Album Review – La Coka Nostra

La Coka Nostra

“A Brand You Can Trust”

(Uncle Howie Records)

Riding through today’s stage-managed rap world like a bunch of Hip-Hop obsessed Hell’s Angels with b-boy attitude, bi-coastal collective La Coka Nostra appear determined to deliver that raw uncut to your gut by putting their own unique spin on the concept of hardcore beats and rhymes.

Consisting of former House Of Pain members Everlast, Danny Boy and DJ Lethal, with Non-Phixion’s self-proclaimed cult leader Ill Bill and Boston underground champ Slaine filling out the ranks, LCN do a good job of joining the creative dots between their own individual musical backgrounds, from House Of Pain’s sometimes rock-influenced flavour, to Everlast’s folksy Whitey Ford solo material, on to Non-Phixion’s militant East Coast boom-bap. With such diverse sonic ingredients in the melting pot it would be easy to assume that “A Brand You Can Trust” sounds like a directionless mess, yet whilst unpredictable, it stands as one of the most entertaining hip-hop albums to be released in recent times.

Anchored by Everlast’s gruff, barroom-brawl wordplay and Ill Bill’s conspiracy-fuelled lyrical darts, La Coka Nostra, like many other great groups before them, draw the listener deep into their world, which in this case is a lawless place filled with scowls, guns, social decay and political unrest. Opening with the crunchy electric guitars of “Bloody Sunday”, LCN welcome listeners “to hell” with the Devil himself on-hand to “open the gate”, whilst “The Stain” finds Everlast in Whitey Ford mode, crooning a melancholy hook that warns of the dangers of chasing dreams in the City Of Angels only to end up living out your worst nightmares. “I’m An American” slashes open the underbelly of US society with a rusty razor blade, highlighting the hypocrisy found in the Land Of The Free over tense, piano-led production.

Elsewhere, the Alchemist-produced “Choose Your Side” boasts a hypnotic vocal sample and a blazing verse from UGK’s Bun B, whilst the thunderous beats and chest-thumping boasts of the previously-released “That’s Coke” offer the perfect rowdy soundtrack for a street riot.

A boisterous mixture of rap, rock, violence, irony, ignorance, political comment, paranoia, drugs, alcohol, humour and testosterone, “A Brand You Can Trust” is a potent sonic hit from the bong that goes straight to the head. Brutal music for ugly times.

Ryan Proctor

Album Review – Yoshi

Yoshi

“The Talent Show”

(Aktive Audioworks)

Given the stale state of the rap game in recent times, Detroit and its surrounding metro area has become something of an oasis for quality music. With the likes of Black Milk, Guilty Simpson, Invincible and Buff1 all having dropped impressive releases over the past year, Ann Arbor’s Yoshi is the next in line to hopefully catch the attention of Hip-Hop fans outside of his locale.

Whilst Yoshi might be a new name to many, the charismatic emcee is a veteran of his hometown scene, a fact that’s evident in the confident and polished feel of this album. Buoyed by the melodic, R&B-tinged production of Akira Charles, “The Talent Show” stands head-and-shoulders above today’s standard underground rap fare, with its funky, full-bodied soundscapes giving the project its own distinctive sonic personality.

The opening “Get Down” sets the tone with Yoshi dropping “feel good rhymes” that aren’t “over your head like billboard signs” over a typically Detroit sounding track full of chunky beats and undeniable soul. Twinkling pianos and space-age keyboards are accompanied by a butter smooth hook from vocalist Vince Kelsey. “Dance Tonight” is a near perfect example of how to craft a club-ready cut without having to appeal to the lowest common denominator and therefore maintain your artistic integrity, whilst “Meet The Deadline” boasts an up-tempo 80s boogie vibe matched with good-natured lyrical bravado.

Yet whilst Yoshi is definitely skilled in making happy-go-lucky head-nod music, he’s about much more than simply party rhymes and cocky swagger. On “Run Away” the rapper weaves the intricate story of a missing child, whilst ‘Listen Up’ bristles with socio-political opinions. “Dream”, arguably the album’s finest moment, finds Yoshi encouraging listeners to chase their ambitions over a mellow backdrop of melodic chimes and soothing saxophone blasts.

At a time when music seems to be becoming increasingly bland and disposable, Yoshi has succeeded in recording an album that has something to offer the mind, body and the soul.

Ryan Proctor

Album Review – Ancient Astronauts

Ancient Astronauts

“We Are To Answer”

(ESI Music)

Hailing from Cologne, Germany, production duo the Ancient Astronauts offer a varied blend of sounds on their latest project, encompassing everything from jazzy 90s-era Hip-Hop to moody dub reggae. With so many styles being thrown into the sonic melting pot, “We Are To Answer” could very easily have lacked direction, yet studio partners Kabanjak and Dogu do a relatively good job of ensuring their forays into different musical genres maintain a sense of cohesion.

The atmospheric roller “I Came Running” is indicative of the Astronauts spaced-out approach to their craft, as haunting female vocal samples and beautiful acoustic guitar meet heavy bass and crisp beats. The pair pick up the pace with the clattering drum & bass of “Dark Green Rod”, before moving onto the snappy, piano-laced boom-bap of “Risin High”, which features the positive lyrical affirmations of Crown City Rockers wordsmith Raashan Ahmad. The funky instrumental “Everybody” conjures up thoughts of blaxploitation car chases, whilst underground Bay Area favourite Azeem spits vividly twisted barbs on the sparse “Oblivion” (“That’s a beautiful vision, I just painted Armageddon and made it sound like heaven”).

Only when the Ancient twosome venture into reggae territory do they veer slightly off their interstellar flight path, with the breezy vibes of the Tippa Irie-assisted “All Of The Things You Do” and the dub-influenced “Surfing The Silvatide” not sitting comfortably within the context of the album.

The Ancient Astronauts may not quite succeed in taking the listener on a turbulence-free galactic voyage with “We Are To Answer”, but they do demonstrate enough creative flair and individuality to ensure their newest effort won’t just sit around gathering space dust.

Ryan Proctor

Album Review – Dilla

Various

“Dillanthology”

(Rapster)

During his tragically short lifetime, Detroit’s James ‘Dilla’ Yancey amassed a catalogue of production work that quickly elevated him to the level of longstanding greats such as Dr. Dre, DJ Premier and Pete Rock. Before he passed away in 2006 at the age of 32 following complications with the blood disease lupus, the Motown sound mechanic had worked with everyone from local acts such as Phat Kat and Que D, to legends like A Tribe Called Quest and Busta Rhymes. Dilla’s ever-evolving production style ranged from the soulful to the unabashedly hardcore to the experimental, drawing on the sounds of yesteryear for inspiration whilst always seeking to push his talent (and love of fat drums) to the limit, taking his music in new directions in the process.

This compilation acts as a timely reminder of Dilla’s brilliance, pulling together a cross-section of his work for a relatively brief 11-track overview of his career. The Pharcyde’s excellent “Runnin’” is included here (the 1995 cut that helped introduce a young Jay Dee to a worldwide audience), with Dilla’s infectious piano loop adding a tangible sense of energy to the West Coast crew’s motivational lyrics. Common’s “The Light” is also present and correct, displaying Dilla’s talent for adding melody to even the heaviest of drums, setting off Lonnie Lynn’s bohemian love raps with his inspired use of a Bobby Caldwell vocal sample that still makes the spine tingle nearly a decade later.

Elsewhere, Erykah Badu’s “Didn’t Cha Know” oozes subtle sophistication as it seeps from the speakers like a hazy cloud of relaxing weed smoke, whilst De La Soul’s stinging criticisms of a shallow mid-90s rap world heard on “Stakes Is High” still ring true today, powered along by Dilla’s rallying horns and filtered bass. Closing the compilation on a more up-to-date note, the hypnotic back-to the-future soul flavour of Steve Spacek’s 2005 single “Dolla” hints at where the Detroit icon was perhaps looking to take his production prowess next.

Yet whilst any opportunity to celebrate Dilla’s talent should be welcomed, “Dillanthology” would have benefited from digging a little deeper into the Slum Village maestro’s back-catalogue and unearthing some of his lesser-known material. This project definitely contains some classics, but ultimately, there’s little here that even the most casual of Dilla fans won’t already have in their collections.

Ryan Proctor

The Pharcyde - “Runnin’” ( Delicious Vinyl / 1995 )

Album Review – Camp Lo

Camp Lo

“Stone And Rob: Caught On Tape”

(Soul Fever)

Camp Lo’s debut album “Uptown Saturday Night” stood-out like a pair of snakeskin gators in a room full of Timberlands upon its release in 1997. In the same year that gave us the Five Percent-influenced lyrical darts of the Wu’s “Wu-Tang Forever” and the thugged-out anthems of Capone-N-Noreaga’s “The War Report”, Bronx duo Geechi Suede and Sonny Cheeba captured imaginations with their unique brand of lyricism that was heavy on 70s-inspired blaxploitation imagery and accompanied by the soulful samples of producer Ski (who was fresh from lacing Jay-Z’s classic “Reasonable Doubt” album the previous year).

Whilst an unpredictable mix of record industry politics, rap trends and bad luck might have prevented Camp Lo from reaching mainstream notoriety, their cult status amongst fans has ensured that solid projects such as 2002’s “Let’s Do It Again” and 2007’s “Black Hollywood” have each been met with a favourable response. Most recently the pair signed a deal with SRC / Universal to release their upcoming album “A Piece Of The Action” and embraced the power of the Hip-Hop blogosphere by teaming-up with the New Music Cartel to drop a selection of material recorded primarily for online distribution.

No doubt keen to keep up the momentum gained by their recent internet campaign, “Stone And Rob: Caught On Tape” finds Geechi Suede and Sonny Cheeba showcasing some of the tracks used for the New Music Cartel project as well as a stash of cuts deemed unsuitable to fit the overall concept of their forthcoming long-player.

Named after two characters from the same 70s flick which inspired their 1996 single “Coolie High”, Suede and Cheeba stick to their ivory-handled guns throughout “Stone And Rob”, painting vivid slang-heavy pictures over nickel-slick soundscapes which have a slightly more updated feel in places this time around. Yet irrespective of how contemporary their choice of beats may or may not be, it’s impossible to listen to Camp Lo’s verses without thinking of psychedelic old-school album cover art, Pimp Of The Year conventions and scenes from “Superfly” or “Black Caesar” and, truth be told, it’s largely the pair’s penchant for colourful, outlandish wordplay that keeps many of their supporters coming back for more.

The opening “2 Dope Boyz” finds the Lo boys rocking “Terminator X shades” over Apple Juice Kid’s rattling drums, whilst the Jocko-produced “Gotcha” sounds like an episode of “Soul Train” being recorded in a Bronx basement, as Suede struggles with a woman who wants him to choose between their relationship and his love for music over a smoothed-out sample from 80s favourites The Deele.

Previously available as a 2007 vinyl single, the sublime “Ticket 4 2″ hasn’t lost any of its magic since its initial release, with Geechi and Cheeba wrapping mackalicious metaphors around Ski’s melodic mellow madness. The infectious “Sky Hi” also stands-out, as Camp Lo dedicate the track’s dislocated funk to “the one-two steppers and all pop-lockers”, each sounding like Huggy Bear with mic skills in the process.

Considering the amount of throwaway product forced on the Hip-Hop audience in today’s ultra-disposable internet age, it’s often easy to be cynical when another collection of album outtakes and unreleased music arrives. In many cases, it’s painfully obvious why the majority of such material had previously never seen the light of day. Yet with “Stone And Rob: Caught On Tape”, Camp Lo have managed to clear out their musical closet without sacrificing that all-important quality control.

Ryan Proctor

Album Review – DJ Deckstream

DJ Deckstream

“Soundtracks 2”

(Lexington)

If you were astute enough to have picked up “Soundtracks”, the 2007 debut album from Japan’s DJ Deckstream, then you should already know what to expect from its recently released follow-up – chunky, soulful Hip-Hop-influenced beats and a diverse selection of featured artists. Yet whereas its predecessor relied heavily on support from a smattering of rap favourites (Lupe Fiasco, Talib Kweli, Camp Lo), “Soundtracks 2” looks towards a number of R&B-flavoured acts to provide the album’s vocal backbone.

The cryptically titled “Screwtape” kicks the album off in a buoyant, celebratory mood, with Deckstream’s catchy production evoking images of a colourful b-boy carnival with lyricist L-Universe rhyming atop a graffiti-daubed float to head-bopping bystanders. The mood soon mellows, however, as the brilliant Nikki Jean uses her subtle tones to spin a tale of heartbreak on “Exit Sign”, accompanied by the same mournful Lonnie Liston Smith piano sample heard on Jay-Z’s classic “Dead Presidents”.

Having hovered under the mainstream radar for some time now, vocalist / emcee Novel pre-empts his soon-to-released major label debut with the brisk, off-kilter jazz swing of “Around We Go”, whilst former Brand New Heavies chanteuse N’Dea Davenport delivers a classy vocal performance on the 70s-tinged “Real Thang”.

Only the uninspired “For My Ladies” slows the project’s momentum, with guest artist Melodee’s good-natured girl-power rhymes hampered by Deckstream’s redundant use of the same Bruce Hornsby sample utilised on 2Pac’s popular posthumous hit “Changes”.

Yet that one musical misstep notwithstanding, and with further appearances from the likes of Mos Def and Nice & Smooth upping the album’s entertainment factor, “Soundtracks 2” is another impressive example of DJ Deckstream’s sonic craftsmanship.

Ryan Proctor

Album Review – Wordsmith

Wordsmith

“In Pursuit Of Harmony”

(Def Ethics)

As one of the most engaging voices to have emerged from the UK rap scene in recent years, London-based lyricist Wordsmith has built a strong reputation for himself thanks to numerous ear-grabbing performances on mix-CDs, other artist’s material and, of course, his own handful of releases.

It’s always been apparent that Words is an individual with a lot on his mind, and on this follow-up to 2005’s “The Roadman Showcase” he leaves no stone unturned, presenting himself as a truly well-rounded artist with more to offer than the average homegrown rap fare.

The opening “They Don’t Seem To Care” is an effective example of Wordsmith’s lyrical approach – gruffly-delivered street knowledge that’s rough-around-the edges but ultimately grounded in a desire to live in a better world (hence the album’s title). Accompanied by Beat Butcha’s wailing soul samples and rolling drums, the big-voiced emcee laments lost youth, pondering the future of those “young minds saddled with adult responsibilities” in today’s society. The breezy “Beautiful Life” finds Words assuring listeners there’s always hope amidst the darkness, encouraging everyone caught up in the day-to-day rat race to pause every once in awhile and appreciate their blessings, however small they might seem.

“Common Cause” features Wordsmith trading high-voltage barbs with the talented Genesis Elijah over typically dramatic Show-N-Prove production, while Foreign Beggars appear on the ominous “Sticks & Stones”, helping to paint a shadowy picture of an inner-city London populated by shady individuals with shattered tower-block dreams.

Yet for all of the sincere words of wisdom and skilful boasts of microphone superiority scattered throughout “In Pursuit Of Harmony”, the real sonic body-blow comes towards the end of the album in the form of the autobiographical “Son”. With producer Chemo supplying a gripping, emotionally-charged backdrop, Wordsmith delivers a gritty, heart-wrenching performance detailing his efforts to find his young child lost in the British social care system (“If you and me is tainted, I‘ll make it perfectly clear, I’ve been searching since your birth and throughout your nursery years”). Tragic but brilliantly executed, this track will haunt you long after it’s faded out on your iPod headphones.

Unapologetically raw and honest, Wordsmith’s bold brand of street-hop might not be for everyone, but those who choose to listen will definitely be rewarded.

Album Review – Nick Wiz

Nick Wiz

“Cellar Sounds Volume One (1992 – 1998)”

(No Sleep Recordings)

Ask any self-respecting Hip-Hop fan to name their favourite producers from the 90s and you’ll no doubt get the same predictable yet totally understandable answers – DJ Premier, Pete Rock, Large Professor, Showbiz etc. However, if those same boom-bap aficionados dug in their crates to check the credits on some of their vintage vinyl, they might be surprised by how many other talented producers were also around at the time who don’t necessarily get remembered during today’s debates about who was nicest on the MPC or the SP-1200. Case in point being Nick Wiz, a New Jersey native who spent the 90s donating his atmospheric, drum-heavy studio creations to the likes of Mad Skillz, Rakim and, most notably, Brooklyn’s Cella Dwellas, whose 1995 Loud debut album “Realms N Reality” remains a largely slept-on East Coast classic.

This extensive 44-track double-CD package finds Wiz digging deep into his archives to blow the dust off a huge selection of previously unreleased cuts and alternative remixes from artists both known and unknown. Immediate standouts include a dope reworking of the Cella Dwella’s “Good Dwellas” (based around Gwen McCrae’s timeless “90% Of Me Is You”), Rakim’s horn-filled head-nodder “Once Upon A Rhyme” (a lost track from Ra’s “The 18^th Letter” project), and Ill Mentality’s “Lovin’ U 4 Dayz”, a cocky mid-90s cut previously released on the Phat Wax imprint and packed with serious back-in-the-day jeep beat appeal.

Pudgee’s melancholy “Inner City Blues” features an uncharacteristically restrained DMX caught in the everyday struggle with only Wiz’s filtered melodies for company, whilst Ran Reed’s excellent “Whutcha Want” offers mildly offensive rhymes coupled with a Method Man vocal sample and hazy keys. The demo tracks included here from New Jersey acts such as LSD and Nautilus are also of a high standard, hinting at a local scene that perhaps didn’t reach its full potential during a time when Naughty By Nature and their affiliates were dominating and defining the area’s sound.

At over 40 tracks deep, it’s to be expected that not every cut included on “Cellar Sounds” is an absolute must-have, but with contributions from the likes of Shabaam Sahdeeq, Lord Have Mercy, Chubb Rock and Channel Live, it’s a solid body of work from a producer who perhaps didn’t get his rightful props the first time around.

Album Review – Jyager

Jyager

“Encrypted Scriptures”

(YNR Productions)

A relatively new name to the UK rap community, you’d never guess that Portuguese-born emcee Jyager (pronounced Yay-ger) started his musical journey as part of London’s garage scene, as his vivid, often intricate verses sound far better suited to the head-nodding beats provided here by the talented Cee-Why than you could imagine they would when paired with club-driven garage vibes.

One of the biggest criticisms levelled at UK Hip-Hop in recent years has been that a seemingly never-ending influx of wannabe rappers has brought with it increased levels of mediocrity and a distinct lack of quality control, with it being almost impossible to distinguish one so-called artist from the next. Thankfully, Jyager appears to have taken the time to hone his craft before dropping official product and is obviously determined to walk his own path rather than be satisfied with following the pack. With that in mind, when you stop to consider that his label mates include equally unique lyricists such as Sir Smurf Lil’ and Kashmere, it’s easy to see why YNR decided to back this particular young emcee.

Opening with “Eyes Open”, a bold statement of intent littered with socio-political observations, “Encrypted Scriptures” is a thoroughly entertaining effort that easily mixes street swagger with moments of genuine personal reflection, such as the soul-searching “Somewhere In Paradise” which finds Jyager determined to maintain a level head amidst inner-city turmoil.

The raw, sparse drums of “The Session” take a verbal pummelling from both Jyager and the ever-reliable Jehst, who has his “dick jammed in the MPC…literally banging them beats”, whilst the mellow “Didn’t Wanna Have To Do It” tackles relationship dramas with disarming honesty. Only on “Never Gonna Bring Me Down” does Jyager lose his momentum, with the track’s annoying sing-song hook and sluggish production adding little to the overall project.

However, that small criticism aside, “Encrypted Scriptures” is an impressive debut – the garage scene’s loss is definitely homegrown Hip-Hop’s gain.

Album Review – Finale

Finale

“A Pipe Dream And A Promise”

(Interdependent Media)

Adding further weight to the argument that Detroit is fast becoming an underground rap fan’s first stop for quality music, Finale’s “A Pipe Dream And A Promise” sits comfortably alongside recent releases from the likes of Invincible and Guilty Simpson as a shining example of the talent the Motor City has to offer.

Having made waves with last year’s “Develop” project with Tokyo-born producer Spier-1200, Finale keeps “A Pipe Dream…” largely a hometown affair, with the album featuring production from Black Milk, Waajeed and the late, great J Dilla, while also managing to squeeze in a cameo from old-school Detroit rap legend Awesome Dre.

Although the ‘starving artist’ stories that litter “A Pipe Dream…” might have been heard many times before, Finale recounts his experiences with such honesty and passion that his words carry with them a genuine sincerity, ensuring his verses allow the listener to truly feel his struggle.

“Pay Attention” finds the rapper battling against audience indifference over production packed with stuttering bluesy swagger, whilst “Heat” is all thumping Dilla beats and stark instrumentation, with Finale spitting his verses from behind an Ice Cube-sized scowl. Yet although this Motown motor-mouth can brag and boast with the best of them, moments like the album’s heartfelt title track display depths that go far beyond battle rap territory, as Finale details his career hopes over swirling saxophones and shuffling drums.

In a rap world where an upcoming artist can be unfairly dismissed at the simple click of a computer mouse, Finale has succeeded in creating an album that is relatable, likeable, and perhaps most importantly, memorable. Detroit strikes again.

Album Review – Lord Finesse

Lord Finesse

“Rare And Unreleased Volume 2”

(No Sleep Recordings)

Having already blessed back-in-the-day rap fanatics with retro releases from the likes of Godfather Don, Buckwild and Kwest Tha Madd Lad, the No Sleep label teams up once again with the Funkyman himself, Lord Finesse, for another collection of unreleased and hard-to-find dusty-fingered joints from the D.I.T.C. member’s heavy crates.

With the majority of the tracks here dating back to the early-to-mid 90s, virtually every cut is packed to bursting with golden-age flavour, bolstered by Finesse’s trademark blend of heavy bass, thumping drums and piercing horns. Big L’s unearthed banger “Unexpected Flava” will have NY die-hards ready to do the East Coast Stomp with its chanted hook and witty punchlines, whilst Grand Puba’s “Untitled” is a near flawless example of how effortlessly dope the Brand Nubian emcee sounds over the right production (something he’s struggled to find in recent years).

One of Finesse’s strengths behind the boards has always been his ability to craft beats that range from the hypnotically mellow to the gritty and menacing, and both sides of the Funkyman’s musical personality are on display here. The “Laidback Bounce Mix” of Kirk’s 1994 joint “Uptown Style” stirs memories of warm summer nights with its Keni Burke snippets and dreamy keys, whilst God Sunz’ “Sub Sidewalkers” revels in its downbeat moodiness and evokes images of piss-stained project building stairwells littered with discarded blunts.

Finesse’s own catalogue as an artist is also well covered here, with previously unavailable versions of classics such as “Isn’t He Something” and “Hey Look At Shorty” sitting alongside vinyl-only cuts like the vibe-filled “Soul Plan” with jazz legend Roy Ayers. Yet the real gem amongst the Funky Technician’s own material has to be the 1991 demo mix of “Fat For The 90s”, which finds an agitated A.G. putting heads to bed with Finesse over a relentlessly vicious guitar lick.

More refined and focused than its predecessor, this latest collection from the D.I.T.C. vaults is a welcome reminder of a period in Hip-Hop never to be repeated, where genuine talent and creativity met with a desire to record timeless music purely for the satisfaction of being known as one of the illest to ever do it.

Q-Tip Album Review (Originally Printed In Shook / Haiti Cover / Winter 2008)

Q-Tip

“The Renaissance”

(Universal Motown)

There’s almost something poetic about the fact that, some six years after he foreshadowed Nas’s claims of hip-hop being dead during an interview with The Source, golden-era icon Q-Tip has dropped an album that’s restored the faith of many who were starting to believe such a statement could actually be true. By the time this sees print, The Renaissance will no doubt be sitting in its rightful place at the top of many blog / magazine / website best-of-2008 lists. A glowing achievement for the Queens, New York MC whose impact on the world of hip-hop has influenced a plethora of artists over the years, from Common, Mos Def and Talib Kweli, to Andre 3000, Kanye West and Lupe Fiasco.

It’s hard to believe that it’s been 20 years since a teenage Jonathan ‘Q-Tip’ Davis made his debut on the Jungle Brother’s afrocentric ‘Black Is Black’ from the group’s Straight Out The Jungle album. With Tip being joined by childhood friends Phife, Ali Shaheed Muhammad and Jarobi, A Tribe Called Quest added yet another dimension to the Native Tongues collective, a loose crew of like-minded artists that included De La Soul, the aforementioned JBs, and Queen Latifah. Offsetting the hardcore stance of fellow East Coast acts such as LL Cool J and Public Enemy, as well as offering an eclectic alternative to the growing gangsta rap scene of the West Coast, Tribe and the Native Tongues shattered many of the stereotypes surrounding hip-hop at the time, proving that you could catch the imagination of rap fanatics without resorting to macho posturing or shock tactics. In other words, it was cool to just be yourself.

Tribe’s debut album, 1990’s People’s Instinctive Travels And The Paths Of Rhythm, effortlessly displayed the group’s unique take on the music and culture of hip-hop. Buzzing with youthful energy, the project was an infectious mix of simple-but-funky loops, laced with quirky rhymes about everything from safe sex and healthy eating, to the art of moving butts and a lost wallet. Quest’s sound would become more refined on 1991’s The Low End Theory, an album that almost single-handedly defined the East Coast’s jazzy boom-bap aesthetic of the early-‘90s, before their third album, Midnight Marauders, took the group’s search for the perfect beat to even greater heights of sampling sophistication, resulting in what many fans consider to be ATCQ’s greatest work.

Yet whilst some elements of Tribe changed over time (Phife’s improved rhyming abilities, the now-you-see-him-now-you-don’t Jarobi, the production input of a then relatively unknown J Dilla on Quest’s last two albums), one essential factor remained consistent – the lyrical skill and immediately recognisable voice of Q-Tip. Whether speaking on the ills of the music industry (‘Show Business’), debating the semantics of language (‘Sucka Nigga’), or simply just dismissing the competition (‘Phony Rappers’), Tip’s bouncy blend of playful b-boy bravado, life lessons and humorous wit birthed some of the most memorable lines ever committed to wax, tape or compact disc. Let’s also not forget Tip’s impressive production prowess, with his work behind the boards gracing such seminal albums as Nas’s Illmatic and Mobb Deep’s The Infamous.

Following the shock 1998 break-up of Tribe, many will remember the widespread indifference that greeted Tip’s first solo effort Amplified upon its release a year later. In hindsight, it could be said that Amplified was released too soon after the group’s split for fans not to have expected anything other than the trademark Quest sound from a solo Q-Tip. The album’s main producer, the late J Dilla, had still yet to fully establish his soulful, space-age vibe which formed much of the sonic backbone of Amplified. Although Dilla’s groundbreaking production style would go on to gain a cult following in subsequent years, on Amplified at least, some considered the clean, polished sound to be too far removed from the dusty-fingered flavour of classic Tribe, a criticism previously levelled at the group’s final album The Love Movement, which also included assistance from the Slum Village maestro (an irony not lost on fans who’d enjoyed both albums at the time of release only to see those who heavily criticised the projects suddenly changing their tune following an outpouring of praise for Dilla’s work after his tragic 2006 death).

All of which (Tip’s more recent shelved solo projects notwithstanding) brings us to the triumph that is the aptly-titled The Renaissance. One of the project’s most impressive qualities is the way in which Tip has avoided pandering solely to die-hard Tribe fans by recording an album that wallows in golden-age nostalgia, yet neither has he done anything here that feels like it was made purely to reel in today’s new generation of internet-reliant rap fans.

Instead, what Tip has done is succeeded in crafting an album that draws on the spirit of hip-hop’s past, whilst keeping one eye firmly on the future of the music. In essence, The Renaissance genuinely bridges the gap between those older heads who still bump Brand Nubian’s first album on a regular basis, and younger kids obsessed with blog-savvy rappers such as Mickey Factz and Charles Hamilton.

Entirely self-produced (apart from two Dilla joints), The Renaissance finds Q-Tip reminding us of everything that is good about hip-hop by putting the soul back into a music that in recent years has become far too self-conscious, negative, and ultimately, hollow. From the breezy pianos of ‘Gettin’ Up’ (‘Bonita Applebum’ for the new millennium?), to the Jackson Five-sampling disco funk of ‘Move’, Tip consistently delivers life-affirming beats and rhymes. Even when addressing serious issues such as the war on terrorism (the Raphael Saadiq-assisted ‘We Fight / We Love’) and the downside of relationships (‘You’), The Abstract still manages to inject his verses with a sense of hope and optimism.

One of the album’s most poignant moments comes during the intro to ‘Dance On Glass’. Rhyming acappella, Tip drops bombs on the modern-day hip-hop industry, targeting desperate labels, fake thugs and “corny rap style niggas”, before stating that he’s always been confident enough as an artist to remain true to his creative vision without being swayed by popular trends.

As inspiring as it is entertaining, The Renaissance is a brilliant piece of work from a legend who still wants to play his part in pushing hip-hop forward towards a brighter day. Can Q-Tip still kick it? Yes, he most definitely can.

Ryan Proctor

Universal Magnetic Column (Originally Posted On StreetCred.Com Nov 7th 2008)

BROTHER, BROTHER

 

Following in the large footsteps of a talented Hip-Hop sibling can be a daunting task for any upcoming artist. Just ask Warren G, Lil’ Daddy Shane and Jungle. So with that in mind, all eyes are on 21-year-old Detroit native Illa J, whose late, great older brother J Dilla is cemented in the consciousness of the global Hip-Hop community as one of the best producers of all-time. Having stamped his trademark sound on releases from the likes of The Pharcyde, A Tribe Called Quest, Common and Busta Rhymes, Dilla’s next-level studio techniques influenced a long line of impersonators and his passing in 2006 left a gaping hole in the music world, along with the sense that a true creative visionary had been lost. So, no pressure on the young Illa J then as he releases his debut album “Yancey Boys”, a project that finds the Motor City MC / producer rhyming over beats provided posthumously by Dilla himself.

The story behind the recording of “Yancey Boys” could easily sound like a clever marketing ploy to ease Illa J into the headphones of hypercritical Dilla fans were it not so filled with pure coincidence. Released on Delicious Vinyl, the label for which Jay Dee produced cuts on Pharcyde’s 1995 album “Labcabincalifornia”, the project came to life following Illa’s relocation to Los Angeles and a chance meeting with DV’s head-honcho Michael Ross, who courteously offered Yancey Jr access to the many unused beats Dilla had recorded for the label during the mid-to-late 90s. Upon immersing himself in his brother’s unheard material, Illa J knew exactly what he needed to do, and got to work on what would become “Yancey Boys”. But whilst the tale behind the tape (or in this case, the CD) is the stuff that Hip-Hop folklore is made of, the burning question is, has Illa J done justice to his older brother’s music and, ultimately, his legacy?

The first thing that strikes you about the album’s opening tandem of “Timeless” and “We Here” is the sense of energy and celebration, a feeling that comes not just from Dilla’s mastery behind the boards, but also from the way in which Illa J has approached the music, singing and rhyming his way through lyrics laced with positive vibes and genuine optimism. As Illa croons, “I spent so much time just thinking about nothing, Now it’s time to turn that nothing into something”, it’s clear that “Yancey Boys” is musical therapy for the upcoming talent, an opportunity to work through the emotional baggage of his brother’s untimely death and turn tragedy into personal triumph.

The instant neck-snapper “R U Listenin’?” features a typically swaggering verse from fellow Detroit resident Guilty Simpson, whilst the carefree b-boy breeze of “Showtime” blends airy jazz pianos with Illa’s likeably cocky rhymes and playful boasts.

The fact that the majority of beats contained on “Yancey Boys” still sound fresh and organic regardless of being approximately a decade old is a testament to just how ahead of his time Dilla was as a producer. Whilst the chime-laden groove of the girl-chasing “DFTF” sounds like the best cut A Tribe Called Quest never recorded for their 1998 swan-song “The Love Movement”, it still knocks hard in 2008. Similarly, the space-dust soul of “Sounds Like Love” finds Dilla combining Hip-Hop’s raw, basement ethics with subtle, spine-tingling melodies, resulting in a sound that is simultaneously retro and futuristic.

If “Yancey Boys” represents Illa J being publicly passed the musical torch from his elder brother, it’ll be interesting to see in which direction the youngster runs with it on his next proper solo outing.

Illa J ft. Debi Nova – “Sounds Like Love” ( Delicious Vinyl / 2008 )

BEAT FREAKS

 

All of you producer types out there might want to check out the recently released “King Of The Beats 2″ DVD. Directed by UK-based Hip-Hop junkie Pritt Kalsi, the film features a variety of beat-heads taking up the KOTB challenge, which involves each producer being given a limited budget to go digging for records, which they then have to take back to their respective labs to sample, chop and mutate into a finished Hip-Hop track. All of which seems straightforward, until you realize that the entire process has to be completed within a 24-hour period. Nevertheless, as the old saying goes, pressure makes diamonds, and here you can witness crate-diggers such as DJ Pogo (UK), P Body (Australia) and DJ Priority (USA) each displaying how they approach the craft of producing.

“King Of The Beats 2″ Trailer

FRENCH CONNECTION

 

“Changes Of Atmosphere” from Dela is an album that truly spans Planet Rock, with the project from the French producer featuring an impressive line-up of Stateside artists yet seeing a release on Japan’s Drink Water label. Obviously inspired by such studio greats as Pete Rock, Dilla and Large Professor, Dela’s sound revolves around a strong foundation of crisp drums, jazzy, soulful samples and intoxicating instrumentation.

J. Sands of Lone Catalysts fame offers poignant words of wisdom on the hypnotic “Live The Life”, whilst current subterranean favorite Termanology kicks some street knowledge over the soothing mid-90s style beats of “Stress”.

Dela puts a haunting horn sample to good use on the Talib Kweli-assisted “Long Life”, and North Carolina’s Supastition recounts the constant struggle faced by underground artists on the ethereal title cut.

With further appearances from respected lyricists such as J-Live, Surreal, Blu and Dynas, “Changes Of Atmosphere” is a thoroughly satisfying listening experience that contains substance in both its beats and rhymes.

Dela ft. Naledge of Kidz In The Hall – “It Is What It Is” ( Drink Water / 2008 )

ON THE WHEELS OF STEEL

 

Once considered the backbone of Hip-Hop, it’s no secret that in recent years the DJ has had to fight to remain relevant in an industry increasingly dominated by ego-crazy rappers and producers. Eager to do his part to support the turntablist movement is UK scratch assassin K-Delight, an individual whose many years behind the decks ensure his latest album “Audio Revolution” is a superbly crafted slice of sonic mayhem.

Aiming to encompass all four of the key elements of Hip-Hop culture, this long-player has something for true-school representatives everywhere. Graffiti heads are covered on the educational “Shake, Rattle N Throw”, which features LA-based female MC Shin-B offering a brief history of the artform’s origins, whilst b-boys are given some up rock theme music in the form of the old-school flavored “Wildstyle Dream”.

Elsewhere, the self-explanatory “Forever Hip-Hop” finds Stateside lyricists Skitz The Gemini and Shinobi Stalin paying homage to arguably the most influential cultural movement the modern world has ever seen, whilst “Scratch Club” is a posse cut with a twist, as the likes of NYC’s DJ JS-1, the UK’s DJ Woody and Scotland’s Krash Slaughta team-up with K Delight in a formidable display of deck-wrecking skills.

“Audio Revolution” Live Album Sampler

PRIME TIME

 

Chicago-based crew The Primeridian makes a welcome return to the underground rap scene with their sophomore album “Da Mornin’ Afta”, featuring the former duo of Simeon and Tree now being joined by talented wordsmith Race.

Coming out of the All Natural camp, the trio has a strong line in head-nodding, thought-provoking Hip-Hop, and “Da Mornin’ Afta” finds Primeridian matching their lyrical substance with beats provided solely by producers from Europe and the UK (including Netherlands maestro Nicolay of Foreign Exchange fame).

The opening “Change The Meridian (Hard Rock)” announces the group’s comeback in no uncertain terms, offering three-minutes of raw, breakbeat-driven braggadocio, whilst the blaxploitation boogie of “Bucktown (City Of Wind)” features Naledge of Kidz In The Hall addressing Chi-town’s social underbelly.

The pulsating bass and swirling synths heard on “Takuthere” (produced by France’s DJ Steady) provide a soothing musical backdrop for the social commentary of featured artists Iomos Marad and The Pharcyde’s Uncle Imani. My personal favorite here though has to be the beautifully understated “Melodic Healing”, a lush mix of live bluesy guitar, spine-tingling flutes and life-affirming lyricism. Music for the soul, indeed.

Primeridian Freestyle

Ryan Proctor

Universal Magnetic Column (Originally Posted On StreetCred.Com Sept 17th 2008)

Welcome to the first of what will hopefully be a long running column here on StreetCred.com focusing on those artists whose music exists in the same “dungeons of rap” Nas once mentioned on his classic “Illmatic” album.

Today, with the internet at our fingertips, the term “underground” has many different meanings. Being underground in 2008 doesn’t necessarily mean the same as it did to rappers like Ice-T and Big Daddy Kane twenty years ago when they were struggling to find acceptance in a music industry that barely knew Hip-Hop existed. Being underground in 2008 doesn’t necessarily mean the same thing as it did when the likes of Mos Def and Talib Kweli were still able to sell vinyl singles on a label like Rawkus ten years ago. Hell, being underground in 2008 doesn’t even necessarily mean the same thing as it did just over five years ago when a pre-Interscope 50 Cent was selling his own mix-CDs on the streets of NYC. But whilst the rules and tools of the game might’ve changed, one thing remains the same – being underground still means your music isn’t on the radar of the masses and if it’s good then it deserves all the support it can get.

This is an underground column with a twist though. Aside from featuring Stateside artists, I’ll also be covering music from elsewhere on Planet Rock, whether that be a release from a talented producer in Japan, or a new joint from a gifted lyricist in England. As the great Rakim once put it, it ain’t where you’re from it’s where you’re at, and as long as the music is good, artists will definitely be getting props over here irrespective of where they call home.

I’ve often wondered about DJ Muggs - would his name be more widely mentioned in discussions about the best producers of all-time (next to his more underground counterparts such as Pete Rock and DJ Premier) if he hadn’t have sold millions of records with the likes of Cypress Hill and House Of Pain? The man’s talent behind the boards really can’t be questioned and, after having kick-started his career way back in 1988 as a member of 7A3, the fact that Muggs is still here some twenty years later churning out gritty, grimy Hip-Hop is a testament to his love of the music and culture, irrespective of how many platinum plaques might hang on his studio walls.

Acting as a timely reminder that Muggs still knows exactly how to make a rap junkie’s neck snap, “Pain Language”, his collaborative album with veteran West Coast lyricist Planet Asia, is arguably one of the best-produced Hip-Hop albums you’re likely to hear this year.

Boasting an impressive natural chemistry, Asia and Muggs come off like the dark, twisted cousins of Pete Rock & CL Smooth, with producer and MC complimenting each other’s talents to such an extent, it’s difficult to think of them ever needing to work with anyone else.

The kinetic “9MM” is all crashing cymbals, rolling drums and searing electric guitar, with Asia channeling the old-school in an “88 mind-state” as he taunts competitors hoping to challenge his lyrical tactics. Equally dope is the blazing “That’s What It Is”, as Muggs wraps rousing horns around hard beats, evoking images of Planet Asia in a Hip-Hop version of “300″, leading a legion of scowling b-boys to war with mainstream corporate goliaths. The stuttering soul loops and soothing keyboards of “Black Mask Men” switch the album’s mood for a moment, with the Cali wordsmith correctly describing the track as being “that midnight shit”, but the cut offers only a brief respite from the sonic onslaught. Case in point being the B-Real-assisted “Lions In The Forest”, which features a literally jaw-dropping performance from Asia, as he riddles the up-tempo track with his dense, multi-syllable, metaphor-heavy flow. This is hardcore Hip-Hop in the truest sense of the term.

DJ Muggs & Planet Asia – “9MM” ( Gold Dust Media / 2008 )

If, after Main Source’s 1991 album “Breaking Atoms”, NYC’s Large Professor had never recorded again, his place in rap’s history books would still have been secure after introducing a young Nas to the world on said album’s classic posse cut “Live At The Barbeque”. Thankfully, for those of us who love that dusty true-school sound, Extra P has continued to bless us with his sample-filled creations, although his production career has perhaps been a little less complicated than his own solo endeavors.

Having produced and remixed for the likes of A Tribe Called Quest, Common and Styles P, failed label deals and industry politics have largely prevented Large Pro’s own career as a solo artist from reaching any kind of notable momentum. His mid-90s album “The LP” recorded for major label Geffen languished in unreleased hell until it was unofficially bootlegged some years later, with Extra P not releasing a follow-up until 2002’s “1st Class”. The self-proclaimed “live guy with glasses” has often attributed his lack of notoriety outside of diehard Hip-Hop circles to his desire to stick to making the brand of traditional New York rap he came up on back in the day.

With that in mind, Large Professor’s new project “Main Source” (taking its name, of course, from his original crew) doesn’t deviate in any way from the producer-on-the-mic’s previous sonic course. “Maica Livin’” boasts hypnotic keys and rattling drums, as Extra P is joined by Killa Sha and Guardian Leep to pay tribute to all those on the day-to-day grind trying to stack that cheddar. The chirpy “Pump Ya Fist” brings the Main Source legacy full circle, as LP rhymes alongside Queens icon Mikey D, the MC who replaced Large Professor on Main Source’s 1994 album “F*ck What You Think” after a fallout with the group’s remaining members K-Cut and Sir Scratch. Other standouts here include the mellow “In The Ghetto”, which finds Large Pro painting vivid pictures of inner-city living via a subdued rhyme style, and the self-explanatory “Hardcore Hip-Hop” (the only non-LP produced cut on the album) which features Canadian beatsmith Marco Polo crafting some crisp sounds that fit Extra P like a new pair of Air Force Ones. On the downside, “Rockin’ Hip-Hop” sounds cluttered with persistent computer-game noises, and “Large Pro Says” wastes a solid beat for what is effectively an extended call-and-response club routine. But that said, “Main Source” is a welcome return from one of the game’s true legends that’s takes the listener back to a time when Hip-Hop was about more than just drugs, money and murder.

Large Pro Speaks On “Main Source”

UK-based producer Jazz T has assembled a varied cast of supporting artists for his album “All City Kings”. As a former ITF battle deejay champion and member of multi-faceted crew Diversion Tactics, T already has a strong set of credentials within the British Hip-Hop scene. Delivering a concise collection of no-nonsense hip-hop, “All City Kings” features New York MC Hug dealing with some suspect legal issues on “Bullshit Charge”, Tim Dog of Ultramagnetic MCs fame spreading some transatlantic love on “BX To The UK”, and British lyricist Chubby delving into the history of UK Hip-Hop on “Back To London”. Jazz T also shows off his impressive turntable skills on the instrumental title cut.

DJ Jazz T Practice Session

In today’s times of synthesized production, downloading and eBay, it’s easy to forget the time and patience producers of yesteryear had to invest in their never-ending search for the perfect beat. Keen to remind us of the importance of keeping the art of digging for samples alive, DITC’s Showbiz recently dropped his “Rare Breaks – Stack One” mix-CD, a 45-minute collection of thirty anonymous loops which have been given just the right amount of thump for your listening pleasure. Having worked with the likes of Big L, Fat Joe and KRS-One, Bronx-bred producer Showbiz has consistently proved he has an ear for good music over the years and this CD doesn’t disappoint, ranging from moody jazz to sweet soul and everything in-between.

Showbiz In The Studio

Fresh from the recent underground success of Triple Darkness’s “Anathema” album, London word warrior M9 is striking out on his own with this potent example of powerful street reportage from his forthcoming solo offering “144,000″. The dark production from Jon Phonics is the perfect match for M9’s raw portrayal of ghetto life, as the gifted lyricist attempts to elevate the mind state of those around him with dense metaphors and a passionate plea to stop the gang-related youth violence currently gripping UK streets.

M9 Performing In New York

Ryan Proctor

Presto / Little Brother Album Reviews (Originally Posted On StraightOuttaNow.Com / June 25th – 27th 2008)

PRESTO: STATE OF THE ART

Judging by the sound of this album, Cali-based producer Presto obviously spent a lot of time studying the low-end theory of groups like A Tribe Called Quest and Gang Starr during his teenage years. Packed with boom-bap beats, jazzy samples and deft scratches, ‘State Of The Art’ confidently straddles the divide between throwback and contemporary.

The opening ‘Conquer Mentally’ sets the tone of the project, as true-school heavyweights Sadat X, O.C. and Large Professor resurrect the craft of real lyricism over Presto’s rolling drums and melodic keyboard stabs with impressive results. Equally compelling is the atmospheric play-this-only-at-night vibe of ‘Street Sports’, which finds the raspy-voiced Ark weaving clever sport-related metaphors into his gritty rhymes. Elsewhere, Wayward Saints deliver some slick guitar work on the cool breeze instrumental cut ‘Altered States’ and The Pharcyde’s Fat Lip drops some playful verses on the Kim Hill-assisted ‘What’s What’.

If there’s one criticism of ‘State Of The Art’ it’s that, on a couple of occasions, Presto’s admiration for his musical heroes sometimes overshadows his own identity, blurring the line between drawing inspiration from an influence or simply recreating someone else’s trademark sound. ‘Part Of Greatness’ resembles the style of Pete Rock so closely that, with or without its appearance from CL Smooth, the track could still easily pass as a leftover from the ‘Soul Survivor II’ sessions. Similarly, the punchy ‘Mass Quality’ bears similarities to the work of DJ Spinna, complete with spacey sound effects. However, whilst meant as constructive criticism, such comments could also be taken as a backhanded compliment regarding Presto’s production prowess.

Overall, ‘State Of The Art’ (Presto’s third album) is a lively, organic set that definitely cements the West Coast resident’s reputation as a talented beat maker.

7.5 Outta 10

Out Now On Concrete Grooves

Ryan Proctor

 

LITTLE BROTHER: …AND JUSTUS FOR ALL

Following their failed major label deal with Atlantic and the departure of producer 9^th Wonder, many were possibly expecting remaining Little Brother members Phonte and Big Pooh to give up on their rap dreams and return to everyday North Carolina life. But if anything, the last couple of years have seen the pair releasing some of their most focused and potent music to date, first with last year’s don’t-call-it-a-comeback project ‘Get Back’ and now with the impressive ‘…And Justus For All’.

Whether you want to view this latest LB release as an official album or a glorified compilation (it’s effectively a revamped version of the Mick Boogie mix-CD of the same name) ‘…And Justus For All’ easily stands up against the duo’s previous efforts, with quality control remaining as high as always. The opening Marvin Gaye-sampling ‘Can’t Stop Us’ features a hard-hitting verse from Phonte which wavers between egotistical and revolutionary, whilst the brilliant ‘Delusional’ mixes the catchy with the credible, as the twosome target the ladies with their mature mack rhymes and an infectious hook. The Nottz-produced ‘Life Of The Party (Remix)’ finds the LBs celebrating their industry underdog status with a sly smile, accompanied by a typically witty verse from subterranean stalwart Skillz. ‘Too Late For Us’ features Phonte and Tiye Phoenix digging into personal territory as they offer some relationship therapy over heavy drums and dreamy keys.

Bolstered by a talented production squad (Oddisee, RJD2, DJ Spinna, DJ Babu etc), this latest addition to the Little Brother catalogue contains enough musical goodness to satisfy the appetite of the most starved rap fan. Justus is served.

7.5 Outta 10

Out Now On Hall Of Justus / Traffic

Ryan Proctor

Shaya / DL Incognito / 9th Wonder & Buckshot / Kashmere / Kidz In The Hall Album Reviews (Originally Posted On StraightOuttaNow.Com / May 12th – 22nd 2008)

SHAYA: FALLEN AWAKE

 

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

Ryan Proctor

 

DL INCOGNITO: A CAPTURED MOMENT IN TIME

 

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

Ryan Proctor

 

9TH WONDER & BUCKSHOT: THE FORMULA

 

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

Ryan Proctor

 

KASHMERE: RAIDERS OF THE LOST ARCHIVES

 

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.

Ryan Proctor

 

 

KIDZ IN THE HALL: THE IN CROWD

 

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

Ryan Proctor

 

 

 

Triple Darkness / Katalyst / Kail Album Reviews (Originally Printed In Shook / Beat Generation Cover / Spring 2008)

Triple Darkness

Anathema

(Higher Heights)

 

Delivering one of the best hip hop albums of 2008 so far, London’s Triple Darkness definitely appear to be on a mission to prove that the art of true lyricism is alive and well amongst the next generation of MCs to rep for the UK rap scene.

A captivating combination of grimy street imagery, social commentary and intriguing historical references, the unapologetically hardcore Anathema finds Cyrus Malachi, Nasheron and Melanin9 filtering their experiences of inner-city British life through a shared intelligence and wisdom that reaches far beyond the trio’s relatively youthful years. The haunting ‘Machinations’ strikes a powerful balance between the harsh realities of urban strife and the crew’s quest for knowledge and spiritual salvation, whilst ‘Snakes & Ladders’ features an incredible performance from Cyrus, with the gruff microphone fiend touching on subjects as diverse as slavery, Egyptology and gun crime. Elsewhere, the pounding ‘Pyramid Wars’ and ‘Thousand Cut Torture’ each display the group’s superior battle rap abilities, taunting the competition with seemingly effortless examples of vivid and intricate wordplay.

Backed by the atmospheric production of Chemo and Beat Butcha (all heavy drums, sweeping strings and nimble piano loops), Triple Darkness have succeeded in creating a poignant soundtrack for today’s troubled times. The revolution starts here.

Ryan Proctor

 

Katalyst

What’s Happening

(BBE)

 

Hailing from the warm climes of Australia, producer Katalyst is sure to leave a mark on the global hip hop community with his first long-player for the ever-reliable BBE imprint. Already a respected name in his homeland, Katalyst presents a vibrant mixture of sounds and styles here, genre-hopping with ease whilst remaining rooted in the dusty-fingered tradition of boom-bap beats.

London-based vocalist Steve Spacek compliments the smouldering soul vibes of ‘How Bout Us’, whilst New York underground mainstay J-Live critiques the current state of hip hop culture on ‘Killing Ya Self’, his intelligent observations given extra weight thanks to a pounding guitar break. Elsewhere, Katalyst deftly turns his production talents to reggae (‘Over & Over’) and bluesy funk (‘Say What You Feel’). The Aussie music man also manages to address socio-political themes on instrumental cuts such as the claustrophobic ‘What Are We Talking About?’ thanks to some well-placed dialogue samples.

Although guests such as Brit rapper Yungun deliver impressive performances, it’s Katalyst who remains the star of What’s Happening, his work behind the boards providing this invigorating album with its dynamic sonic backbone.

Ryan Proctor

 

Kail

True Hollywood Squares

(Big Dada)

 

Over the years, the likes of Ice-T, The Pharcyde and Snoop have all given us their own personal vision of Los Angeles. However, while those artists may have defined the sun-splashed LA of the 80s and 90s, in 2008 South Central’s Kail is here to offer a new millennium perspective on the City Of Angels.

A satirical take on the cult American television show of its title, True Hollywood Squares mercilessly plays with Tinseltown’s extremes, from the star-studded glitz of Beverly Hills to the gritty streets of Compton. Kail demonstrates an impressive writing ability throughout, utilising a collection of colourful characters to tell a variety of stories ranging from the funny and the tragic to the downright strange. ‘The Realest Motherfuckin’ Tour Guide Ever’ finds the sharp lyricist introducing wide-eyed visitors to corrupt police, drive-by shootings and wannabe porn stars over creeping, drum-heavy production. ‘Peter Pennyworth’ highlights the plight of a former casting agent now homeless on the same streets he once cruised in flashy cars, while ‘Cola (The Rhapsody)’ offers tongue-in-cheek ghetto romance over an old-school soul groove.

Combining street swagger, observational humour and a leftfield worldview, Kail provides a unique way of looking at LA’s many vices and sins. True Hollywood Squares isn’t an album that will sit comfortably with everyone, but it is an entertaining break from the norm.

Ryan Proctor