FOR every release that Hector Bizerk swiftly yet proficiently spill out, everything gets larger – their reputation, their musicianship, and their lyricism. For what initially began as a duo, they’ve taken experimental hip-hop beyond levels that shows they are an unpredictable outfit brimming with eclecticism. The observational commentary from rapper Louie, and his incredible ability to build a scenario from the ground-up is ever-present and ever-fantastic on this new release.

Take ‘Everybody Laughed’, the second track from their newest album The Second City of the Empire, a title based after their native home of Glasgow. Louie details a dismal situation of sexual oppression that suits his aggressive yet intrepid style of rap. This topic alone emphasises that Louie isn’t shy of social commentary, and it continues during ‘The Tree That Never Grew’ when the emcee takes on racism and sectarianism. He takes on lyrical themes that can be closer to home or something that affects us in everyday life – which makes his lyrics immediately relatable.

The Second City of the Empire has a vast sonic disparity that wrap around Louie’s bars. Sometimes their songs will venture into lands you never expect, which will take you by surprise in the most harmonious form. ‘Rust Cohle’ has funky rhythmic segments with the introduction of underlying synths during the chorus. ‘Festival Boy’ incorporates a miniature organ solo that is sandwiched by the irresistibly memorable chorus, which is very fitting considering the festival vibes topic that Louie is speaking of.

While Louie’s linguistic ability is to be commended, the rhythmic section – the sensational chemistry between Audrey Tait and Fraser Sneddon – is one of the highlights of the album and the band as a whole. ‘The Bigger Picture’ quite clearly derived from a jam between both Tait and Sneddon, and the song itself is both funky and ska-infused. And while the song is only just over three minutes, ‘To Be Honest, I Lied’ is almost a continuation with dominant and prolific drumming from Tait, with a bass line that follows the spirited drum hooks.

This album isn’t just refreshing to the ears of people who live and die for new music, it’s a prime example of why experimentation in music is vital towards progressing as a band. There is a lot going on during The Second City of the Empire, but that’s precisely why it is an enthralling listen from start to finish and over and over again. Louie makes a lot of bold and agreeable statements on their new effort, but one statement that this album should be shouting from the rooftops is: This is the album Scotland should showcase to the rest of the world to exemplify why its riveting underground music scene is beyond the best and thriving.