The engine growls low, bass in the trunk, chrome gleaming under the neon of a rooftop somewhere humid – welcome to the “Pink Lambo’s EP”, a five-track cruise down a fast lane paved in Hip-House, funk flashes, and Miami attitude. It’s the second chapter from the Miami Beat$ crew, a musical postcard from a city where nostalgia dances in sunglasses and every snare cracks like a lighter flick in the dark. This record doesn’t pretend – it performs, made for backyards, parking lots, beach blowouts, and club- and backroom sessions alike.
“Pink Lambo’s”, from Beet WorldWide & Schweppes, kicks the top down and starts the ride slow. This isn’t a warm-up – it’s a throwback strut. West Coast G-Funk vibes cruise beneath party-starting vocal chops that echo the early-2000s club gospel: “Do my ladies run this motha for ya” – yes, they do. The tempo’s loose, the bassline smooth, and everything is dipped in that nostalgic, sun-drenched swagger. If you’re not already moving, you’re probably parked in the wrong decade.
MB’93 grabs the wheel next with “Concha Al Maxa”, the A2, a hybrid hymn to house heads and b-boys alike. The bassline doesn’t just walk – it glides, elastic and warm, inviting both a two-step and a head-nod in the same breath. Then the vocal hits – raw, urgent, and unfiltered, as if shouted across a smoke-filled warehouse. But the groove doesn’t stay grounded: shimmering synths sneak in like sunrise through blinds, momentarily lifting the mood from sidewalk grit to skyward gaze. It’s a track that wears its roots with pride but isn’t afraid to stretch toward something dreamier.
Staying in the pocket, MB’93 closes the A-side with “I-Cee-U-Lator”, a dubbed-out, broken-laced cut that feels like stumbling onto a forgotten DAT tape full of House edits and whispered Rap hooks. The bass wobbles like a bootleg pressing, and HipHop anecdotes float in and out like smoke rings – here for a moment, then gone. It’s raw, it’s reduced, and it speaks in rhythm more than language – a functional track that leaves just enough room for your mind to wander while your feet stay locked.
Flip to the B-side and things heat up. Beet WorldWide’s “Latin Excursion” takes us to the heart of summer – not the chill beach kind, but that rooftop-over-the-corner-store kind, where bodies shimmer and hips speak their own language. The Latin-tinged synth line flirts with cliché but never gives in – instead, it delivers that “uhh-oh” vocal, sensuous and powerful, something Lauryn might’ve conjured in another life. The track doesn’t tell you to dance – it dares you not to.
Closing the record is Deejay Teejay’s “Beat Addiction (Club Dub)”, the shadow lurking beneath the brightness. Here, Teejay – aka DJ Tjizza – steers us into East Coast territory. The groove is tougher, the mood more stripped-down and stern. Sharp scratches slice across the beat, while the bassline thuds like it’s pressing a message into the floor. The vocals? Raw hip-hop bars, spat like truths too real for the daylight. It’s not angry – it’s focused. It’s the comedown with teeth.
“Pink Lambo’s EP” isn’t just a collection – it’s a crew move. A mosaic of slick, sweaty, late-night windows-down soundtracks stitched together by a love for bounce, breaks, and basslines. These aren’t genre exercises; they’re character studies. Miami Beat$ doesn’t overthink – they feel, and every track here reflects that ethos.
This isn’t concept-heavy — it’s pure rhythm architecture, designed for bodies before blueprints. “Pink Lambo’s EP” pulls up booming, glittering in the dark, and dares you to hop in.
Words by Holger Breuer
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