At a mere 22 minutes, Languid Oceans’ new project concisely invigorates their sound among the best artists on Blah records.


This album is a big deal for anyone who’s into their underground U.K. hip-hop. Released on Blah records, one of Britain’s most innovative independent labels, Looms and Obijuan’s self-titled debut sees the duo enlisting the gritty lo-fi rhythms of Dylantheinfamous to project their contrasting, but oddly accommodating, individual flows.


Throughout the 11 tracks, Dylan’s grainy production is consistently seasoned with soulful sonics and vintage sampling. “Glass Elevator”, for this reason, is one of our favourite cuts, as Looms and Obijuan make ingenious references to Charlie and the Chocolate Factory. Similarly, Himilayan (rem) sees the duo spitting over crescendoing vocal samples and hypnotic plucked strings.



The lyrical versatility of both artists have given them a cult following over the years. Throughout the album, you find yourself desperately trying to make sense of the outlandish bars each rapper offers.


Obijuan’s trademark, slouchy flow on ‘Essence’ is infectious, as he questions skinny jeans and likens himself to Rune Scape's infamous Zezima - the cyber celebrity who topped the game's scoreboard for 3 years. Looms comes in with a more abrasive style, juxtaposing the ominous piano Dylantheinfamous chooses for this cut.


The only other production credit on the LP's entirety is from Toonorth on 'Easy Street'. The elusive beat maker, and self-confessed lover of hip-hop, provides illustrious strings, scintillating guitar breaks and muffled percussion for Languid Oceans, who relish the breezy nature of the tune. You could imaging the artists cruising through sunny LA in an open top cadillac vibing out to this one.


Above all, 'Sway in the morn' got us really feeling this LP. The minimal boom bap beat is typical of the Blah records sonic, whilst a mischievous call and response verse style exonerates the best features of Looms and Obijuan's unique lyrical mannerisms.



We were lucky enough to get a few questions answered from the rapper's about the album, have a read up below.


You have released under the ‘Languid.Oceans’ alias before, was the creation of a full-length project a different experience to the singles and Lee Scott collabs that have previously come out?


l: The tape got made at obis yard bout two years ago bar that the process itself is essentially the same, we only changing locations.


How did your relationship with Blah records come about? When did they realise you had the sweg credentials to release on their platform?


o: Lee & I connected online prolly a year or two ago, just on some mutual ratings shit. one day we were showin each other music n he fucked w/ LO - offered for me n looms. to drop on blah, you already know the outcome.


Dylan the Infamous is becoming your go-to producer for Languid Oceans, what is it about his production that you rate?


o: Dylan is the king, nigga been consistent in this hip hop shit since he was a kid. I was the second rapper he ever worked with n we just clicked. We been putting in work, project after project like half a decade now so it’s only natural for him to be apart of the work Looms & I do together. his production is perfect no matter what bag he hops in, errytime.


Was there anything in particular that inspired the record?


l: Glass ceilings


Coming from different countries, how do you feel your styles differ from one another? What elements do you admire the most of each other’s individual sound?

Describe each other in 3 words


l: We keep each other on our toes so much on this rap shit the consistency the most impressive thing. it’s that push to level from both sides that leads us to experiment more solo n it’s why we seem to be two sides of the same coin on a lot of work together. if obi going one way i’m going the other more often than not n it always works. styles have blended so much think the only key difference musically stem from our backgrounds n accents.


lo: The most languid.






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