Let The Bars Go by Ultramagnetic MC’s (Review)

Review of Let The Bars Go by Ultramagnetic MC’s

The hiphop group Ultramagnetic MC’s are back with a bang, announcing their first European tour as a group for 25 years. The Bronx natives also released new material to commemorate this with the track, ‘Let the bars go’, featuring  Kool Keith, Ced Gee and T R Love.

Review of Let The Bars Go by Ultramagentic MC's

Review of Let The Bars Go by Ultramagentic MC’s

The track brings old school flavours to a newer/younger audience, with the emergence of ‘Beast Coast’ rap, the east coast is seeing a revival in fortunes and exposure so it’s hardly a surprise to hear that New York group Ultramagnetic MC’s are getting in on the action. With the announcement of a 12 date European tour, the group will hit every town with old school beats produced in main by group member Ced, the man responsible for a lot of the album ‘Criminal Minded‘, the Boogie Down Productions album which first exposed the world to a certain Mr KRS-One..

Let the bars Go’ is a flashback to early 90’s hiphop, a look back when times were good in hiphop, perhaps not morally, but most certainly talent wise. Kool Keith is a respected MC in the hiphop world and old school aficionado’s will recognise the talented MC’s gritty and industrial world play. Ultramagnectic MC’s were never a group to stray away from real lyrics and humble subject matters, they were important in the rap game in a time when it was more important to be real, legitimately hood, as opposed to being rich, famous, and having big cars. The group could speak freely about the street and the Bronx because they lived it, it wasn’t an act or a character/persona they were assuming. I’m on this new track, it’s a mini pilgrimage to a time when hiphop was dark, angry and scary to the outsider, this made you feel part of a movement, part of a club that seemed realer than other genres.  You won’t get the opportunity to see the group in its entirety very often, get down to one of the shows, it’ll be worth every second of it.

Review by Michael Wilkins

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