Afrobeat, House, Pop

Bimbi Philips- “Lamba” Review

Bimbi Philips’ music is, to a large extent, a study in escapism. By day an IT consultant in London, he moonlights as a singer of fizzy Afrobeat, and this contrast is exemplified not just by the tropical zest of his music but by the “Lamba” music video, in which he is zapped from a grey city street to a lush forest, snowy peak and fire-lit log cabin. He is also escaping from the traditional Afrobeat of Fela Kuti in his incorporation of elements of house and modern EDM in the airy, clean production, synthesised basslines and clipped, ecomical drum machines of “Lamba”.

In this, Philips makes an effective stab at pop resonance. His music is far lighter and breezier than an Ebo Taylor or a Kuti, and the influence of modern pop is evident in his soft, slightly effeminate vocals that are vaguely reminiscent of Justin Bieber or The Weeknd. “Lamba” is carried by its nagging, insistent bassline and the unusual African inflections of Philips’ singing, although they never overpower the cheerful, blustery accessibility of the music. The sunny optimism of “Bamba” almost tips into self-parody at times—notably in the repetition of “I’m going to do everything for you ‘cos I love you”, but the lyrics are a circumstantial concern and barely scratch the potential of “Bamba” as a nascent club hit. CO


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Hip Hop, Pop

DJ Khaled- “Grateful” Review

The prevalence of DJ Khaled in modern pop and hip-hop is perpetually puzzling. A man who doesn’t produce his own beats, and who is, to put it kindly, a limited MC and lyricist has nonetheless been heard bellowing his own name on radio hits for over a decade. By his own admission, Khaled is closer to an organiser and promoter of the music that is released in his name, generating a reputation through his bullish self-promotion and seemingly endless connections. A brief scroll through the track listing of “Grateful” will reveal endless famous names: Beyoncé, Jay Z, Rhianna, Drake, Justin Bieber and Nicki Minaj just to name a few.

Khaled’s status as a meme is also probably a contributing factor in his fame. His escapades, including famously getting lost on a jetski, leaking his own sex tape and live-streaming the birth of his son have all drawn bemused incredulity, as well as the easy dilution of his brand down to a handful of hollered phrases—“Another one”, “We The Best Music”, “Congratulations, you played yourself”. In this noisy and transient zeitgeist-defining, his actual music is often lost.

“Grateful” itself is primarily defined both consciously and unconsciously by excess. The record bloats horribly at 23 songs, loosely defined as a concept album about Khaled’s thankfulness for his “blessings”, namely his fame, his money and his son. An Apple interview before the album’s release provides a surprisingly insightful glimpse into his mentality in producing “Grateful”: “This is my 10th album so I’m going all out… there’s no album cuts on there, these are all anthem singles”. Indeed, tracks often seem to mirror recent rap hits: “Iced Out My Arms” bears a strong resemblance to Kendrick Lamar’s “DNA” and “Good Man” sounds a bit like Desiigner’s “Panda”.

Ironically, as the album wears on, the endless guest spots that were probably intended to obscure Khaled’s lack of talent become its greatest weakness. Songs like “Whatever” are ruined simply through overcrowding, various guests virtually shouting over one another to be heard, and this is mirrored in the glossy clutter of the production. This problem is compounded by Khaled’s desire to make the album into a non-stop hit-fest, meaning that there are no subtle, reserved moments on “Grateful” in which the listener can catch their breath. Despite being 23 tracks long, the record still feels strangely truncated and rushed.

In amongst the unfocused clutter and noise there are glimmers of potential. One of the best moments on “Grateful” is the relaxed, sunny and (at least comparatively) spacious “I’m the One”, which will probably become one of the biggest songs of the summer. “Wild Thoughts” is a dreamy Spanish guitar reverie with a passable Rhianna guest spot, and “I Love You So Much” is a catchy enough to survive the typical pointless overproduction, a sweet Jackson 5 pastiche glorifying Khaled’s son with likeably ridiculous Khaled hyperbole (“you’re a mogul, you’re an icon, you’re a legend”). However, most of the rest of the album is lost in a din of headache-inducing excess, soullessly clinical production and Future’s ridiculous comatose flow. CO


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Pop, Uncategorized

Music Theory: ‘Down The Aisle’

The mysterious artist, Music Theory, hails from Egypt and he creates a beautiful blend of listenable pop music, best exhibited in his upcoming single ‘Down The Aisle’, which you can watch the video for here.

Inspired by some of the best in the business, including Maroon 5, Michael Jackson and Usher, Music Theory borrows elements from a wide range of musicians and styles, allowing him to craft his own unique style within the busy and highly-occupied world of pop music. Consequently, Music Theory often veers into the worlds of rock, dance and R&B when it comes to writing his music.

It can be difficult in today’s pop music sphere to make yourself stand out, but Music Theory is doing this with a combination of simple, honest songwriting and well-crafted lyricism that differentiates his music from the crowd.

‘Down The Aisle’ was mixed by Bob Horn (Usher/Akon) and was mastered by Tom Coyne (Adele/Taylor Swift).

Want a little more insight into the world of Music Theory? Check out his blog here: 




Pop, R&B

‘I Need An Answer’ by Stunnah Gee and Kymo Kingin

‘I Need An Answer’ is the new single from urban collaborative duo Stunnah Gee and Kymo Kingin, who have joined forces to create their 6-track EP, Nipples.

If you’re wondering about the intriguing title of the record, it stems from the fact that the EP is aiming to raise breast cancer awareness. It will also be donating 10% of all proceeds towards organisations searching for a cure and those who cannot afford treatment.

Within the pair’s blend of R&B and pop is a powerful message and cause that only adds poignance to ‘I Need An Answer’. Produced by T-Izze, the track takes the shape of a moving ballad, led by delicate piano and emotive vocals.

After his Uncle passed away from pancreatic cancer and his Aunt’s several breast cancer scares in the past, Stunnah Gee was keen to use his talent of music for more than just pleasure, instead applying it to helping those in need.  Stunnah Gee and Kymo wanted to ‘create world music and to break boundaries with the project, but in the long run after sharing so many ideas, the thought came to us that we can do much more than just create music, but also give back to the society and that’s how we made it a breast cancer awareness project.’

Kymo Kingin, an R&B legend back in his home country of Nigeria, is an accomplished musician having been nominated for a Channel O award in Africa, whilst Stunnah Gee has been nominated for a MOBO award and even won a BEFFTA in 2016.

Along with a heart-string pulling video, ‘I Need An Answer’ is a track of great quality, combining its musical craftsmanship with the noble cause of supporting those with breast cancer.

Find out more on Stunnah Gee and Kymo Kingin:


Buy/Listen to the EP here:


Find out more on Stunnah Gee and Kymo Kingin here:

Pop, Rock, Singer-songwriter

‘Freedom – What does the word even mean?’ – Beldon Haigh’s protest song

How often do you hear a protest song? Not very, I would say is the case for most people, but in reaction to America’s new president, Mr. Donald Trump, Beldon Haigh has written an anti-trump protest song to empower all those voices who feel the same way.

Supposedly, the idea for the song came to Beldon in a dream, so he was quick to jot down his ideas when he woke up. Beldon used to play in bands back in the 80s such as Mikifin and Boxing Clever and has since honed his craft as a musician, culminating to this point where he has found that writing songs of protest is where his heart lies.

Combining simple, yet effective songwriting with pertinent lyrics that make their way straight to the point, Beldon’s style is no fuss music for the 21st century, formed using classic instrumentation and pop-influenced hooks.

However, Beldon is also influenced by the likes of The Waterboys, Tears For Fears, Bob Dylan and James Taylor, displaying a strong musical pedigree that is clear when you listen to the music.


Find out more on Beldon Haigh here:


Pop, rap

‘Fireman’ by Jake Aldridge ft. Lisa Ambrose

‘Fireman’ is the new single from rap artist Jake Aldridge who has collaborated with Lisa Ambrose to form a fusion of pop hooks and considered songwriting.

Whilst many artists have music running in their blood, it wasn’t this way for Jake. At the tender age of 11, he sadly lost his Father in a tragic accident and so he turned to music as a form of therapy. It was this turn of events that made Jake realise that he was a confident lyricist, and it wasn’t long before he evolved this talent into rapping.

‘Fireman’ tells the heartbreaking story of losing the person you love and this is a theme Jake knows all too well. With the help of talented singer-songwriter, Lisa Ambrose, who recently won Battle of the Bandstands, Aldridge has been able to create an infectious pop track that crosses genres in to the world of rap.

Having previously gone to no.1 on Zone Radio’s top 40 charts and receiving airplay on Tom Robinson’s BBC Radio 6 show, Aldridge has a promising future ahead of him and ‘Fireman’ is sure to send him on his way.

Check out more on Jake Aldridge here:

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Pop, R&B

Pimlican’s ‘Runaw’y’

Pimlican is an unique artist, setting out on his own, yet collaborating with many musicians who can offer something special to the sound of the music. The latest single, ‘Runaw’y’ blends elements of R&B, dance and pop, creating an innovative urban sound for the 21st century.

With experienced songwriting skills, Pimlican mixes catchy hooks with powerful beats to form his unique brand of music. These skills have seen Pimlican’s music featured on Tom Robinson’s Radio 6 show, BBC Introducing and BBC Radio Leeds.

The inspiration for Pimlican came from spending many nights in Pimlico, waiting for appointments with people involved in the music industry. The idea of the collective is to deliver unique live performances; therefore anyone can get involved in Pimlican as long as they help evolve the live show, never sticking to a completely rigid format.  After releasing single ‘B’ck 4 More/P’lya’ in late May, Pimlican are set to release the addictive dance pop track ‘Runaw’y’, using rap to complement the strong vocals.