In honour of the 30th anniversary of Nas’ Illmatic in April of this year, I have been revisiting the wealth of classic albums that emerged from the New York hip-hop scene in the mid-nineties. One such album that I discovered and have subsequently had on repeat is the 1993 debut from Black Moon, featuring Smiff-n-Wessun, “Enta Da Stage”.
This LP is an underground essential for all true hip-hop heads, showcasing an abundance of melodic jazz-influenced sampling from DJ Evil Dee and Da Beatminerz, blended with driving boom-bap rhythms and hardcore drums which capture the heart of what is widely considered the golden age of New York hip-hop.
Emcees Karim “5ft” Reid and Kenyatte “Buckshot” Blake demonstrate their skills with an accessible blend of playful lyricism with conscious, insightful themes, especially on songs such as “Son Get Wrec,” “Slave,” and “How Many MC’s…”. My personal highlight is the eponymous track “Smiff-n-Wessun”, which inventively samples Ahmad Jamal’s “Misdemeanor” to create a gritty atmosphere reminiscent of “Scenario” by A Tribe Called Quest. There is not one miss on the entire tracklist, and I would highly recommend this album to any Tribe or De La Soul fan who wants to widen their familiarity with influential underground staples.
When it comes to current hip-hop releases, I have been tuning into Doechii’s new mixtape Alligator Bites Never Heal. TDE-signee Doechii has long since been in my regular rotation with tracks such as “Persuasive” and “Stressed”. The project features singles “NISSAN ALTIMA” and “BOOM BAP”, both of which are masterful displays of her cutting lyricism and innovative flows which prove that she can easily go toe-to-toe with the some of the most proficient lyricists in the game right now. Get top on the phone!
“CATFISH” is one of my most played tracks as it embodies an unfaltering bravado and her Florida roots, where she is rapping lines such “Doechii the Don, Doechii the dean; Doechii supreme, the swamp ruler” with fervour. This track leads effortlessly into another highlight “SKIPP”, which balances haunting vocals and chopped and screwed production to excellently exhibit her versatility.
Conversely, there are some duds for me, including “PROFIT” and “FIREFLIES” which I find too meandering and unfocused, with little in the way of production to justify their addition. However, the project a whole serves its purpose as a mixtape and is certainly a welcome addition to her discography, displaying her potential and creativity as an artist and has been on repeat when I am on my way to lectures or grabbing a coffee.
Other newly released singles and feature performances from St. Louis rapper Smino, including “Polynesian”, “HOP OUT CHO FEELINGS” with Kal Banx and Buddy, and “Nokia” with Cousin Stizz, have also been at the top of my monthly streaming list. With these new tracks serving to tease the release of an album from Smino before the end of the year, I have been particularly tuned to hear the direction in sound he is headed for.
Smino has long since been amongst my favourite artists due to his expert artistry which blends melodic flows and neo-soul influences with experimental and often whimsical wordplay. Some of his most playful witticisms involve riffing on his name, such as referring to himself as “Quentin Taran-Smino” on the 2021 single “Rice & Gravy”.
These elements serve to create a whole atmosphere which feels uniquely his, enhancing every song on which he features. These new tracks are no exception and have shown him to be as consistent and versatile as ever, epitomising why he is always going triple-platinum on my Spotify when I’m with Smi, myself and I.
“Smino, Reaction NYE @ Rosemont Convention Center, 2016 (31852224254)” by swimfinfan is licensed under CC BY-SA 2.0.