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Jay Sean – “I’m All Yours” (Featuring Pitbull)

Score: 7.2

The fact that it takes Jay Sean almost two full minutes into his own video to start singing the first verse says an awful lot about “I’m All Yours” – there has been a clear devolution in responsibility, and current king of dance-rap guest spots (Pitbull) takes control early on, combines with the chorus, and subsequently the lead becomes the feature. Fortunately, there is still much to like about the single: that sticky hook simply soars; Pitbull’s feature is the sound of a man firmly in the zone; the production is current (handled by Orange Music Factory); and Jay is the usual charming host. There are problems, however: the verses are somewhat bland, plus the sequencing is surprisingly poorly thought out, too (not to mention the failed green screen). However, as with “Down,” when you have the chorus, you have their ear. IAY is very much a sequel and it will definitely be a fun summer smash. It also improves on the former by being more dancefloor friendly (dancing to “Down” is surprisingly difficult), but it’s not as memorable. Still, it should get Jay back in the game – with the messy “Freeze Time” finally on the scrap heap, he’s got to prove to himself that it is “Worth It All.” (Reviewed by Sohail)

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Kuly from RDB Passes Away

RDB, a group who have contributed much over many years to the music industry, have lost one of their members today as news filters through that Kuly has passed away. Here’s part of the official statement put out by RDB themselves:

“The international music fraternity has faced a saddening loss with Kuly of music band RDB passing away on Monday 22nd May 2012 in Houston, Texas, USA. The popular music group member lost his battle with cancer at the young age of 35 years old. Kuly was diagnosed with a brain tumour in April 2011 and underwent radio & chemotherapy. He was receiving treatment at a specialised clinic in Houston at the time of his death.”

It’s a genuinely sad loss, and our thoughts go out to his family and friends. Rest in peace.

 

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Jay Deala – “Vida Tropical”

Score: 2.4

Aside from the heresy of calling himself ‘Jay Deala’ (Mr Yancey must be rolling in his grave), expect “Vida Tropical” to be one of the worst offerings you’ll witness this year. Absolutely cliche-ridden at every turn, with corny rhymes, catchphrases and concepts, it’s a failure to update hip hop from 15 years ago. Not the good hip hop, you understand – the awful A&R driven bullshit that forced rappers into actors, prostituting all and sundry. You talkin’ 10′s – everywhere? Not here. A complete embarrassment that we could devote an entire site to. (Reviewed by Raman)

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Seti X – “Bird Flu”

Score: 7.4

A short but sweet offering from Seti X (aka Mandeep Sethi). The RZA-esque beat produced by DviousMindz is pitch perfect, and X does a safe job of delivering his conscious message in the streets of San Fran. It has no relation to the raucous M.I.A. track from 2007, as this is a contemplative warning shot to the materialism driving hip hop into oblivion. Seti is (and has been for some time) an artist worth keeping a close eye on. (Reviewed by Raman)

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Sam Kay – “Nobody’s Perfect” (J.Cole Refix – Freestyle)

Score: N/A

This. THIS! This is why we rate Sam Kay. A few years back, his freestyles – in conjunction with his Jump Off  successes – were what truly put him on the map. He’s most definitely back in the groove now, and note that he’s labelled this a “Refix” – it’s entirely appropriate as his verses are substantially better than J.Cole’s original efforts, and Kay’s diction is simply impeccable. He’s releasing freestyle videos; he’s tearing down Jump Off again (just for a laugh); he’s got a collaboration with golden boy Arjun coming soon. It’s safe to say that Sam is back. (Reviewed by Jesal)

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TaZzZ – “I Am” (Featuring Humble the Poet & Raxstar)

Score: 7.2

Solid conscious rap curated by TaZzZ, this timing flying in Humble the Poet to collaborate with Raxstar. Regarding the Luton MC, well – you’d probably know pretty much all you need to by now. He’s on pretty good form here, going over the moody and atmospheric beat by TaZzZ with a degree of fervour that suggests this is his more favoured branch of hip hop. The star of the show, however, is undoubtedly Humble the Poet: at times reminiscent of Big Pun’s tongue-twisting polysyllabic rhyme schemes, at others beaten but defiant warrior, he’s a revelation. Good stuff. (Reviewed by Jesal)

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Shizzio – “Pakis In Paris (Part Deux)” (Featuring Outlandish)

Score: N/A

Much better than Part One. Hiring in Outlandish was a good move from Shizzio (his own verse remains the same).

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Preeya Kalidas – “Love Between Us”

Score: 8.8

If you can ignore the pointless low-budget video – and we suggest you do just that – try to focus on this stunning new number from Preeya Kalidas, collaborating with Davinche to devastating effect. It feels strange to say out loud, but bizarrely enough it wouldn’t be hyperbole to suggest that this is reminiscent of that glorious Aaliyah/Missy/Timbaland triumvirate. The airy vocals from Kalidas are perfectly understated; the production from Davinche is incredible; the melodies will infiltrate your brain; and it is all delivered with just the right balance.  Well done, Preeya. (Reviewed by Jesal)

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Smartz – “Rise” (Featuring Don Jaga)

Score: 7.1

Smartz is peculiar MC. Why? Because out of this new school of rappers, he’s one of the few that doesn’t seem to be influenced by Lil Wayne and, in particular, Drake. In other words, whilst Smartz undoubtedly has his own heroes, when it comes to rapping he just sounds like himself. This immediately highlights him, and is most certainly a good thing, as he’s got a lot of potential. “Rise” is a solid socio-political track with a decent beat, a strong chorus from Don Jaga and passionate lyrics from the star of the show. Smartz manages to reduce rap to the basic elements, whilst retaining his own personality and character. Which is more than can be said for most artists nowadays. (Reviewed by Jesal)

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Sunship – “Psycho” (Featuring Lost Souljah)

Score: 7.3

For those of you old enough to remember the UK Garage scene first time around, you will undoubtedly recall Sunship with affection – their remixes were the stuff of legend, energising R&B songs with their trademark percussion and vocal-chopping. This new effort featuring Lost Souljah works similarly well: the song itself is sequenced intelligently (helping to bring out the production), their mixing/mastering remains exquisite, Lost Souljah is fantastic (both in writing/delivery terms) and pretty much everything functions as it should. Good stuff. (Reviewed by Jesal)

Psycho (feat. Lost Souljah) [Remixes] - Single - Sunship

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Bilal – “Scream Out Loud” (Featuring Raxstar)

Score: 6.1

Aside from presiding over quite possibly the worst block party in history – complete with bubbles, sparklers and one whole confetti bomb – there is quite a buzz accompanying Bilal’s new single, “Scream Out Loud.” Once you’ve sat through the entire three and a half minutes, however, you’d probably be forgiven for wondering why. There are undoubted strengths – chiefly a hypnotic accordion and those indelible “Woah-oh-oh’s” – yet it doesn’t seem to grab the opportunity with both hands. A noticeable absence in percussion, “Scream Out Loud” is a dancefloor anthem without much of a kick, and when it breaks down to build up a crescendo at 2:40, you finally expect the whole thing to spark into life. But alas, it never does. Oh, and Raxstar’s contribution is blink-and-you’ll-miss-it. Fortunately, there is enough of that catchy element to help carry it over the finishing line, and it could just lodge itself in your head for a good while – even if it won’t reach your heart. (Reviewed by Sohail)

Scream Out Loud - Bilal Ft Raxstar

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Menis – “Better Late Than Never (EP)”

Whilst we’re not in the habit of informing you of when an artist releases an EP or mixtape, we are actually quite impressed by this cool little interactive sampler from Menis. That is all.

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What’s Beef?

Beef is a funny thing in hip hop. Take all the big ego’s, constant bragging, spirit of competition and a prerequisite need to feel that you’re the best, and clashes are inevitable. As long as informal rules are established, it can be an intriguing contest, a battle of wills, and maybe even let out the bad blood to boost careers.

That was before Twitter.

Twitter, that lightning quick character collector that distributes our innermost thoughts to people we’ve never even met. How to put this eloquently? Twitter fucked shit up. In the old days (about 3 years ago), when rappers had a problem, there was no immediate outlet to vent their frustrations, and no way to directly contact the other guy in full view of the public. Conversations were private, and both parties would have to take a series of steps to actively escalate a situation. Just like if an plane crashes, there are a number of things that must go wrong in order to get to that point.

Twitter, however, has made it possible to jump all of those steps and directly interact with another artist. This can lead to great things and collaborations, but it can also lead to problems, depending on the character types involved. Put simply, many of us shoot from the hip, speak our thoughts as we think them and care not for the consequences. But that can lead to trouble, and one should be prepared for it. And if the wrong (or right, depending on your viewpoint) two artists clash, it can create a situation out of nothing. After all, it’s a whole lot easier to back down and apologise in private, as opposed to in front of thousands of followers.

Which brings us onto the Sam Kay/Shizzio beef. Firstly, we’d like to send a big fuck you to the critics of our previous post on the subject. Rahul called it how he saw it, and as the editor, I back his right to an opinion. We love the other sites currently around, and there is room for everyone – SuperCritic has a place, and is not another content-only site, it delivers critical reviews assessing music to the very core, and occasionally gives unvetted opinions on items the writers deem worthy of commenting upon.

I’ve been asked for my take on the subject. Honestly? Blame Twitter. That’s not a diplomatic fence-sitting response. It’s just that from where I was sitting, watching things unfold, this all could have been avoided if people thought before they pressed the ‘Send’ button (literally the “Send” button, in this case).

Artists have a certain responsibility to their fans and to themselves to create great music. That’s the priority. As recent cases have shown, you can do pretty much anything and the public will forgive you if give them quality songs/albums. But at a more independent level, it helps to cooperate with one another. You might not always like each other, and will certainly disagree with the direction that a fellow artist takes. The Asian music scene is tiny, however, and you’re always going to bump into each other.

Don’t get it twisted – we are not talking about a couple of rappers that have broken the charts, or released classic albums, or sold gazillions of records. You’re talking about two big fish in a small pond. That’s the reality. And the reality is that you’d much rather hear both rappers on the same track, instead of going at each other.

Being a small pond, however, always sets up the possible trap of an even greater sense of ego. Shizzio tweets inadvisable things to Sam, Sam takes offense (with just cause). Sam should drop it, but doesn’t. Shizzio makes himself to look like the victim. Sam continues, and even throws an 8 bar jab on a new song. Words Ali tweets about Sam. Sam responds. People start to take sides. The game divides, less good music is released, and just like crabs in a bucket, they’ll stay there.

There is another way. It’s called thinking before you tweet. It’s called meeting up in person if you have a genuine issue, or even just talking to them properly on the phone. It’s called being consistent in your ideology and not using other people for self-promotion. If someone changes their name, let them. If someone private messages you about a possible collaboration, don’t hold it over them. If someone backs away, let it go.

Beef is a legitimate source of material, of conflict. But actual rap beef stems from actual problems. Twitter beef is thoughtless, disposable nonsense and 99 times out of a hundred, everyone comes off looking just a bit silly. Let’s see what happens next. The best outcome would be a couple of classic diss records, a reconciliation and an eventual collaboration after the misunderstanding. Does anyone really see that happening?

“A wise man told me don’t argue with fools, Cos people from a distance can’t tell who is who.”

(Posted by Jesal)

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TaZzZ – “Stay Hungry” (Featuring Mandeep Sethi & Swami Baracus)

SCORE: 7.3

A very good offering from serial grinder TaZzZ – providing a moody soundscape for the two guest rappers to spit over, a genial sample and intelligent seqencing, “Stay Hungry” already starts off on the right foot. We find both Mandeep Sethi – with two verses – and Swami Baracus in “conscious” mode, and it’s the kind of rare track amongst the predictable girl/braggin’ numbers currently flooding the Asian scene. The only slight downer is Sethi’s performance: it’s perfectly fine, but we are used to hearing better from him, as perhaps the attempt to deliver “thoughtful” delivery ends up just masking some of the lyrics/flows he utilises (in fairness, it’s a minor complaint). Swami Baracus, however, is in a rich vein of form and can seemingly do no wrong: superb on the track, it might have been better to have given him the two verses instead. Amongst the many rappers we come across, there are very few that we predict could release a great album worth listening to – but Swami Baracus must now endeavour to make his mark in the form of a long play. He’s ready. It’s time. (Reviewed by Raman)

**The video was removed by the artist in question, they are making some adjustments and once they have reuploaded it, we will put the link back up**

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Panjabi Hit Squad – “Dil Mera” (Featuring Rahat Fateh Ali Khan)

SCORE: 6.4

It’s truly heartening to see that, after all these years, Panjabi Hit Squad can still take a perfectly good song and rip it off. In this case, it’s “Mamacita” but it could just as easily have been “Turn Me On” or “Tempted To Touch” (you get the idea). Despite the chronic lack of originality, “Dil Mera” is still a very catchy song, with excellent vocals from Rahat Fateh Ali Khan. Is it original? No. Will it sound good in clubs and make you want to dance? Yes. Pretty much that simple, really. (Reviewed by Sohail)

Dil Mera (feat. Rahat Fateh Ali Khan) - Single - Panjabi Hit Squad

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Shizzio – “Pakis In Paris” (Featuring Desi Boome)

SCORE: N/A

A new freestyle video from Shizzio, this time going over Jay and Ye’s “Niggas in Paris” beat. Aside from the fact that it has already been done so many times – and it must be said, more innovatively – Shizzio certainly does a good job, spitting his venomous and humorous lyrics with aplomb (there are a couple of cracking punchlines). However, the inclusion of Desi Boome was a mistake: the chorus is sinfully lame (“BONJOUR! AU REVOIR! PAKIS IN PARIS!!!” – yes, seriously); his flow is all over the shop; his voice is years away from maturation; most crucially, you just don’t believe in him. A brief aside: it took me a while to understand the point of the song, until it was explained to me over Twitter that “Niggas In Paris” really is a big deal for most black people in the US – Paris is an abstract dream of a city, especially when 40% of Americans don’t even have passports. For us, we just hop on the Eurostar for £90. The immigrants dream. (Reviewed by Jesal)

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Shide Boss – “Amplifier”

SCORE: N/A

This appears to be a bit of freestyle fun for Shide Boss. A shame: he does a professional job, but doesn’t fully commit to it; and mostly because if he did really go all out, it could be a huge international breakthr0ugh moment for him. Doing a proper R&B remix of “Amplifier” with a legit video, performance, guest rapper and marketing could have just been the summer smash hit of the year (it makes perfect sense, surely). Our advice? Pull this, do it again, only ten times bigger. Then watch it blow. It’s still fun, nevertheless. (Reviewed by Raman)

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Shide Boss – “It’s Alright”

SCORE: 5.6

For the first time, Shide Boss has released something we’re not entirely sure about. In fairness, it has the feel of a “fourth single” (i.e. just chuck it out and hope it can capitalise from the previous tracks) but aside from the as-per-usual excellent Marcus James production, Shide himself somewhat lets the side down. For the first time, the lyrics are half-hearted, the flow doesn’t do the job, his vocals sound rusty and you just don’t really believe in what he’s singing about. It’s a shame, because up until now, everything he has touched turns to gold, but we don’t predict a similar outcome for this effort. It’s not terrible, but put it this way: it’s alright. (Reviewed by Rahul)

It's Alright - Rainbow - EP

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Roach Killa – “Oh Girl”

SCORE: 6.1

It seems strange that so many people having been raving about how “original” Roach Killa’s new song is. To all intents and purposes, it’s a Sean Paul song mixed with “Amplifier” – and originality is the last word we’d use. That doesn’t mean it’s not an effective and pleasant number: the constant barrage of “Oh Girl” bangs you over the head until you’ve got the message in a couple of different languages; the instrumental provided by Surinder Rattan initially seems a touch tacky, but it’s actually well suited and tuneful; Roach himself delivers (courtesy of our old friend Auto Tune) some decent vocals; and it’s just got a nice summery vibe to it. Which is pretty much the sum total of its ambitions. (Reviewed by Raman)

Oh Girl - Single - Roach Killa

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Culture Shock – “Ex’d Up”

SCORE: 7.4

A challenging effort from Culture Shock, featuring lashings of Auto Tune and a hypnotic beat, not to mention repetitive lyrics that worm their way into your brain. Like the weapons used to destroy shit in the video, it’s a blunt instrument of a song, with very little subtlety, but it’s brilliantly sequenced and highly energetic. That chorus is just plain weird, but it works so well simply due to it taking half an hour to figure out, by which time you’re hooked. Yes, it’s shallow and essentially meaningless, but it’s one to just listen to and enjoy on a purely superficial level. (Reviewed by Sohail)

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Raxstar – “Ex Games”

SCORE: 7.9

This is precisely what Raxstar does best right now. “Ex Games” finds the Luton MC flowing over a moody Substeppers instrumental, effectively doing his own “Marvin’s Room” (he even references the song here), and he picks up brilliantly on the all the tiny details that help sway a relationship from negative to positive, then back again. His skills aren’t just limited to the concept and lyrics: it’s easy to forget, but when Raxstar is on form, his delivery can be exquisite, the tone of his voice just dead-on for what a conflicted track like “Ex Games” needs. Will Raxstar make it to the big leagues? It’s difficult to say. For one, we need a proper album as some sort of indication. His recent “Late On Time” mixtape was lengthy and uneven, offering few clues. He has spoken of a twelve-track LP and if he’s at his peak throughout those dozen numbers, there’s little reason as to why he shouldn’t make a splash in the hip hop scene in general. But perhaps the best thing going for him is that pretty much whatever he releases feels genuine, and that’s a surprisingly rare quality in an artist. (Reviewed by Rahul)

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Sid Sriram – “We Found Love” (Cover)

SCORE: N/A

It’s fair to say that, like fast food, we’re not the biggest fans of covers (not as an everyday source of food, anyway). However, as an occasional treat – and if we have behaved well – the right choice can provide a bit of nourishment for the soul. And there is plenty of that in a quite stunning rendition of “We Found Love” by Sid Sriram, a performance that’s cast-iron sure to get him noticed. The pitch perfect way he sings, the thoughtful melisma, the emotion he infuses into a dance song turned slow, the heart/soul he pours into it… Just watch for yourselves. (Reviewed by Jesal)

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Tara Priya – “Run Like Hell”

SCORE: 6.2

A bizarre new offering from Tara Priya. Aside from the sparkling instrumental provided by Satien Mehta (think Ronson/Remi), it’s a clever concept track that fumbles the crucial chorus. A shame, as whilst it clearly lacks the cute charm of “Rollin’” it could have been the perfect follow-up to that breakthrough. That chorus is overthought, overwritten and overpowering. She wants to show her “bitchy” side, the “hell hath no fury” to her previously adorable moment, but whilst “Run Like Hell” looks good on paper, sounds professional and has a decent (albeit patchy) video, sometimes less is more. She’s clearly a big Winehouse fan, and that’s fine. But what Amy did so well on her sophomore effort was to let the track breathe: it was the space between her poetry that spoke volumes. Tara Priya has yet to learn that skill, as this sounds too much, too compressed, with a herd of ideas just crammed in. She’s clearly got talent but also possesses the overexuberance that plagues many a new artist. “Run Like Hell” is good, but with a bit more nous it could have been great. (Reviewed by Raman)

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Arjun – “Why This Kolaveri Di” (Remix)

SCORE: N/A

Seeing as Arjun’s remix of “Why This Kolaveri Di” has become a career-defining moment for him, it’s only appropriate we post a reminder and a heartfelt congratulations on reaching 5 million YouTube views. Stunning. (Posted by Jesal)

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Urvah Khan – “War Drum”

SCORE: 7.4

Urvah Khan makes quite a splash in her new video (and that’s not limited to her frolicking about in the ocean). “War Drum” bashes you over the head with relentless catchphrases, vocal switches, musical shifts and attitude in abundance. Where to start? Well, Khan herself is the human representation of a hurtling fireball, all in the form of tattooed/pierced warrior goddess: her insane hair, ripped clothes, teeth that have probably ripped sharks to shreds… As for her style, it would be remiss to ignore the obvious M.I.A. comparisons, particularly when it comes to her vocal delivery: the shouty, half sung half rapped grenades she launches, the controversial imagery, even the way she elongates the last word of a bar. Musically, “War Drum” is quite superb, with an indelible guitar loop and driving percussion, it’s a surefire winner. The only slight criticism we’d have is that the lyrics need a touch more refinement but that will come with time. This is certainly the way to make a quick impression, and we’d bet she will gain as many nonplussed haters as die-hard admirers. (Reviewed by Raman)

War Drum - Universal Rhythm Venture (EP) - EP

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