend, she completed the multi-stage pre-show auditions (designed to take place over a number of months) in just two weeks. “The auditions alone were such a crazy, but fulfilling experience, and when I was selected for the show
IN CONVERSATION – L Dot ‘Hoodie SZN’
Photo Credit: Christopher Miller (Instagram: @cam_7th) IN CONVERSATION – L Dot ‘Hoodie SZN’ Hoodie SZN is Tottenham rapper L Dot’s new project, which is being released one track at a time, every Monday, Wednesday and Saturday throughout December. It’s a unique piece of work, covering an incredibly personal range of topics and showcasing her exhilarating talent and versatility. 14.12.23 Words by Paul Bacon Here’s a few problems pulling me down like gravity, 90% of people love my personality, And success comes naturally, So now the 10% are mad at me. L Dot – Capricorn Problems Photo Credit: Christopher Miller (Instagram: @cam_7th) Within about 30 seconds of meeting L Dot, it becomes clear why she’s so easy to like. Her infectious aura is hard to quantify or explain, “I’m used to being the loud person in the room, the animated person and people gravitate towards this energy that I’m giving off,” she says. When we talk, she’s wearing a black hoody, fittingly emblazoned with her Hoodie SZN logo, the hood up over her head and pulled down to just above her eyebrows. I can probably see about two thirds of her face, and most of that is covered by her smile. So what’s with that other 10% of people? “Sometimes when you are accepted by the masses you get this cold energy from a minority group of people,” she explains, “As I’ve got older, I’m less offended by that, but when I was young it was harder to understand.” As I speak to L Dot, she is in the midst of Hoodie SZN, her most ambitious project to date. “Throughout the month of December, I’m releasing high quality new music every Monday, Wednesday and Saturday, all with visuals” she outlines. That’s thirteen tracks dropping across thirty-one days during the twelfth month of twenty twenty-three. Clearly L Dot isn’t using this holiday season to rest, “I want to be able to show people how versatile I am and give them loads of different things but in a way that’s still a cohesive package.” That is exactly what L Dot has achieved with Hoodie SZN, somehow blending a diverse collection of beats, flows and concepts which illustrate her lyrical dexterity, vocal agility and an ability to change mood as quickly as she can change rhythm and genre. From boom bap era sounds, to high tempo grime and reflective R&B, Hoodie SZN has it all, accompanied by slickly produced social media videos. L Dot hails from Tottenham, North London. When it comes to musical heritage, few places can compete with Tottenham’s roster of revered residents; from global superstar Adele to soul singer Lemar, grime legends such as Skepta, JME, Wretch 32 and Chip, and drill icons like Abra Cadabra and Headie One. L Dot says growing up in a place so steeped in musical prestige, particularly with regards to rappers, has had a big impact on her craft, “To have these people to be able to say cool, you look like me and you’re from where I’m from, it makes it seem feasible, doable, attainable, achievable.” L Dot has been immersed in music all her life. She grew up in a musical family, and then spent her school lunchtimes making use of the music department’s studio. She learnt how to use the equipment and recorded songs with her friends, whilst their peers were kicking ball and gossiping in the lunch hall. “We’d be begging the music teacher to let us in the studio for free, we were just broke secondary school kids!” she remembers. Amongst those lunchtime lyricists were Drifty and Chinny, two of L Dot’s long-term friends and collaborators, with whom she combines to form their trio F2D, “Myself and Chinny have always had a little to and fro where if he’s written a verse I’ll be like I need to rewrite mine, then he wants to add a little more pizzazz to his, so we always had that kind of battle of lyricism,” and what about Drifty? “He’s also lethal with the lyrics but he brings a different type of flavour and energy. When you put all that together, it’s a really cool package.” https://www.youtube.com/watch?v=tSNwNdQmsMg Period. Back hurting. Crap mood lurking. Whole womb shredding and they still want me working. L Dot – WomanHood Undeniably, one of the standout tracks on Hoodie SZN is ‘WomanHood’. Initially the beat conjures nostalgia of 2Pac’s ‘Do for love’, but that’s where the familiar feelings end, because this is song like nothing you’ve heard before. To put it simply, it’s about periods. “I want to make things relatable but also unique, and I just thought no one’s rapping about this!” says L Dot explaining her thought process. “We’re going through this every month. We even have female rappers going through this every month and nobody is putting it to a beat.” Using rap to describe the challenges of womanhood is bold, especially considering the particularly paradoxical position women in Hip Hop have often occupied. “For a long time, a female rapper might get to be ‘the one’, maybe there might be two, but you certainly couldn’t pick your top ten. That’s just the way it was,” explains L Dot. Female emcees have actually always been there, from originators like Sha-Rock and Roxanne Shante, through to the 80s with MC Lyte and Queen Latifah, to Lil’ Kim and Lauryn Hill in the 90s, before the likes of Missy Elliott started to become household names. “Now it’s not only Nicki Minaj and Cardi B, there’s so many others like Lola Brooks, Sexy Red and then in the UK we have people like Little Sims, great pen. Women are taking over rap, it’s our time to shine”. This is exciting, particularly in a music landscape shadowed in controversy surrounding gender inequality. Since 2000, only 4 female artists have headlined Glastonbury (one being L Dot’s fellow Tottenham-ite Adele), and other festivals having been criticised for similarly poor track records. But L Dot feels now is a good
2023 EP FLASHBACK – RUBII ‘Olive Green’
2023 EP FLASHBACK – RUBII ‘Olive Green’ 25.07.23 Words by Sam Walton Hypnotic Harmonies and Garage-Soul Fusions: Exploring RUBII’s March EP ‘Olive Green’ Are you looking out of the window, or walking along moody streets, drowing out all the modern cacophony as you go? If you’re not also losing yourself in RUBII’s new EP, you should be. ‘Jammin’, the first track on her latest EP ‘Olive Green’ starts out lightly, but when the beat hit, so did the chills down my spine. Intimate, harmonising vocals with elements of old-school hip-hop, and a healthy dose of current neo-soul and RnB beats, soft but firm, RUBII’s latest tracks are hypnotising. Her lyrics are grounded, rhythmic and soulful, and listening closer is like overhearing a conversation at a low-key houseparty. She’s clever like that with her conversational singing, involving the listener like you’re meant to hear what she’s saying. You’re relaxed, but there’s always movement, like in ‘BOTB’ that you won’t be able to stop yourself swaying or tapping along. RUBII’s tracks make you feel like everything is important, but nothing matters at all. ‘Organic’ just like all the tracks on this EP, is well produced, atmospheric and combines a savoury, sweet sound that leaves you satisfied with eyes closed, enjoying the moment. Probably my favourite track, and the most popular as of writing is ‘Fool’. It’s no surprise either as its punchy, garage-soul fusion with a lick of gen-z attitude is envigorating. These are the types of tunes that catch on, with the likes of Greentea Peng coming to mind. RUBII’s sound has developed quickly from her first release of ‘Bitter Lips’, which showed promise but lacked a level of refinement, into something with a real air of coherence and professionalism. She’s one to watch, as I suspect her momentum with only take her higher in her next persuit. So if you need something new to help that melancholy commute in the city go down a little easier, RUBII has you covered.