Kennington may have been where it started for the ascending star from South, but Blanco makes it crystal-clear why he’s one step ahead of the rest, with the outstanding array of versatility the rapper possesses - laid out for all to see on the star’s debut project ‘City of God’.

Now if you were around to witness the rapid emergence of gritty instrumentals entwined with the raw tales of the streets portrayed within the rise of the UK Drill scene, then you’ve most likely come across numerous anthems at functions courtesy of the drill power house Harlem Spartans; bringing us certified hood classics such as ‘Kennington Where it Started’, ‘No Hook’ and ‘Call Me a Spartan’; seeing Blanco introduce that unique cadence and vocal range we’ve all come to love.

Although, Blanco’s come a long way from the boxed-in sounds of the roads; embracing experimental soundscapes that have allowed him to branch off into the mainstream garnering features from icons such as Donae’o, to the social media stars of today such as Central Cee, racking up that TikTok bag. Taking a step out of that 2016/17 era of his drill centred soundscape, Blanco gave the industry an unexpected twist; bringing a new-found element to the rapper that could really ‘do both’ - giving the reach to be able to stay in-tune with the name he had made through his ascension in drill, but at the same time the leeway to test the waters of the multi-genre arsenal he’s cultivated over the years - truly embodied within soothing listens such as ‘Pull Up’ and ‘Anakin’.

Like many before, Blanco brings us on a rollercoaster of vibes with ‘City of God; leaving us not sure whether we’re going to be gifted with those silky arrangement of melodies, accompanied by that body-moving Favela-Funk percussion exhibited on the likes of the intimate ‘Fala’ and of course the feel-good ‘Shippūden’ that was so nice, he had to bring it back twice — or providing the contrast in the menacing manner Blanco and his fellow Spartan’s rose to the top with, showcased on that pungent All-Star drill link up; seeing Blanco go bar for bar with Hall of Famers such as fellow Spartan Loski and fellow southern-star K-Trap on ‘Cerberus’.

Personally though, I’ve got to give ‘Time Out’ a shoutout because LilTek made a beauty with this one; easing us into a velvety rhode chord progression, accompanied by that consuming two-step inducing Bailé-Funk percussion alongside those soul-touching bass notes — perfectly married with that free-flowing cadence of Blanco’s, providing a soundscape like no other, bringing an unsung-hero to the tape in my opinion.

Now I may be picking out some of the under appreciated numbers on this project, but it’s about time I get into the fan-favourite ‘Great Escape’, that’s bound to bring Blanco that social-media traction courtesy of a man that’s flying the flag high and mighty for not only the West right now, but the UK as a whole; Central Cee. In this one, LilTek provides us with a conscious-seizing instrumental once again - this time bringing through a potent one; consisting of an energy riddled, drill infused number with catchy guitar melodies fit for any Central Cee type beat and a taste of favela-flair with that now-and-then bone-chilling brass sequence. ‘Great Escape’ stands out far from the rest with its undeniably catchy cadence in the hook; something Cench brings to any number - I mean, the man has the secret formula, and he knows it for himself; ‘I’ve probs got a chance with the rap, I feel like they’re feeling my cadence’.

If you’ve stuck around to the end of this one, make sure to give this project some love; for Blanco’s debut album, he’s absolutely exceeded all expectations with this entry (even though mine were already high), and I’m sure to be revisiting numerous times over - especially for that iconic NSG link up on ‘Surveillance’ - but I’ll leave you lot to take that one in for yourself with the visuals.