Committed to the cause and bringing a finely-tuned balance of precision and creativity to the scene, producer Brizzi Beats showcases the very best of his uniquely immersive, dark-trap craftwork, with the full length project Welcome To Hell.
The opening and title-track sets the mood effectively, Welcome To Hell uniting haunting synth progressions with classic trap beats and equally dark melodic threads, for a sound that’s enchanting yet recognisable.
Atmospheric design takes the reigns shortly afterwards, as the collaborative track Hazard, with AyBe, adopts a more industrially sci-fi-like progression through unsettling twists, turns and silences. The fearlessness of the artistry already appeals, not merely feeding into the current hip hop agenda, but building something of character in order to refresh it.
Elm Street adds further to the eerie vibes, the calling cards of Brizzi Beats now fairly clear – melodic choices, stops and starts, bass-heavy beats and lighter moments, oriental flickers and fragments of voice and intricacy.
As the eleven-track set continues, eerie merges into horror, the screams and suddenness of The Undertaker standing out and recapturing any wandering minds. Still professionalism keeps things musical, welcoming, ready for collaborative opportunity.
Other highlights include the hypnotic and cinematic rise and fall of a decidedly ghostly Kujo, the unexpected delicacy of keys and implications throughout *67, and the distorted heavy bass and energy of High Till I Die.
There’s also a likeable echo to the waves of piano throughout Valek, which again feels original yet true to the now unmistakable Brizzi Beats style.
And to finish, bonus track Fever Dream introduces rapper Willie Boy, and highlights the additional strength of the Brizzi creative angle when accompanied by hard-hitting, purposeful verses and hooks. A great way to wrap up the collection.