Released on the Astral Black label, the instrumental project embellishes a palpable astro-futuristic aura with snapping, syncopated drum patterns. Eahweeįollowing up collaborations with Virginia MC Koncept Jackson and fellow London dweller King Kashmere, Life Force presents the celestial-gazing beat science of producer Eahwee.
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Over the boom bap–charged drums and scratchy guitar riffs that fuel “Dust My Broom,” the rapper cops to feeling “more like a stranger every time I come home” and seeks some solace in “reading old texts like I cracked the code to happiness.” Then on “You Gotta Move,” Dust strikes a sentiment that encapsulates the album’s charm: “That’s why I have been aging my regrets like bourbon in a keg/ Somehow my eulogy is getting shorter every day.” Tapping into the abidingly organic feel of Dust Raps The Blues, a limited number of hand-crafted lathe-cut vinyl versions of the album are available to cop. Set to a backdrop of guitar-infused production that radiates a similar sort of dusky charm as L’Orange and Solemn Brigham‘s Marlowe excursions, Dust rattles off rhymes that prosper when relaying lonesome sentiments and dredging up rueful whiskey-prompted laments.
Portland, Oregon rapper Dust Raps The Blues characterizes his third album release as something akin to the idea of rapper Action Bronson recording a record alongside blues icon B.B.
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I’m smiling like I’m not, I’m surfing through the setĪfter curtains I sit for a while before I go get the check.Ĭomplimenting woods’s erudite verbals across Maps, lyrical support comes courtesy of Quelle Chris on the aforementioned “Soundcheck,” plus Danny Brown blessing the ominously vibrating “Year Zero,” Aesop Rock passing through the slinky “Waiting Around,” and ELUCI D solidifying Armand Hammer connections over the hollow atmospherics of “Baby Steps” and on the poignant closer “As The Crow Flies.” Dust Raps the Blues I’m from when bottles got smashed over your head in the spot “I will not be at soundcheck/ I will not be in the green room if it’s too lit/ Could be at the local greasy spoon or Szechuan establishment,” raps woods over the clandestine jazz-inflected backing of “Soundcheck,” before nodding to a sense of history and with quiet confidence:
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Mirroring the setup of 2019’s Hiding Places, Los Angeles beat wizard Kenny Segal again charts the project’s musical topography, delivering a series of bluesy productions that inject bass-saturated, low-end territories with crackling striations of understated melody to tease out the ruminative notes and wry tenor of woods’s brogue. Maps continues billy woods‘s recent run of releases, whether as a soloist (2022’s Aethiopes, 2019’s Terror Management) or alongside Armand Hammer member ELUCID (2021’s Haram, 2020’s Shrines). There’s a refreshing blend of confidence and open self-doubt that permeates Anwar’s verses across the album: On the drum-free, fuzz-bedded centerpiece “Diminished Spirit,” the rapper’s voice positively swings while simultaneously “dealing with a lack of self-esteem, hella dreams, no guidance.” Closing the album on a fittingly muted note, “Wee-Bay Face” features the rappers shuffling into enigmatic climes to relay how “everything ain’t for everyone to know-some things worth hiding.” billy woods & Kenny Segal For Whatever The Case May Be, Point has teamed with Philadelphia MC Anwar HighSign (formerly known as Has-Lo) to present an album that oozes subtle melancholy. The UK-based Giallo Point has been forging a sterling reputation as a producer adept at conjuring a sense of impending danger through thoughtfully minimalist beats forged out of deftly repurposed fragments of library records and reserved jazz piano riffs. Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to track
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