Bozack Morris – Loose Cannons Review

loose cannons art work


Toronto’s own hip hop maestro Bozack Morris blessed fans with his new debut album Loose Cannons. Featuring hip hop artists such as Conway, Westside Gunn, Black Milk, Tut, Elcee the artist, and Meyhem Lauren.
Released formats include a magnificent Loose Cannons .003 blue & clear 7 inch vinyl. The CD album cover adorns a striking watercolor painting created by Bozack himself and comes complete with a 12 page booklet & sticker set.

MAC 90

Complex strings combining with a clean drum kick sets the tone for MAC 90. Conway the machine rips through his bloody bars not missing a drop on this multiplex beat. This unique combination of Conway vs Bozack’s harmonious crafted tone set the bar for this 8 track debut album.

03′ Infiniti

This beat will keep your head nodding with its diverse rhythmic sounds setting the back drop to Tuts skillful flow. A melodic tune combined with fresh bars are crafted into one fine track fit to keep your ears vibrating.

Reality Rap

A powerful theme thundering through the background on this joint. Meyhem spins his lyrics manifesting a mind blowing song. These two artists working together create a hard and elaborate sound for this track.

Never Change

The best tag team duo from the underground era joined together to grace this mellifluous song with their impressive flows. This euphoric song combines a perfect trifecta of talent. This beat will be knocking around in your mind all day.

Atari Teenage Riot

Keeping the synesthetic vibe this beat track creates a breathing space interlude for the remaining song on this project.

New Dreams

The diverse drums sounds create a complex track for Elcee the artist to spit on. Elcee’s bars flow drops effortlessly on Bozack’s intricate beat creating a rare an unique one of a kind song.

The Darkness

An eerie hard beat brings us to a spectacular close on this 8 track album. Black Milk masterly spills his lyrics onto this musical canvas creating the missing puzzle piece to this project Loose Cannons.



Follow Bozack Morris on Social Media at :

Twitter @BozackMorris

Instagram @



Producer Spotlight Interview: MichaelAngelo


Today’s guest is another piece of the bubbling Boston scene; producer MichaelAngelo. He burst onto the scene with his ‘Commerciante D’Arte’ 7″ release thru FXCK RAP earlier this year. It features solo songs from CRIMEAPPLE, Estee Nack and Rigz over MA’s eerie yet inviting productions. We met Mike at our Slime Beach concert, where he flew all the out to Philly to join us and perform a live beat set. It showed the kind of commitment and passion he has for this music, and why he’s not going anywhere anytime soon.

RD: We met recently at our ‘Slime Beach’ show in Philly, where you played a live beat set. You killed it with an array of flavors and tempos, was that your first one live? If not, where was it?

MA: It was my first time doing one under this name, I have recently re-branded before that I had done some showcases under a different handle.

RD: This year saw you break out on the scene with your FXCK RAP 7″ release Commerciante D’arte, which features CRIMEAPPLE, Estee Nack and Rigz. How did that project come to fruition?

MA: When I decided to re-brand my name, I knew I had to build everything back up. The initial idea was to drop a couple singles on the strength, but after ‘Chepe’ with CRIMEAPPLE dropped I started to see if it could get pressed up. The owner of FXCK RAP asked what else I had on deck, which led me to include ‘Leaps’ and ‘Excellence’. He offered to pick it up but wanted a 4th song, so I remixed ‘Chepe’.

RD: What led you to select the artists you did for the project?

MA: I met Crime at my homie’s video shoot in New York City, chopped it up with him and felt he was a good artist to work with at that time. Rigz came at the suggestion of my in-house team. I’ve known Estee for some time now so that was an automatic pick, I worked with him under my old name. When we spoke about the change and the vision behind it, we started talking about shooting a video for ‘Excellence’

RD: ‘Excellence‘ has a very cinematic and well-shot video to accompany it, tell us about the making of that.

MA: When Estee sent the track back, I was already thinking video. My in-house team is dope, they picked out a few spots and Estee had his input on a few that were mandatory for him. The goal was to show Lynn, MA like its never been shown in any videos from there before. D Gomez is incredible with it he went above and beyond to make sure he grabbed shots when I wasn’t even present.

RD: Can you tell us about any future collabs or projects that are in the works?

MA: Yeah man, I got a whole lot coming up. The 4th single I’m dropping is ‘Botero’ by Primo Profit. I added this track to the Commerciante D’Arte cassette version released by City Yard. We got a video for that joint that was shot in Medellin, Colombia. It’s my second visual of the year and I’m real happy with it. I’m pressing 7″ vinyl for that single which includes an unreleased b-side. Artwork for it is crazy, too. Have another EP, but won’t announce that until it’s closer to being done. 2 tracks are complete, another 3 still need some work. That will be my first 12″ release, so far everything else has been 7’s. After that is an EP with Rome Streetz, we will be pressing that up soon I’m mixing the tracks now.

RD: Walk us through the making of a ProdByMA joint. Does any element come first? Or does it vary from track to track?

MA: It varies, most the time it starts with a sample then I’ll find the drums but that can be a process in itself. Very picky about the drums, it has to sound like it matches the sample, or come as close as possible.

RD: Where do you see yourself in 3 years in the music game?

MA: I hope people see how much I did in this first year, if that’s any indication that I’m not going anywhere I don’t know what is.

RD: For a younger guy that is seemingly new to the game, you got a physical release quickly? How rewarding was that?

MA: As mentioned, only the name is new so everything is more calculated this time around. Those singles were originally going to drop on the strength, and I somehow managed to get a vinyl deal and get paid for my work. That’s as much as you can ask for.

RD: This has become a standard question, if you had a check to produce a ProdByMA album and there’s some zeros in there, what 5 emcee’s you calling for features?

MA: I’d have to bring it back to some of the artists I started with and also some new ones. CRIMEAPPLE, Estee Nack, Al Divino, Primo Profit and Eto.

You can follow Mike on IG: prodbymichaelangelo, MichaelAngelo on Soundcloud and ProdByMA on twitter.

Commerciante D’Arte is available here

Respect Due Interview: Jamil Honesty x Hobgoblin Beats


Today we feature two  talents separated by many miles that connected through hip hop; Baltimore MC Jamil Honesty and UK producer Hobgoblin. They’re prepping an EP together titled ‘Martyr Musik’ that is set to drop soon. The first single ‘Blockah’ showcases Jamil’s earnest and street smart rhymes over an urgent horn-laced beat.


RD: What do you want people to think when they hear your name?

JH: The truth, I bare my soul when it comes to the music. That and ‘He’s the shit!’ lol

RD: Tell us about the struggles and rewards of being an independent artist building a name from square one in hip hop.

JH: The struggles are having to fund everything yourself, from promo to videos, studio costs like mixing and mastering. Travel expenses can be taxing, also getting people to believe in your brand enough to buy and into it. The rewards are being able to drop music however and whenever you want. With social media the direct-to-consumer idea helps you connect with and identify your fan base directly, which is very rewarding.

RD: You’ve released 6 singles over the past few months, is this building towards an album?

JH: Excellent question, again being an indy artist you have certain liberties. I’ve been dropping some singles that are connected to future projects, some are not. For example ’24’ and ‘Searching’ are loosies, ‘Revival’ is the first single from my upcoming album with the immensely talented Krazyfingaz which is set to drop this year. ‘The Lesson’ and ‘Pain’ are from an upcoming project with DJ Grazzhoppa called ‘This Is War’. These 2 projects are coming along with Martyr Musik EP with Hobgoblin.

RD: You’ve worked with a Belgian DJ Grazzhoppa, as well as producers from the UK and France. What brought about some of these long distance connections?

JH: Social media has enabled me to connect with all of these guys, as well as promoters.

RD: Your clearly a Wu child like ourselves, give me your top 5 Wu related albums of all time.

JH: 36 Chambers/OB4CL/Supreme Clientele/Forever and Liquid Swords in no particular order.

RD: We met at a CRIMEAPPLE/Daniel Son show a few months back, what are some of your fav concert moments?

JH: Yessir, that was dope! The Roots stands out, just a phenomenal show.

RD: What’s your ultimate goal as an MC, and for Jamil the human being?

JH:To create great music that reflects the times and make money while doing so. As a person I want to be known by my friends and family to be a protector and as a just man.

RD: Tell us about your history in music production

HG: In 2001 was working my way up as a young DJ on a well known UK ‘urban music station’ radio station. I got into making beats after a co worker gave me a cracked copy of FL studio. I was able to link with artists through one of the better known DJ’s at the station, who was passing my beat CDs onto MC’s he would interview for his  show. I made some tracks with a guy called Rukus, who had a No.1 hit in the UK with ‘Let It Go’. As well as provide a remix featuring a guy called Skrein, who went on to become the famous actor Ed Skrein (he played the villain in the Deadpool movie!). I also linked with Sonnyjim around this time too and used to get his music played on the station. To be honest, those beats were really poorly mixed and a bit shit, back then making beats was more of a hobby and my main focus was always presenting and DJ’ing in clubs. I got into making beats heavy again about 4 years ago.

RD: One of the first things that come to mind when I hear your work is ‘thick drums’, would you say that’s a point of emphasis?

HG: Definitely. The drums on my early beats were weak as fuck, and it’s only recently  that I’ve found software that works for me and really gets my drums knocking like i want. I also finally invested in a decent pair of monitors which makes a massive difference. I remember watching Apollo Brown making a beat on YouTube, and he kept emphasizing ‘the drums always gotta be hard’. He’s 100% right.

RD: Is there an element of beat making you feel you could level up with? If so, what is it?

HG: Good question! I need to figure out how to EQ my bass better in the mix. Getting that knocking bass drum and combining it with a dope bass tone is always a challenge!

RD: Talk to us about ‘Martyr Musik’ with Jamil Honesty, what can the listeners expect?

HG: Honestly (No pun intended lol) the project is dope as fuck man! Jamil is the best emcee that everyone is sleeping on right now, Codenine said just that the other day. Although saying that, we’ve had tracks from the album played by Tony Touch, Eclipse and PF Cuttin! Every track is tight. If the beat ain’t working we bin it and start over. If Jamil’s verse doesn’t blow me away, we bin it. We have some dope features from Rome Streetz, Codenine, J Scienide, Jay Royale, Ace Cannons, DJ Grazzhoppa and possibly more to come… I’m not going to say any more than that, except that once it’s released, people are going to see what were all about, and that we’re definitely not fucking around either!

RD: Do you feel there’s a renaissance going on in the UK underground. There’s a whole crop of newer producers and rappers and many of them collab.

HG: There seems to be a good many beatmakers getting placements on US ‘underground’ projects, which is dope. Karnate, Giallo, Farmabeats, B-Sun, Leafdog, Sonnyjim and probably a few more I’m forgetting. I try and keep up with whose who, what everyone is doing etc. I like to check out the competition! It would be great to see some of these dudes get some ‘bigger’ placements too. Rappers like Phyba, Sonnyjim, Da Fly Hooligan and Ray Vendetta are all showing the UK has real talent on the mic as well as off it.

RD: This question has become a standard, love the variety in answers. If I’m cutting a check for a Hobgoblin producer album, who are the first 5 calls?

HG: Conway, MOP, Raekwon, Sticky Fingaz and Ghostface

RD: What’s your end goal? Where would you like to see yourself in music say 3-5 years down the line?

HG: I’d like to be still making music I care about and love with people I respect and who are dope. Hopefully I’ll have put out some compilation projects independently, and maybe got some bigger placements along the way too, maybe with some of the rappers from the previous answer.

RD: Looking at your SoundCloud, its not hard to tell you don’t mind giving other props, as your page is filled with reposts. Who are your 5 producers to watch?

HG: This is a list of who I think is dope right now, rather than ‘who to watch for’. Definitely Farma Beats (Street Farmacy is upsettingly well produced lol), Vinyl Villain is a beast, Buck Dudley (that new track with CRIMEAPPLE and Ankh is mad!), Lil Eto is killing it, finally has to be Giallo, who’s consistency is mind boggling.

RD: Shouts? Final words?

HG: Look out for The Martyr Musik album with Jamil Honesty. St Ivan the Terrible just put out an album entirely produced by me called ‘From The Dirt and The Muscle’, I’ve got a few beats on The upcoming Infinity Stone series with Chong Wizard, those joints are CRAZY but Chong Wizard wont let me talk about them yet. I’ve got a mixtape with the CCP fam coming soon, some tracks with Farma Beats son Remus – he’s DOPE, an EP with a guy called Aurieloheem who’s signed to Hell Razah’s GGO label. Finally some tracks for K Burns ‘Team Fame’ squad in the pipeline as well.

Jamil Honesty






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Producer Spotlight Interview: Karnate



Today we present Karnate, one of the finest up and coming producers not only from the UK but in all of underground hip hop. While doing research for El Ay’s piece, her track ‘Dreams’ came on and I was instantly intrigued by the production. He didn’t have many other placements at the time, but that would soon change. In the past few months he has laced Codenine & Paranom for their exquisite Million Dollar Minks  album, not to mention bangers for Recognize Ali/Killa Kali as well as fully producing The Master Chambers LP for Ray Vendetta. I consider myself a fairly picky listener, but Karnate’s batting average is as high as it gets for me. Almost everything we’ve heard from him has been both unique and of high quality, all indications are this man will produce a classic album in the very near future.

RD: We first heard your work on El Ay’s single ‘Dreams’. How long have you been actively shopping your beats?

KBB: Oh yea? Shouts to El, that was a dope record to make, played the whole thing and she killed it with her multi-layered harmonies. Plus she wrote and recorded as soon as she heard it, those type of songs are always ill to create. I’ve been making beats for about 15 years, started taking it seriously around 2010. I’d hustle CD’s here and there. Trying to get them to the right people. Had a crew I was working with, then I put out 4 beat tapes on Bandcamp, all with a different sound. In February of 2014 I started sending them to rappers, who would then want to hear more. That’s when I started sending these ridiculous sized bundles, which I became known for so I started using  #ByTheBundle

RD: You DJ as well, what came first, that or production?

KBB:  Yeah, more by email name now than anything else (my turntables aren’t even set up right now and haven’t been for longer than I’d like to mention). I got them after hustling my little heart out for a year when I was around 14 yrs old, and started learning to scratch and juggle. Started making mixtapes with my boys and recording anyone I knew who played anything or rapped. I knew all along I’d be making beats this far into it.

RD: Codenine and Paranom’s Million Dollar Minks is one of the finest albums of the year, you played a huge part in that. Were they looking for a specific sound?

KBB:  Thank you, proper appreciate that, but if your gonna say that we gotta shout Vinyl Villain at this point. I was lucky to meet Code round the time they we’re starting the project so I was able to see it through, get the mindset, supply skits, make bits with them it in mind. Code made it easy, he said he wanted a something to roll up, smoke and ride around in your city to. It’s a soundtrack to that kind of journey.

Editors Note: We completely agree about our boy Vinyl Villain, who also had a lions share of the work on Minks. Both producers helped establish the sound and lay the foundation for the project.

RD: Let’s talk gear, do you have a tried and true setup, or experiment with different pieces?

KBB: It’s mostly software, had a MPC 2500 but quickly sold it, as the computer I was using did not stem out from the MPC. Started with Loop Sampler, a Zoom drum machine, keyboard and hard disk 8 track. It’s always been in the computer really, started out with Cubase, then FruityLoops, and now just Logic, a MPD24 and a keyboard. Friends have given me and encouraged me to use other pieces and software, but to be honest I hate the stall in work rate that comes with learning something else.

RD: Master Chambers with yourself and Ray Vendetta is another excellent project, is there a different mindset doing a complete album compared to 1 or 2 placements?

KBB: Yes and no, I’ll always think about the project as a whole, but to produce one fully  means the entire sound, feel, and mood of it is on you and the other artist. You have to supply it all to make that complete product, it can definitely take up more head space, and it also varies depending on who your working with. Ray really fulfilled his role on this one. Master Chambers started with one of the many beat bundles I had sent him, and that sparked something. He wrote the majority of the project in a couple of days, once he had the bulk of the project penned we filled in the rest of the tracks one by one.

RD: If you had an unlimited budget to put together a producer album, who are the first 5 calls you’re making?

KBB: Damn, really have to take a minute to think about that one. Skyzoo, Danny Brown, Roc Marci, Elzhi. I’d probably round it out with one of the members of the Griselda camp.

RD: There are a litany of quality emcee’s coming from the UK, Sonnyjim/Tesla’s Ghost and Ray are among some of our favorites. Do you see a new era emerging over there?

KBB:  Shouts to Ray, Tes, all Tripple Darkness, and Sonny, (we got a feature in the can). The UK hip hop scene has gone through some different phases/sounds/eras, arguably generations but has been healthy for a few years. The numbers at some shows are crazy and we got a lot of talent that does feel like its getting attention. Obviosuly the Grime and Battle scenes have both been strong and successful for a long time, which all helps. In terms of translating over seas, not everything does, though those that do certainly seem to be getting the recognition they deserve at the moment. I feel the underground globally is strong as hell right now and the UK seems to be a part of that. I don’t want to speak for peoples fans but if you’re making the right music I don’t think people really seem to care where you’re from or what your accent is. Feels like we are the way to a whole new international era. Even though I still find it crazy that so and so rapper I know from say NY knows who Chester P or Jehst is!

RD: What does the rest of 2018 hold for you? What’s your ultimate goal in this music game?

KBBWell, me and Killa Kali are working on a LP, which we want to get all UK features for, plus another Ray project. Mine and Joker Starr’s LP, which we’ve got wrapped and was incredible to do, 1st time I worked with El/Sarai Jazz/Micall Parknsun. Buddy Leezle’s “Gavage” which was fun, few experimental bits, you’ll catch me playing keys and maybe more.  A Code 9 project that we started looking at awhile ago, and similar to MillMinks we want a real particular sound for. The Gravel Pit Bulls project with Mongo and Flowtecs along with a few other producers, which is all about gravel/tone of the voice, so everyone featured Mongo picked based on their vocal tone. I can’t wait to get into that, you’re gonna see a different side of Flow. Dirtee Def Projects which are shaping up crazy, gonna be some real screw face shit. Also have work on upcoming EP’s for Casablanca, the multi-talented Amy True as well as more work with El Ay. Bits for Recognize Ali, Nowaah the Flood and Chong Wizard’s Power Stone series. 

Linked up with Poison Ring Regime last year, got some bits for a compilation tape called ‘Nutrition’ as well as other bits for the team.

End game stuff, I’d like to travel at least half as much as my music does. Get more into the look and production of physicals and videos. Clothing and shoe design are big interests, perhaps get into that down the line. Essentially I’d like to pay rent somewhere nice, live well and have enough left to be able to treat my family here and there. Scoring a film would be very cool, I’ve dabbled in that before
RD: Any last shouts?
KBB: Yourselves, and every DJ/blog/mag/podcast/journalist/listener for opening the wallets and supports when the products drop. Shout out to all the emcees who hit me when I have beats for sale. Mongo, Joker Starr, Yard 26, Killa Kali for always looking out for me, my boys Mindstate & Kramma, Rec Ali (legend in the making) Ray, Tesla, Flow, Code, Jordan C. , Amy, Dirtee, Buddy and all my PRR people worldwide.
You can find Karnate on twitter @Karnatebeats and on IG @karnatebeatsbythebundle