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Recent posts
‘It’s Over’
The final track off of the High Artifice album features the revolutionary rap powerhouse Lee Reed @freeleereed
Despite the title it was the third track of the project to be recorded.
Lee being in Canada and me in the UK, we’d been chatting online since becoming @strangefamousrecords label mates in 2018 as well as sharing some great conversations over Zoom in 2020 during those weird times of social isolation.
We went through a few beats and then finally settled on this one. Lee sent through these super fire vocals in April ’21.
I spent quite a bit of time on the beat trying out different ways of dirtying it up, running Lee’s vocals onto tape and running different elements of the beat through old gear, trying to nail the right level of grit to complement his killer flow. Hopefully I got there.
Big thanks and big ups to Lee Reed!
This is my portrait of him in charcoal, acrylic, spray paint and Photoshop.
28 Sep 2026
‘Deserts of the Pre-Present’ featuring the legendary @youngsole was the second collaboration that became a part of the High Artifice project after ‘Chemtrails’ with @illogic614 .
I’ve been a big fan of Sole’s work since his early Anticon releases. ’Selling Live Water’ and ‘Live from Rome’ in particular were always on heavy rotation. I’m currently thoroughly enjoying his latest album ‘Dads At The End Of The World’ with @televangel.
We’d exchanged some brief messages in the past but had never properly spoken. I reached out to him just before the pandemic kicked in Jan 2020.
We went through a few beat options and ended up going with one with this one. It uses an obscure sample that I found about 25 years but never found a successful way of using it until making this beat.
Sole recorded the vocals during the peak of the pandemic (“As for flattening the curve, somebody dig me a pit”)
Sole said that he’d been bumping lots of 90s rap at that time so had taken the opportunity to flip some styles he hadn’t really done before.
Big thanks and big ups to Sole!
Above is my portrait of him in charcoal, acrylic, spray paint and Photoshop.
21 Sep 2026
The one and only @blackliq
We’d initially exchanged some DMs as @strangefamousrecords label mates, then in early 2023 I reached out to him to find out if he’d consider lending his super dope styles to my ‘High Artifice’ project.
I sent a beat through and a couple of days later these fire vocal stems hit my inbox.
When I sent him the finished mix, he wrote to me “Hell yea this shit is heavy, what you did to it makes all the colors I saw when I wrote it darker and inked like a comic book!”
The beat I ran some of the elements through the EMAX rack sampler for some of that 12-bit beef. I also ran some of Liq’s vocals out of a small speaker and back into the mic of a very basic cassette dictaphone.
Above is my portrait of him in charcoal, acrylic, spray paint and Photoshop.
Big thanks and big ups to BlackLiq!
14 Sep 2026
I’d been hoping to get a verse from @sagefrancissfr on the track that would later become ‘Drive.’ I knew he was busy and had already recorded some super fresh vocals for ‘Recovering Adrenaline Addict’ along with Buck 65 and Slug, so I felt greedy asking him for more.
I had two dope verses from @bobbyfreedom and @printmatic and was racking my brains as to how to finish the track. While I was doing so the homie @buddy_peace hipped me to an episode of the @dod45w podcast with Rob Sonic, where Sage made an appearance and had mentioned the work-in-progress track. So that was a prompt for me to hit up Sage again and discuss the potential. Big ups to @artbytai and Buddy Peace! Without that nudge this track may well have worked out differently. Blueprint’s verse felt like it took place in the future and Rob Sonic’s in the present, so it made sense that Sage’s verse would be set in the past. We briefly shared some ideas over email and Sage came back with this crazy heat.
Big love to Sage.
Above is my portrait of him in charcoal, acrylic, spray paint and Photoshop. Part of a triptych along with portraits of all three featured artists on ‘DRIVE.’
07 Sep 2026
I first heard the incredible Blueprint @printmatic rap on RJD2’s ‘Deadringer’ album in 2002. As well as being super ill on the beats and the rhymes, I’m a big fan of his @superduty_toughwork podcast with @illogic614 (highly recommended if you’re not already a regular listener).
I thought Blueprint would sound dope over the ‘Drive’ beat along with fire verse I had from Rob Sonic, so I got in touch with him up about the potential of jumping on the track. We figured out the logistics and he came back quickly with this awesomely futuristic and cyberpunky verse.
When I sent the beat it was just a simple loop - the whole track sounded like it does during Rob’s verse. After hearing what Print did with it, I wanted the music to lean more into a dystopian direction too, so I switched up the beat with the arpeggiated synth line, a little nod to Vangelis, one of my musical heroes (RIP). I used the U-he Zebra 2 which has been my go-to soft synth for years.
He recorded this verse in April ’24
Above is my portrait of him in charcoal, acrylic, spray paint and Photoshop, part of a triptych I made for our ‘Drive’ song along with portraits of @bobbyfreedom and @sagefrancissfr.
Big thanks and big ups to Blueprint!
31 Aug 2026
The first artist to lay down a verse on ‘Drive’ was the one and only Rob Sonic @bobbyfreedom.
Sometime in the early 2000s while CD crate digging in Japan I came across the Operazor EP by his group Sonic Sum. At that point I wasn’t familiar with him or the group, but the dope cover art and a remix by one of my all-time favourite production duos @theopus_beats was all I needed to take a shot on it. That record made me an instant fan.
Fast forward to 2023, ‘High Artifice’ was already taking shape. Sage Francis had asked who else I was hoping to get on the record and kindly reached out to Rob on my behalf.
I made this beat with Rob Sonic in mind - his super dope body of work was a big inspiration in the beat style; I was going for my own take on that chunky, raw, minimal, dirty synthy sound that I first heard on the opening track of ‘Operazor.’ He recorded this verse in December ’23.
Above is my portrait of him in charcoal, acrylic, spray paint and Photoshop. This is the first part of a triptych along with portraits of the other two featured artists on the track, @sagefrancissfr and @printmatic.
Big thanks and salutes to Rob Sonic!
24 Aug 2026
‘It’s My Space’ is the fourth track from the ‘High Artifice’ album featuring the legendary Kool Keith!
From hearing ‘Ego Trippin’ on countless mixtapes as a kid, to hearing ‘Blue Flowers,’ ’Diesel Power,’ ‘Ultra,’ The Big Willie Smith EP and countless other pseudonyms and dope songs and projects, I’ve been a big fan of the inimitable Kool Keith and his unique styles for a hot minute. So while I was reaching out to some of my favourite MCs I had to try reaching out to him about a potential feature on ‘High Artifice.’
We recorded this track in June 2023. This was the only beat I sent through to him which luckily he said he dug the spaced out vibe. I had some fun doing some unconventional turntable stuff on this one and cutting up his vocals at the end.
A big thank you and salute to the legend.
Above is my portrait of Kool Keith in charcoal, acrylic, spray paint and Photoshop.
17 Aug 2026
‘No Dice’ featuring the legendary @el_da_sensei!
This is the third track from my ‘High Artifice’ album.
I’ve been a big fan of El Da Sensei since hearing the Artifacts song ‘The Ultimate’ on UK radio circa ’97.
We’d never spoken before, but I made this beat with him in mind and reached out to him in April ’24. He came back with a quickfire response saying he dug the beat.
Shortly afterwards a super fire verse landed in my inbox. Even without any mixing the raw demo sounded incredible. Seeing him put this together in the time that he did was awe-inspiring.
I had the pleasure of meeting him in person at his show earlier this year at the Jazz Cafe in London. We only spoke briefly at the merch booth. I hope I managed to make an acceptable first impression as the beer and bourbon had been flowing freely during the show (on a Tuesday night too 😂)... I was there with the homies and we were just having too much fun witnessing a hip hop legend and master at work.
Big thanks and salutes to El Da Sensei.
Above is my portrait of him in charcoal, acrylic, spray paint and Photoshop.
10 Aug 2026
The one and only Slug of @atmosphere
Following fire verses from @sagefrancissfr and Buck 65 @verticesgram, the third and final feature on ‘Recovering Adrenaline Addict’ is none other than Slug.
Three rap legends on the same track for the first time.
The first time I heard Atmosphere was hearing ‘Scapegoat’ on UK radio circa 1997. I’d never heard anything quite like it. Slug has been up there with my favourite rappers since.
When Sage asked me if there was anyone I wanted him to reach out to to feature on the album, naturally Slug was up there at the top of my list. Luckily he was down to get involved.
Lets just say he didn’t disappoint.
His line “Fuck around and get art store” is right up my hip-hop-dad-joke street. I need to get that on a t-shirt ASAP.
Big thanks to Slug for his incredible verse.
And big ups to Sage for making this one happen.
This is my portrait of Slug in charcoal, acrylic, spray paint and Photoshop - part of the ‘R.A.A.’ triptych along with portraits of Sage Francis and Buck 65.
03 Aug 2026
The legendary Buck 65
@verticesgram
This is the second piece of new artwork I made for our song ‘Recovering Adrenaline Addict’ featuring @sagefrancissfr, Buck 65 and Slug of @atmosphere.
I’ve been a big fan of Buck’s work since hearing his album ‘Talkin’ Honky Blues’ circa 2003. That is still one of my favourite projects of his. In 2007 I won a remix contest run by @strangefamousrecords for my reworking of his track ‘Shutter Buggin’.’ He also used one of my beats on his super dope ‘Dirtbike’ album series. It’s been great to see him back to being extra prolific on the beats and rhymes after taking a break from releasing music. He flipped a super cool flow on this track.
Big thanks and big ups to Buck 65.
This is my portrait of him in charcoal, acrylic, spray paint and Photoshop.
27 Jul 2026
New artwork for ‘Recovering Adrenaline Addict’ featuring Sage Francis, Buck 65 and Slug, plus some notes on how the track came to be.
I sent the first version of this beat to @sagefrancissfr in April ’22.
Within a day of receiving the beat he told me he already had a verse written to it. “It’s comprised of lyrics I had been emailing myself on my phone over the past week and it works really well on this beat. It’s funny how often things like that work out.”
Sage killed this one 🔥🔥🔥
The other two incredible features on this joint were organised and made possible by Sage. I’d mentioned to him that I’d love to get Slug of @atmosphere and Buck 65 a.k.a. @verticesgram on the High Artifice project and he reached out to them. I believe this is the first time that Slug and Buck did a song together.
I’d put together a selection of about 30 beats that I’d sent through to Sage to share with Buck and Slug to choose from. Originally they went with a completely different beat so when the demo initially arrived in my inbox over this particular beat it was a surprise.
I made this beat with Sage and Slug going back and forth in mind. I didn’t mention that to Sage when I sent it to him and never mentioned it to anybody else either so the fact that this is the one they ended up going with is pretty wild.
Big ups to Sage! Above is my portrait of him in charcoal, acrylic, tea stains, spray paint and Photoshop. This is the first part of a triptych featuring all three artists which you can see at the end of the reel. More coming 🔜 ✌️
20 Jul 2026
‘Chemtrails’ with the incredible @illogic614 was the first track that became a part of my ‘High Artifice’ album project that dropped a year ago on Strange Famous Records.
Some notes on how the track came to be. It was November 2019 and I’d released my last album project ‘MEGALITH’ the year before. I’d put a lot of energy into that record as well as the 3 music videos we made for it and wasn’t planning on working on another long-form project any time soon. I was enjoying making music just for the hell of it without any kind of sound or end product in mind.
My good friend @buddy_peace had put me on to @printmatic and Illogic’s @superduty_toughwork podcast which I’d been thoroughly enjoying. Illogic mentioned in an episode that he was doing features. I’d been a fan of his work for a while so I hit him up via email and we took it from there.
I sent through a few beats to choose from. He went with one called ‘Delmak-O,’ the title taken from the name of a fictional planet from Philip K Dick’s sci-fi novel ‘A Maze of Death’ that I’d been reading. A very short time later he hit me back to ask if I could extend the beat by an extra minute or two to accommodate what he’d written...
Another couple of days passed and I received a mind-blowingly-dope demo in my inbox.
My email response to Illogic at the time probably didn’t convey how inspiring and exciting it was to see my simple beat idea turned into an epic lyrical masterpiece in such a short space of time. Illogic is without a doubt a true master of his craft.
As the bar had been set incredibly high on the raps-front I needed to ensure that the beat was up to par. While I was trying to figure out how to do this, the Covid pandemic kicked in. I can remember working on this track at a weird time not really knowing what was going on in the world and suddenly having a lot more time in the studio, spending weeks trying out different things with the arrangement; exploring chord progressions in the bridge sections, throwing all kinds of different sounds and samples at it to see what stuck. At that point I was still not thinking about releases or deadlines, I was purely trying to make dope music, however long that took (s
13 Jul 2026
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