CD Review: Sizzla's 'Born A King'

Sizzla
Born A King
Muti Music

Jamaican-reggae at its best would not be the best without the vocals of Sizzla and his edgy, groove-laden, and funky little band. The big sound steeped in dubby grooves, staccato beats, and throaty vocals makes Born A King fit for everyone. There is an element of hip-hop, urban, dancehall, and soul music. There are even electronic gurgles, tones, and reverberations that keep the sound fresh and contemporary. The sound would not be complete without the talents of Errol Dunkley, Vida-Sunshyne, Turbulence, and Alton Ellis. Sizzla brings a heavier, more urban-driven sound to the reggae market, but that doesn't make it any less enjoyable. Still, fans of more innovative reggae with urban beats will find it most satisfying. ~ Matthew Forss

2-CD Review: Various Artists' 'Role: New Sounds of Brazil'

Various Artists
Role: New Sounds of Brazil [2-CD]
Mais Um Discos

The double-disc release, Role: New Sound of Brazil, is not your ordinary Brazilian album. This is not bossa nova or samba. Instead, the music is experimental, urban, electronica, indie rock, funk, hip-hop, and dark, brooding sounds on guitars, percussion, and samples. Both discs contain similar music that is amped-up with killer vocals and grooves that are almost indescribable, but can be included in avante-garde-grunge. The diverse vocals and instrumentation make the release a must-listen. Over forty tracks and nearly as many artists grace the albums. Fans of popular Brazilian music will get the most out of the tracks. However, anyone that wants an in-depth look at what's going on with Brazil's independent and underground music scene will find satisfaction in the tracks on Role: New Sounds of Brazil. ~ Matthew Forss

CD Review: See-I's 'Knowledge Shine Bright'

See-I
Knowledge Shine Bright
Fort Knox Recordings

Washington, DC's Afro-funk band, See-I, releases a new album that continues in their funk, house, trance, hip hop, and rock paths with Knowledge Shine Bright. The opening anthem, "Never Give Up," is a reggae, funk, and rock-infused medley of luscious sounds and catchy melodies with punchy horns, jingly guitars, and reggae vocals. A dozen tracks round out the album with classic funk rhythms, hip-hop grooves, and urban styles that combine electronica with jazzy horns. The entire collection of songs are especially likable, which is probably due to the catchy and infectious melodies. At any rate, See-I is not afraid of experimenting or mixing styles, instruments, or grooves. Get your soul filled with 'Knowledge', so it can 'Shine Bright.' ~ Matthew Forss

CD Review: DJ Drez' 'Jahta Beat: Chanting With Tigers'

DJ Drez
Jahta Beat: Chanting With Tigers
Black Swan Sounds

DJ Drez creates a swirling mix of Indian rhythms, urban grooves, and down-tempo beats that are mystical, magical, and deeply-rooted in South Asian instrumentation. The contemporary approach is both instrumental and vocal with electronic embellishments that are unforgettable. DJ Drez employs the help of various artists, including Kirtaniyas, Domonic Dean Breaux, Marti Nikko, Arjun Baba, Kirti Srinvastava, Sheela Bringi, Trae Sevin, and Masood Ali Khan. There are filmic undertones, dance tracks, hip-hop instrumentals, kirtan tracks, and world fusion works that combine South Asian instrumentation with urban grooves and beats that cannot be ignored. Fans of contemporary kirtan, dance, yoga, Sanskrit tunes, and similar music will find DJ Drez soulfully-appealing. ~ Matthew Forss

CD Review: NMercer's 'Crossroads' EP

NMercer
Crossroads EP [explicit]
Self-Release

Raised near Seattle and based in South Central, California, Naomi Mercer (aka NMercer), presents us with a fine compilation of hip-hop and electronica-tinged songs with an urban edge and soulful mix of fanciful lyricism and quirky percussion. "DB" is a jazzy, edgy, and urban track with swishy percussion and miscellaneous electronic elements. The emotive vocals are rather hip-hop oriented overall. "Why U Gotta Be So Fine" opens with an electronic concoction of sounds before a slightly-hip hop-influenced vocal section picks up. The smattering of electronic embellishments and punchy percussion are most evident throughout. "Steal It" opens with drippy and blurby keyboard sounds that move into a hip-hop instrumental masterpiece without losing its electric showers of charm. "Crossroads" is an urban joint with swishy electronic adornments with assertive vocals and symphonic blips and beeps that scream hip-hop-electronica. You're guaranteed to find yourself at a 'crossroads' and it starts and ends with NMercer. ~ Matthew Forss      

CD Review: Noel Black & XRA's 'Chromatic Warfare'

Noel Black & XRA
Chromatic Warfare
Independent Release

Coming to New York from the Caribbean, Noel Black reinvents the world of hip-hop, dance, and electronica, along with his West Coast songstress, XRA. Two musical worlds collide on Chromatic Warfare with Caribbean-tinged rhythms and urban DJing at its finest. XRA's DJ skills and vocal presence are unmatched. Noel Black's rough voice is direct and melodic. However, the rather short album may be off-putting for some. Nevertheless, the four tracks: "Riot," "We Get Busy," "Judge Before Reading," and "D.O.I. (Declaration of Independence)" are unique and fresh enough to be enjoyed over and over. The music is repetitive at times, very electronic, industrial, and urban. The mix of spacey electronica and urban grooves with rap and hip-hop influences are a combination that works. Anyone interested in progressive poetry and electronic music with an urban flair will find Chromatic Welfare a blast. ~ Matthew Forss   

CD Review: Chase Enriquez's ''Til The Flame Burns Out'

Chase Enriquez
'Til The Flame Burns Out
We Group

If you are seeking alternative hip/hop and rap music, Chase Enriquez should be at the top of your search list. Fortunately, one need not struggle to find the high points of this album. Every song seems to awaken the spirit with vibrant riffs, hooks, and licks. The more rock-driven, "Tell My Why," is more indicative of an alternative track over a hip-hop medley. "Night On Fire" opens with an electronic shower of sparks and synth medleys that delve right into a booming, bass-driven song with hot hip-hop lyrics and rap instrumentals. The richly-textured track contains gritty vocals that are uptempo, but not too fast they are indistinguishable. The sound is indicative of Sudan's Emmanuel Jal. Though, all the lyrics on 'Til The Flame Burns Out are in English. "In The Wind" starts with a few keyboard washes and tapping percussion sounds. The rap instrumentals back the edgy vocals and rock-like foundation. "All The Way" opens with a shout and symphonic string arrangements and loud, rock instrumental backing that is very cinematic, but in your face. This is rap and hip hop with attitude, but nothing that is too showy or overdone. It's nice to have some musical accompaniment with the vocals. Chase Enriquez is a talented performer and composer that should not be missed if you like urban, rap, and hip hop music. ~ Matthew Forss

CD Review: Joe Driscoll & Sekou Kouyate's 'Faya'

Joe Driscoll & Sekou Kouyate

Faya
Localization Records

Guinea’s Sekou Kouyate and global music aficionado, Joe Driscoll, presents us with an exceptional recording of afro-fusion and afro-pop. The gritty, giddy, and upbeat songs meld traditional instrumentation with contemporary rhythms and melodies that are a perfect match for the soul, funk, reggae, hip-hop, pop, jazz, and dance styles. The nine songs are ripe with kora, guitar, urban beats, and electronic loops. The fast vocals on some of the songs are ideal for fans of hip-hop and rap. Everyone will enjoy the sparkling kora melodies and contemporary beats. Afro-fusion and pop music lovers will find satisfaction in the songs for sure. Faya is a favorite for fans of modern Afro-fusion and inventive world music with a purpose. ~ Matthew Forss

CD Review: 'Soul'try Sounds of Ahmed Soultan

Ahmed Soultan

Code

Somum Records

Born in Morocco, Ahmed Soultan soon emigrated to France where he experimented with Arabic and French rap/hip-hop styles. In fact, some of the songs are sung in Berber, French, Arabic, and English. The overall feel of the album is very laid-back and smooth. Code is not a gangster rap album loaded with profanities and violence. Instead, it bridges a Francophone style with Arabic soul. Ahmed is joined by a female singer, Samira, on a few tracks. Three of the fourteen tracks are repeated for whatever reason. One of the three tracks features a guest artist, Afrodiziac. The secret to understanding and enjoying Code is not that difficult soon after you start playing the tracks. The music takes on a 'soul'try and smooth edge with little help from traditional instrumentation over modern hip-hop beats. One thing is for sure, Code is in its own category. It's that good. ~ Matthew Forss