Meet Cory Jreamz. He's a 19-year-old rapper from Houston, Texas, who's been making a few waves recently - for instance, being played by Scroobius Pip on his XFM show - and his latest EP Invictus is the freshest ripple yet in his story of surfacing from the relative unknown to the assault the ears of the world-at-large. Imbued with indomitable confidence, Cory Jreamz's music is often, if not always, shot with dark, rumbling beats the provide the perfect foundation for his bars, the two working together for a satisfyingly intimidating sound.

Invictus, arriving over a year after his previous Vague Current Vivid Fated EP, marks a huge maturation of his sound, moving from the teen angst – however vitriolic – and varied beats of VCVF, to the more robust and ultra-cocksure atmosphere of this latest release. His conviction is addictive; you nod along to his tackling of conformity and judgemental attitudes in 'Will You Be Here' – whose ending swims in an eerie fog of darkly epic proportions, where Cory also dispels fear of death with grit-teeth surety that he will leave a legacy: "When the lights go out I'ma still be here / Rockin' like Keith Moon till my last breath of air."

"...an audio-tour through a twisted museum of pop culture."

Similarly, 'Swim' – with its distorted yet legible boom-bap – deals with "doubters" with a very tongue-in-cheek, middle-finger-up attitude, exhibiting a gloriously sarcastic lilt in his voice. Of course, with a journey such as his there's bound to be pressure: as such, 'Pressure' sounds just like the kind of weight on the mind that would accompany such weighty ambition. From its first bottlenecking crunches of cave-born echoing distortion, the song launches into one of Cory's specialities: the reference. The entire EP is littered with them, at times sounding like an audio-tour through a twisted museum of pop culture, celebrity, art and literature. He roars, for example, one of the refrains of 'Pressure', "They should've played this shit up in the movie Casablanca / And have a black man rapping while they fight Nazis" also introducing himself as the "black Marlon Brando."

  • "Joining Cory Jreamz on his journey feels like you're there with him..."

'Howl' of course, with its experimental, almost drug-induced liquid beats and fuzzy bass, is a reference in itself to Beat poet Allen Ginsberg's famous poem of the same name. And in similar fashion to Ginsberg's original, Cory Jreamz howls out of relative obscurity to have his words heard amidst the somewhat suffocating cultural landscape in which he, and many of our generation, swims. And the strong beats that act as these songs' jagged underpinning are as punchy as his lines: the grime-tinged brass boldness in 'Nina' is a particular highlight, as are the soaring, nightmarish sounds of next song and closer 'Alive/NYC', at whose end we find ourselves on a mind-bending journey with Cory as he drives to "NYC at 4AM".

Pursuing ambition as he does, Cory name-drops those who are 'already there' – everyone from modern-day celebrities to historical figures of art – and damns his detractors with a wholly IDGAF attitude. Joining Cory Jreamz on his journey feels like you're there with him, dreaming his dreams, feeling his emotions, ever keeping his eyes on the future, on what will most likely be a satisfying success story.

Speaking of the future, a video for 'Nina' will be dropping in January – and also a full length album The Lonely Painter will appear in early 2014.