Paul White is a beat machine from South London that creates infectious groove lines from all dimensions. On his third release, he diverts from his previous diversions and invites a number of rappers form Detroit and New York to create a variety show of hip hop. Yet the album as a whole does not feel as disjointed as it probably should given its immense diversity.

There is a stark contrast between the worlds of Hip Hop from the USA and the UK, and the opposing relationship is ever more present on Rapping with Paul White. Tracks that feature Guilty Simpson and Tranqill contain an edgy angst typical of American rap music both sonically and lyrically. ‘Indigo Glow’ featuring Jesht typifies the smooth relaxed style of many UK rappers with unhurried speech and a silky back tracks. Paul White is able to harness the power of each style, maintain the uniqueness and add his own touch to produce an excellent compilation of cross border beats and rhymes.

There are a number of tracks where Paul White elects to go at it solo. His beats and samples feel limitless bouncing from dance sequences to afrobeat vibes effortlessly. As is traditional for Paul White, his compositions are catchy as hell and warrant multiple plays. ‘Doldrums’ is an example of the outrageously hook centered arrangements that reside in Paul’s head. Take an expertly crafted motif, repeat a dozen times and watch that one get stuck in your humming circuits for a few hours.

Whatever the weather or whoever is at the mic, Paul White demonstrates his prowess and holds his own with whomever he shares the limelight with. But all elements point back to Paul’s intelligent form of beat manipulation which is the unifying element on the record. Add the super sleek vocals of a motley crew of largely unknown but skilled rappers including Homeboy Sandman or Moe Pope, and you have quite an irresistible little record that is sure to appeal to a broad audience.