Whilst California-based artist Shaya cites N.W.A.’s Ice Cube and MC Ren as childhood inspirations, on his debut album the slick-tongued lyricist avoids the gangsta rap template set-out by the aforementioned legends, choosing instead to back up his unquestionable swagger with boasts of lyrical domination rather than threats of physical violence.
The soulful roller ‘Impeccable Concepts’ opens the album and effectively introduces Shaya’s nimble wordplay amidst sweeping strings and deft scratches, resulting in a track that wouldn’t sound out of place on a release from fellow Left Coast residents Hieroglyphics. The autobiographical ‘Proud’ digs back into the rapper’s past, whilst ‘Thinking Cap’ turns Teddy Pendergrass’s 70s soul classic ‘Turn Off The Lights’ into a nice mid-tempo head-nodder, with Shaya speaking on facing up to adulthood as he attempts to raise a family. The boisterous ‘Welcome’ finds the Cali mic fiend ego trippin’ with his homies Truthlive and Megga Mills, accompanied by some triumphant horns.
Only on the back-to-back tracks ‘Sleepers Anthem’ and ‘Fall Back’ (produced by Jake One) does the album falter, with both cuts lacking the spontaneous, organic vibe that runs throughout the remainder of the release, relying instead on generic soundscapes that ultimately add little to the overall project. However, that said, ‘Fallen Awake’ is a promising first effort from an MC with the personality and charisma needed to separate himself from his underground peers.
7 Outta 10
Released 29.07.08 on Interdependent Media
If hip-hop is as dead as so many fans, critics and artists would have us believe, nobody thought to tell Canada’s DL Incognito. The rapper’s fourth album, ‘A Captured Moment In Time’, offers an invigorating listening experience free from the ‘keep it real’ clichés, thugged-out posturing and stereotypical baggage associated with so much of today’s hip-hop, both underground and mainstream.
Having spent the best part of the last decade struggling to break out of local circles, you might expect DL to come off like the typical mad rapper, but instead the forthright MC channels his experiences into succinct, effective verses that display both a knack for witty punchlines and a welcome sense of maturity. ‘Too Late Now’ finds Mr. Incognito thoughtfully reconciling his childhood dreams of achieving widespread rap stardom with his present day reality as a “working musician with none of the perks”, whilst the catchy ‘Fresh To Death’ warns of the consequences of material obsession over a cool, retro-boogie groove. The piano-laced ‘Thank You (For Listening)’ is another immediate standout, with DL showing genuine appreciation to all of his supporters over the mellow shimmer of the T-Wrecks-produced track (a special mention also has to go to Techtwelve who delivers some top-notch beats throughout the project).
By staying true to both himself and his craft, this Canadian export has recorded an album capable of reaffirming even the most jaded rap fan’s faith in the ability of hip-hop to both stimulate and entertain.
8 Outta 10
Out Now on Nine Planets Hip-Hop / URBNET
Following up their initial long-playing collaboration, 2005’s well-received ‘Chemistry’, Black Moon’s Buckshot and former Little Brother producer 9th Wonder reunite here in a bid to recreate the success of their original blend of Brooklyn lyricism and North Carolina boom-bap. However, does their second sonic experiment draw on all the right elements of hip-hop’s periodic table, or should the pair have stayed in the lab just a little bit longer?
There’s no doubt that the BDI Emcee and 9th share a good working relationship, as evidenced by the natural, relaxed vibe that forms the backbone of ‘The Formula’, but it’s that same comfort zone which simultaneously contributes to both the album’s strengths and weaknesses. Cuts such as the pulsating ‘Go All Out’ and upbeat ’Hold It Down’ (featuring Talib Kweli) showcase the pair at their best, with 9th crafting crisp backpack beats drenched in soulful samples, as Buckshot controls the mic with a self-assured confidence indicative of his fifteen year career. The sombre ‘Only For You (Big Lou)’ is another immediate standout, as Wonder demonstrates his ability to make potent mood music from the simplest of loops, whilst Buck sends a sincere dedication to a lost friend. Unfortunately, the duo appear to hit cruise control on tracks such as ‘Just Display’ and ’Here We Go’, with the Bucktown rapper offering predictable rhymes about the fairer sex over uninspired production. BDI’s trademark word association flow also frustrates at times, leaving the listener wishing that Buckshot would sink his lyrical teeth into more specific subject matter on certain tracks, rather than relying on seemingly spontaneous verses that would be better suited to an impromptu freestyle cipher.
‘The Formula’ isn’t a bad album by any means, yet it does seem to lack the spark of its predecessor. Buckshot and 9th Wonder are both individuals with unquestionable talent, but perhaps next time they hit the studio together they might want to add some new ingredients to their favoured formula, instead of leaning too heavily on an already tried-and-tested approach to the science of music.
6.5 Outta 10
Out Now On Duck Down Records
Not since Wu-Tang’s RZA led the Gravediggaz through the land of the lost on their 1994 album ‘Niggamortis’ has horror-inspired hip-hop sounded as entertainingly disturbing as it does in the hands of lyrical lunatic Kashmere. Continuing the battle between good and evil that began in earnest on his 2006 project ‘In The Hour Of Chaos’, the London-based MC skilfully bridges the gap between fantasy and reality throughout ‘Raiders…’, ripping through his colourfully compelling verses like a rap Van Helsing as he slays demons and denounces the darkside.
Making visions of hell on earth sound appealing to the ear is no small feat, but Kashmere rises to the challenge with ample amounts of charisma and creativity, ensuring his ghoulish grammar never strays too far into pure novelty territory by balancing the album with moments of poignant observation. The tense ‘Power Up’ describes the increasing level of crime on Britain’s streets as being the work of Lucifer, whilst the piano-led ‘Poison’ comments on rap’s glorification of violence amidst references to conspiracy theories, paganism and space technology. Elsewhere, ‘What Would Happen?’ takes the standard weed-song concept to higher heights, as Kashmere speaks of smoking “red mist” brought back “through the Stargate” which elevates the wordsmith to such a level he stumbles upon the meaning of life whilst stoned. The sublime ’Centre Of The Sun’ is arguably the album’s strongest track, however, with Kash’s vivid stream-of-consciousness flow matched by Jehst’s impeccable display of multi-layered poetic precision.
Lyrically, Kashmere may be a little too ‘out-there’ for some, but those who like to hear imagination in their hip-hop will no doubt revel in this all-access pass into the darker recesses of the rapper’s mind. Featuring excellent production from the likes of LG, Ghost and DJ IQ, ‘Raiders Of The Lost Archives’ succeeds in combining rhymes about things that go bump in the night with beats that will bump in your system. Just make sure you listen to it with the light on.
8.5 Outta 10
Out Now On YNR Productions.
As one of the most refreshing and promising acts to rise from the hip-hop underground in recent memory, Kidz In The Hall’s 2006 Rawkus-released album ‘School Was My Hustle’ was met with well-deserved acclaim thanks to its near flawless blend of solid, soulful beats and thoughtful lyricism. Two years on and the creators of that memorable debut, New Jersey producer Double-O and Chicago MC Naledge, are back with a new label, a new project, and, some might argue, a new approach to their craft.
A concept album of sorts, ‘The In Crowd’ is an attempt by the Kidz to gather a large number of their favourite artists, old and new, underground and mainstream, to record a project that transcends categorisation and, hopefully, contains something for everyone. For the most part the duo succeeds, managing to make appearances from seemingly unrelated acts such as NYC’s Camp Lo, the UK’s Estelle, and Southern rap legend Bun B sound organic rather than awkward. Little Brother’s ever-reliable Phonte jumps on the lush ‘Paper Trail’, whilst the lesser-known Donnis and Chip Tha Ripper appear on the Leroy Hutson-sampling ‘Mr. Alladatsh*t’, an all-out boast-fest which finds Naledge clearly wanting to be taken seriously as a leader of rap’s new school.
In a move that might alienate some of their original backpack-wearing fans, the Kidz also attempt to reach the mainstream here, with the clubby ‘Love Hangover’ (featuring the aforementioned Estelle on hook duties) and the playful, testosterone-driven ‘Lucifer’s Joyride’ (complete with a verse from Gym Class Heroes front-man Travis McCoy and trendy auto-tune vocal effects). Both of these potential crossover hits work, however, with the pair managing to retain their own musical identity whilst trying to shake-off their underground tag.
Yet as satisfying as ‘The In Crowd’ is, it’s hard not to listen to the album and wonder how different it might have sounded had there not been so many hip-hop students both past and present invited to the party. With Naledge contributing just a single verse to some cuts, the project doesn’t allow for the same level of depth displayed by the lyricist on the duo’s debut. Only on ‘The Pledge’ and the sombre ‘Inner Me’ does Naledge really show his more reflective side, rhyming about the stresses of the industry grind and personal insecurities on each track respectively.
Nevertheless, ‘The In Crowd’ is an impressive album which finds Kidz In The Hall confidently shrugging off outside expectations as they take the next step along what will hopefully be a lengthy career path.
8 Outta 10
Out Now On Duck Down Records
Old To The New - Ryan Proctor's Beats, Rhymes & Hip-Hop Nostalgia 