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Solomon Childs has added his distinct lyrical fire and style to several Wu-Tang family projects most notably under his original moniker, Killa Bamz, on Cappadonna's The Pillage. He is also known as a member of Ghostface's crew Theodore Unit. Here is "Funeral Talk", Solomon's first ever Chambermusik Street Album. Cappadonna guest stars and 2 of the tracks are produced by G-Clef da Mad Komposa of Soul Kid Klik fame, one by Rza, and one by Remedy. This album was originally released as internet-only, back in 2004, but here for the first time it's being made available for retail, worldwide. Included on this release is the original version of "Outthink Me Now", which was heavily demanded by fans. This special 2024 pressing features a digital remastering of the original album, done with the latest audio technology.

A new album by Wu-Tang affiliate Solomon Childs, following in the vibe of his 2005 release King Kong of New York. Under his new moniker Damien “Drama” Rice, in dedication to a recently departed Staten Island Street Soldier, Solomon brings us a fresh new album for the streets: King Kong of New York Part 2. Featured on this outing are a fresh cast of characters whom Solomon has taken under his wing. The results are one of the hardest bangers he has ever brought forth.

Solemn Brigham is 1/2 of the group Marlowe. His music has been featured on Gatorade's G is for Greatness ad campaign, 7-Eleven's Harmony Korine (Kids, Gummo, Spring Breakers) directed low rider bike campaign, and NBA2K22. South Sinner Street is his debut solo album coming Sept 24th.

About the Album:
It is no secret that things are getting worse. By virtually any metric––economic or medical, or ones more abstract and spiritual––American society is in decay. The feeling permeates daily life in innumerable ways, giving the present a gnawing, ambient dread.

Solemn Brigham is not content to leave this at a low hum. On his dazzling new album, South Sinner Street, Solemn examines this decay through the prism of his hometown: Albemarle, North Carolina, where the blocks he grew up on are crumbling like everything else. “What was once a vibrant area now survives as a reminder that the only thing eternal is change,” Solemn says when describing the project’s genesis. “Trash and debris flood the streets, relics of the many lives lived––each piece with a story to tell.” South Sinner Street not only traces the degradation of the world around us, but documents the way communities can come together to stave off that slow death, lifting its members up in the process.

Solemn is uniquely equipped to animate the relics of a once-thriving neighborhood with the specificity they deserve. The rapper, whose work with his fellow North Carolinian, L’Orange, as the duo Marlowe has been critically acclaimed, is one of the most vocally acrobatic working today, able to contort himself into a dizzying array of different flows and inflections, accomplishing alone the sort of musical variety that sprawling collectives try and fail to achieve. Take “Couple Towns,” where Solemn moves from a seesaw pocket into a flow that cascades over the ends of bars; contrast this with the bonus track “Relax,” where each bar sounds as if it’s the final thought spilling out of his mind at the end of an impassioned phrase. The end of “Vice North” even recalls the technically stunning runs of One Be Lo, the Michigan rapper who in the 2000s became one of the genre’s chief chroniclers of a similar country-wide disintegration.

But this is not merely a showcase for verbal acrobatics. South Sinner Street is deeply personal, juxtaposing personal growth with the decay that surrounds it. “This is no rags to riches story,” Solemn warns. Of course––it’s more complicated than that. When, on “Vantablack,” of a toddler cradled in his mother’s arms while that mother nurses a cigarette, he is not asking the listener to imagine a tragic end or a harrowing origin story. The point is that we are all, perpetually, the child and the mother: doing our best to cope, even against our better judgment; persevering despite the circumstances that surround us.

And yet South Sinner Street is buoyed by a sense of playfulness that lights up even the pitch-black corners of Albemarle. “Nothing Left” succeeds in turning end-of-your-rope sorry into something like an in joke. When, on “Vice North,” Solemn raps about putting his hands together in prayer only to find “the line still busy,” his voice bakes something amusing in the complaint––maybe the sense that a young man in a small city is irked at God the way he might be at a flaky friend from the gym. And then, speaking of gyms, comes the laugh-out-loud moment on “Dirty Whip,” when Solemn concedes that he didn’t make the basketball team “‘cause I’m me-first.’”

Across its 14 songs, South Sinner Street argues for Solemn Brigham as one of the most exciting artists in underground hip-hop, a technical virtuoso who also happens to be one of the genre’s most surprising, most deeply personal songwriters. The album evokes the feeling of climbing onto a house’s roof to survey the nearly-burning city around you, with all the peril that entails––but also all the possibility.

Solemn Brigham is 1/2 of the group Marlowe. His music has been featured on Gatorade's G is for Greatness ad campaign, 7-Eleven's Harmony Korine (Kids, Gummo, Spring Breakers) directed low rider bike campaign, and NBA2K22. South Sinner Street is his debut solo album coming Sept 24th.

About the Album:
It is no secret that things are getting worse. By virtually any metric––economic or medical, or ones more abstract and spiritual––American society is in decay. The feeling permeates daily life in innumerable ways, giving the present a gnawing, ambient dread.

Solemn Brigham is not content to leave this at a low hum. On his dazzling new album, South Sinner Street, Solemn examines this decay through the prism of his hometown: Albemarle, North Carolina, where the blocks he grew up on are crumbling like everything else. “What was once a vibrant area now survives as a reminder that the only thing eternal is change,” Solemn says when describing the project’s genesis. “Trash and debris flood the streets, relics of the many lives lived––each piece with a story to tell.” South Sinner Street not only traces the degradation of the world around us, but documents the way communities can come together to stave off that slow death, lifting its members up in the process.

Solemn is uniquely equipped to animate the relics of a once-thriving neighborhood with the specificity they deserve. The rapper, whose work with his fellow North Carolinian, L’Orange, as the duo Marlowe has been critically acclaimed, is one of the most vocally acrobatic working today, able to contort himself into a dizzying array of different flows and inflections, accomplishing alone the sort of musical variety that sprawling collectives try and fail to achieve. Take “Couple Towns,” where Solemn moves from a seesaw pocket into a flow that cascades over the ends of bars; contrast this with the bonus track “Relax,” where each bar sounds as if it’s the final thought spilling out of his mind at the end of an impassioned phrase. The end of “Vice North” even recalls the technically stunning runs of One Be Lo, the Michigan rapper who in the 2000s became one of the genre’s chief chroniclers of a similar country-wide disintegration.

But this is not merely a showcase for verbal acrobatics. South Sinner Street is deeply personal, juxtaposing personal growth with the decay that surrounds it. “This is no rags to riches story,” Solemn warns. Of course––it’s more complicated than that. When, on “Vantablack,” of a toddler cradled in his mother’s arms while that mother nurses a cigarette, he is not asking the listener to imagine a tragic end or a harrowing origin story. The point is that we are all, perpetually, the child and the mother: doing our best to cope, even against our better judgment; persevering despite the circumstances that surround us.

And yet South Sinner Street is buoyed by a sense of playfulness that lights up even the pitch-black corners of Albemarle. “Nothing Left” succeeds in turning end-of-your-rope sorry into something like an in joke. When, on “Vice North,” Solemn raps about putting his hands together in prayer only to find “the line still busy,” his voice bakes something amusing in the complaint––maybe the sense that a young man in a small city is irked at God the way he might be at a flaky friend from the gym. And then, speaking of gyms, comes the laugh-out-loud moment on “Dirty Whip,” when Solemn concedes that he didn’t make the basketball team “‘cause I’m me-first.’”

Across its 14 songs, South Sinner Street argues for Solemn Brigham as one of the most exciting artists in underground hip-hop, a technical virtuoso who also happens to be one of the genre’s most surprising, most deeply personal songwriters. The album evokes the feeling of climbing onto a house’s roof to survey the nearly-burning city around you, with all the peril that entails––but also all the possibility.

Solemn Brigham is 1/2 of the group Marlowe. His music has been featured on Gatorade's G is for Greatness ad campaign, 7-Eleven's Harmony Korine (Kids, Gummo, Spring Breakers) directed low rider bike campaign, and NBA2K22. South Sinner Street is his debut solo album coming Sept 24th.

About the Album:
It is no secret that things are getting worse. By virtually any metric––economic or medical, or ones more abstract and spiritual––American society is in decay. The feeling permeates daily life in innumerable ways, giving the present a gnawing, ambient dread.

Solemn Brigham is not content to leave this at a low hum. On his dazzling new album, South Sinner Street, Solemn examines this decay through the prism of his hometown: Albemarle, North Carolina, where the blocks he grew up on are crumbling like everything else. “What was once a vibrant area now survives as a reminder that the only thing eternal is change,” Solemn says when describing the project’s genesis. “Trash and debris flood the streets, relics of the many lives lived––each piece with a story to tell.” South Sinner Street not only traces the degradation of the world around us, but documents the way communities can come together to stave off that slow death, lifting its members up in the process.

Solemn is uniquely equipped to animate the relics of a once-thriving neighborhood with the specificity they deserve. The rapper, whose work with his fellow North Carolinian, L’Orange, as the duo Marlowe has been critically acclaimed, is one of the most vocally acrobatic working today, able to contort himself into a dizzying array of different flows and inflections, accomplishing alone the sort of musical variety that sprawling collectives try and fail to achieve. Take “Couple Towns,” where Solemn moves from a seesaw pocket into a flow that cascades over the ends of bars; contrast this with the bonus track “Relax,” where each bar sounds as if it’s the final thought spilling out of his mind at the end of an impassioned phrase. The end of “Vice North” even recalls the technically stunning runs of One Be Lo, the Michigan rapper who in the 2000s became one of the genre’s chief chroniclers of a similar country-wide disintegration.

But this is not merely a showcase for verbal acrobatics. South Sinner Street is deeply personal, juxtaposing personal growth with the decay that surrounds it. “This is no rags to riches story,” Solemn warns. Of course––it’s more complicated than that. When, on “Vantablack,” of a toddler cradled in his mother’s arms while that mother nurses a cigarette, he is not asking the listener to imagine a tragic end or a harrowing origin story. The point is that we are all, perpetually, the child and the mother: doing our best to cope, even against our better judgment; persevering despite the circumstances that surround us.

And yet South Sinner Street is buoyed by a sense of playfulness that lights up even the pitch-black corners of Albemarle. “Nothing Left” succeeds in turning end-of-your-rope sorry into something like an in joke. When, on “Vice North,” Solemn raps about putting his hands together in prayer only to find “the line still busy,” his voice bakes something amusing in the complaint––maybe the sense that a young man in a small city is irked at God the way he might be at a flaky friend from the gym. And then, speaking of gyms, comes the laugh-out-loud moment on “Dirty Whip,” when Solemn concedes that he didn’t make the basketball team “‘cause I’m me-first.’”

Across its 14 songs, South Sinner Street argues for Solemn Brigham as one of the most exciting artists in underground hip-hop, a technical virtuoso who also happens to be one of the genre’s most surprising, most deeply personal songwriters. The album evokes the feeling of climbing onto a house’s roof to survey the nearly-burning city around you, with all the peril that entails––but also all the possibility.

Dayton, Ohio rapper King Solomon first released Sol-Itude in 2006. Now 14 years later the CD has proven to be a real tough find and a reissue was due.
The album features production by Oh No, Fat Jon, J. Rawls, Magnif (Lawless Elements), PremeOhio, Nardo (Fam Gems) and more. Saxophone on 2 tracks by Charles Cooper, and 2006 US DMC Champion Casual T provides scratches on 3 tracks.
King Solomon, a member of the Universal Dialect collective, has been recording for 25 years now. Underground headz will no doubt know him from his appearance on the classic Prehistoric Sounds album and from frequent collaborations with Mood and Main Flow in particular.
Limited to only 250 copies!

Dayton, Ohio rapper King Solomon has provided HHE with 14 tracks from his vaults all recorded between 1996-1999. King Solomon, a member of the Universal Dialect collective, has been recording for almost 25 years now. Underground headz will no doubt know him from his appearance on the classic Prehistoric Sounds album and from frequent collaborations with Mood and Main Flow in particular.
"King Solomon - Solomonic: The Dialect Years (1996-1999)" will be limited to 300 copies on CD only.

"The Prophet and the King" is a collaborative project from Solomon
Childs and Tone Spliff. The album hosts 11 solid tracks (two of which
are only available on CD) and 3 skits.
Solomon and Tone called upon the heavy-hitters ; Inspectah Deck (Wu
Tang), Sadat X (Brand Nubian), Rock (Heltah Skeltah), Conway the
Machine (Shady Records/Griselda), Realio Sparkzwell, Recognize Ali,
Sav Killz, Mazzi & Stryfe for the album's guest appearances.
ABOUT SOLOMON CHILDS:
Rapper and Staten Island native Solomon Childs (born Walbert Ryan
Dale in 1975) became affiliated with the mighty Wu-Tang Clan through
his family ties to god-brother Cappadonna and cousin Ghostface Killah.
Solomon contributed to various Wu-Tang related classics throughout
the late '90s and early 2000s, including verses on Cappadonna's The
Pillage, RZA's Bobby Digital, Ghostface Killah's Supreme Clientele and
others. In the early 2000s he was a member of the Ghostface affiliated
group Theodore Unit, as well as appearing on tracks by other artists
and working on his own releases.
In 2016 Solomon was shot twice in a drive-by shooting while out
shopping in Staten Island. The rapper underwent multiple surgeries
but survived the attempt on his life.
"The Prophet and the King" is Solomon's second album from when this
tragic incident occurred.
ABOUT TONE SPLIFF:
Los Angeles based DJ and Producer Tone Spliff (born Anthony John
Mucitelli in 1981) is grounded in an east coast sound and steeped in
tradition with an ever present emphasis on the DJ/Turntablist.
Tone links up with Solomon Childs to deliver an instant classic Hip Hop
album, sounding like a beast on the drum machine and the 1’s and 2’s,
it’s apparent Tone Spliff has some skills to flex on this album.
The beat-creator, originally from Utica, NY, has made his mark in the
underground Hip Hop community by working with artists such as
Royce Da 5'9, Sean Price, Krumbsnatcha, Big Shug, Planet Asia,
Apathy, Slaine, Ed OG, Skyzoo, Big Noyd, El Da Sensei, Saigon and
many more. Songs from his previous albums have made a worldwide
buzz by landing on popular sites and radio shows like: The Source
Magazine, XXL, HipHopDx, 2DopeBoyz.com, Rap Is Outta Control with
DJ Eclipse (Shade45/SirusXM), Live from HeadQuarterz with DJ
Premier (Shade45/SiriusXM) and many more.

L'Orange & Solemn Brigham are Marlowe

"An artist afraid to overreach himself is as useless as a general who is afraid to be wrong.”

Over a half-century later, the axiom remains true for hyper-kinetic hip-hop innovators, North Carolina’s L’Orange and Solemn Brigham—the hard-boiled duo behind the fun house fever dream, Marlowe.

Released on Mello Music Group, Marlowe is a triumph of ambition, a rap bricolage blending prohibition and civil rights-era samples with Asian psychedelic rock flourishes. Solemn Brigham controls the microphone like a general who can’t help but be right. His flow is a blitzkrieg. It’s an Olympian sprint, gliding over snares and kick-drums like hurdles. He’s a showman seeking revolution—resolute in his desire to strike equilibrium between awareness and entertainment.

Solemn applies the fictional protagonist’s search for the truth towards different ends. His crimes are existential yet specific, rooted in the injustices of the past and the attempt to redress them in the present. He’s an artist perennially seeking something to fight for, channeling energy from the music of the civic rights era, stealing timeless rhythms and inflection from classic funk and soul. An old soul with original ideas, tapping into the eternal reservoir of Sam Cooke to Ice Cube, Otis Redding to Chuck D, Curtis Mayfield to KRS-One.

Over the course of 17 tracks, Solemn hurls sharp darts at counterfeits trying to crack his religion, the onslaught of time, and prevaricating rappers—all while paying homage to those who paved the road for him. He bounces off the beats like a trampoline placed in a speakeasy, doubling up on the vocals, burrowing into dense cryptic tangles of slang and then stretching them out with melodic ease.

With dazzling cinematic mise en scene, L’Orange crafts a world that sounds like an old-time medicine show dropped into 90s Brooklyn, with Solemn summoning the holy spirit of Big L. Cymbals crash, drums pound, fuzzy guitars ride out, a bronze rain of horns cascade. This is gorgeous celestial dust, high-powered fuel with every syllable meticulously ordained. Marlowe cracked the case, but how they did it can only become clear under deeper investigation.