“It’s been an interesting journey this far for SB- as a queer black underground artist they have been blazing trails…In Babylon! represents the flowering of a unique voice.”

-Neil Kulkarni for The Wire 2022

“There's no doubting the imagination and industry involved in the creation of [SB’s first record] El Negro.”

-Paul Lester for The Guardian 2013

“SB the Moor… might just be a genius, if only because I find that latest album SPIRIT REALM.FINAL makes me almost exactly as uncomfortable as Donald Glover’s music once did.”

-Larry Mizell Jr for The Wire 2019

“Either way, [SB’s latest record, Spirit Realm.Final] is a compulsory listenable hip-hop record where [SB’s] lyrics are both touching and piercing, tackling societal wrongs as well as personal ramifications. The production, too, is top-notch, with swirling, psychedelic electronics over drum machines, all masterminded by the MC themself.”

-Jordan Reyes for Bandcamp Daily 2019

Following the release of SB The Moor's groundbreaking pop manifesto 'Toybox', they quickly released two digital only albums 'CYBR.pnk' and 'MNFST.dstnii' - both diving even deeper into an unprecedented era of digital experimentation for the artist. As with all of SB's output, these tracks obeyed no rules of genre. Any possible expectations were defied, combining a love for both masterful song crafting and off-the-cuff production. The home of the rich and dumpsters are raided in equal measure. Signor Benedick The Moor truly holds nothing back.

On their first official follow up to 'El Negro', Signor Benedick takes a brilliant, summery turn towards joy. Combining unlikely inspirations, from mid-00s radio emo to ambient, from baseball to Magic The Gathering, their prog-rap instincts and layered melodic charm are presented through the shine of catchy pop numbers perfect for a day at the beach. It is a fun, surprising twist perfectly matched for this California based rising hip hop star.

On “Maiden Voyage“, McLaurin sets a historical stage with evocative samples creating a panorama of voices that speak about notions of Blackness and the search for cultural identity and dignity, before this 11 minute cut sets sail for the skies on soaring stanzas of razor sharp rap. “1200am” finds SB hooking up with two of his pals from clipping., Jonathan Snipes and Daveed Diggs.

Signor Benedick enlisted the mixing and mastering assistance of Jonathan Snipes (clipping.) and Thomas Dimuzio to give his latest effort the finest of tuning, but they remain the mastermind of the record. The preview of “Dawn” from the record is merely a snippet version that falls to pieces just as a soaring guitar solo begins to take flight, like SB the Moor has managed to write the rap-version of “November Rain”. On “A Boy, A Man, A King”, Signor Benedick the Moor uneven in his mental state; are these the brilliant musings of a mad man or the internal tortures of a king? Is the Man Atop the Tower simply a recluse or is there more to him than his tower? These are the questions raised in SB the Moor’s opera in rap-form - IMPOSE MAGAZINE

Effortlessly blending sounds from all sorts of genres, simply calling Signor Benedick The Moor a rapper is a bit misleading. Their quick and playful rap style brings to mind everything from The Pharcyde to Danny Brown, but virtuoso guitar playing, drumming, and wide assortment of other live instrumentation pushes the work into prog territory. Signor Benedick's music is the sound of not worrying about categories.