ATMOSPHERE - When Life Gives You Lemons, You Paint That Shit Gold (Rhymesayers, 2008)

The title of the new album by Minneapolis’ indie duo Atmosphere (rapper Slug

and producer Ant) says it all as apparently Slug’s still having his ass handed to

him by life; but this time around it looks like he may have a positive outlook on

things. Maybe.

Known for their lengthy career (this is their sixth studio album) and strong

underground following, Atmosphere have built their reputation on Ant’s innovative

and funky West Coast-leaning production and Slug’s misery. The act has been credited

with being one of the innovators of the “emo-rap” scene with Slug’s “everyman”

lyrics touching on blue collar topics like girlfriend problems, paying bills,

alcoholism and trying to find a job that pays a decent wage. Their refreshing take

on hip-hop has allowed them to sow the seeds of a sub-genre of rap that is the “anti-

bling” if you will. This is rap music for the aging hipster or hip-hop head in a

midlife crisis (Slug himself is approaching his mid-thirties and has a teenage son)

wondering if after all of those years of hard work there actually is any light at

the end of the tunnel.

The lead single off of When Life Gives You Lemons, You Paint That Shit Gold

(Rhymesayers, 2008), “Guarantees” is a surprising twist for Atmosphere in terms of

production but not in subject matter however. Over a spare guitar strum, Slug speaks

on how hard life is when you’re trying to make ends meet on next to nothing “My

better half is mad at making magic out of canned goods / My tax bracket’s got me

questioning my manhood”. You wait for four minutes and thirty seconds for the beat

to drop but it never does. It’s just Slug and a guitar making a statement so strong

a beat wouldn’t do it any justice.

The depressing duo amp things up a bit with “Shoulda Known” where over a future-

funk squelcher Slug spins a narrative of an addiction he has to woman who is more

interested in her drug habit then her relationship with him. Slug admits to his own

love addiction that he can’t shake on the chorus, “Shoulda known better not to *uck

with you / Ain’t got nothing but too much to lose / Lost in the rush don’t know what

to do / That drug got you / Like I want you”. It’s no surprise that Slug’s looking

for love in all the wrong places, as this is a guy who has namedropped the infamous

Suicide Girls (Google them!) as a vice.

Atmosphere yet again deliver a dose of reality served up with hot beats on their

latest offering and prove that some pretty decent lemonade can be made with the

lemons life hands you. However, I’m sure Slug would enjoy his spiked and with a

cigarette.

Rating: 8/10


To read this review online click here: http://www.peacemagazine.com/

Sean Price @ SXSW 2008 (courtesy of Vimby.com)

P-Body doing his thing at the festival this year. He mentions the upcoming posse album Random Axe featuring himself, Guilty and Black Milk. Set to drop sometime in 2008. Whoah.

Guilty Simpson @ SXSW 2008 (courtesy of Vimby.com)

This a clip about Stones Throw artist Guilty Simpson rocking Austin's annual SXSW festival this year. Just dropped his debut Ode To The Ghetto. Solid. Like a slug to the chest.

Del The Funkee Homosapien - Eleventh Hour - Def Jux (2008)

It’s been ages (8 years to be exact!) since we’ve had a good taste of rap’s favorite West Coast boho/leftfield don, Del The Funkee Homosapien; when he last made our heads spin on his previous solo album, 2000’s Both Sides of the Brain (Red Urban Records, 2000) and on the futuristic collabo project Deltron 3030’s (75 Ark, 2000)self-titled release with Dan The Automator, Kid Koala and Blur’s Damon Albarn. This time around on Eleventh Hour (Def Jux, 2008), Ice Cube’s cousin (yeah that’s right!) hooks up with the Def Jux squad and label honcho El-P to release his long-overdue follow up to Both Sides of the Brain, where he brings his trademark voice and spacey wordplay to a solid release that loses a few points in the production department.

Del starts off strong with album opener “Raw Sewage” where he flows over a horn-infused West Coast throwback complemented by some record scratching that harkens back to the mid-90s when Del was repping Oakland with his cohorts Souls of Mischief. He quickly reminds us why he doesn’t fit in to rap’s currently bloated braggadocio mold, and instructs us that he’s simply here for a good time, “Salutations,now you face it / A real D-E-L / I don’t feel bigger / Up here on stage / Man I keep it real with ya / I’m here to entertain y’all / Let’s play ball”.

Del is in his comfort zone on tracks like “Hold Your Hand” which has the Bay-Area emcee flowing over a sunny G-Funk beat that would make either Kurupt or even Cube sound right at home on also. On album closer “Funkyhomosapien” Del finishes off correct when he pairs his obscure couplets with a next level beat that sounds like a cut that should have made the Deltron 3030 release. The track is a perfect example of how Del’s left-field subject matter and laid-back persona when combined with a future-funk beat result in a dope track. Plain and simple.

If there is a bone to pick with Eleventh Hour, it’s that the beats could have used a shot in the arm. Del himself handled the bulk of production (with a few assists from cats like J-Zone, Opio and KU) and it remains a mystery why he didn’t take advantage of the production skills available to him from Def Jux label mates like El-P or Blockhead. All in all, Del’s latest effort is a great soundtrack to those lazy, hazy summer days ahead of us. Hyphy this ain’t. It’s a throwback/fast forward rap attack mixed with a little crazy. Go on try it. You might just like it.


Rating: 7/10


To read this review at AllHipHop.com, click here:
http://allhiphop.com/stories/reviews/archive/2008/03/28/19531452.aspx

Pete Rock - NY's Finest - Nature Sounds (2008)

It’s been a minute since one of hip-hop’s O.G beat architects has blessed us with a full length of fresh material (his last release was 2004’s Soul Survivor II); and Rock’s latest release, NY’s Finest (out on hot Brooklyn indie label Nature Sounds); doesn’t disappoint in breathing some much needed life into the rap game. Rock keeps the momentum flowing from his last release, by combining no-nonsense, vintage East Coast production with dope lyricists. The result is a “Rock” solid release that satisfies those heads fiending for an East Coast trip down memory lane circa 1995.

Rock milked his hip-hop Rolodex on this effort as his beats are beefed up with tight lyrics courtesy of everyone from Dipset’s Jim Jones and Max B, Styles P and Sheek Louch of the Lox, Masta Killa, Raekwon , Papoose and Redman. Lead single “We Roll” featuring the aforementioned services of Jim Jones and Max B, is a horn-infused throwback that allows the Dips’ capo and their crooner to temporarily put aside their apparent beef, and flow confidently over Rock’s breezy soul.

“PJs” featuring Wu Tang’s Raekwon and Masta Killa is a track that we have already heard before on 2006’s Nature Sounds compilation Natural Selection; however Rock does us all a favour by including it on this release. Rae and Killa flow flawlessly over this funk-inflected head nodder as they trade verses about life on the street. Rae spits his usual Wu metaphors while Masta Killa bodies his verse where he reminds us of his well-earned street pedigree, “Degrees of experience/Qualifies me to speak/In certain areas where many can’t reach”.

On the Papoose-assisted album closer “Comprehend” yet another guest lyricist sounds right at home over Rock’s soulful keys and drum kicks as Papoose’s staccato bars add the finishing touches to this certified New York heater. Pap shows love to one of the game’s best producers as he tips his hat to Rock lyrically, “Say my name when you sneeze / Pap is a blessin’/ It’s an honour to be in this session / Pete Rock is a legend”.

From start to finish, Pete Rock’s latest offering NY’s Finest (Nature Sounds,2008) plays out like your favorite mixtape from the mid-90s that you just found again and popped into you cassette deck. Only this time around the old is mixed with the new resulting in the soon to be classic that many of us thought couldn’t be made. For rap to continue evolving and progressing as an art form, there is no doubt that the younger generation needs to be leading the charge. However, it is reassuring to know that O.G’s like Pete Rock are still here to steer the ship in the right direction and are given the love and respect they so rightfully deserve.



Rating: 9/10

To read this review at AllHipHop.com, click here:
http://allhiphop.com/stories/reviews/archive/2008/02/26/19346551.aspx

Mighty Joseph - Empire State - Urchin Studios (2008)

While the underground collectively waits for the rumoured follow-up to Cannibal Ox’s seminal debut album Cold Vein (Def Jux, 2001) to drop sometime later this year (hopefully!), one half of the progressive hip hop duo, Vast Aire (the other half being Vordul Mega) has teamed with long-time friend and collaborator Karneige to push out some solid post-millennium product that bridges the gap between gritty street tales and a paranoid view of the future in NYC after 9/11. With numerous references to gorillas and King Kong as well as their name giving a nod to a certain movie starring an ape (Mighty Joe Young anyone?); Mighty Joseph are clearly looking to climb to the top of the rap heap with Empire State (Urchin Studios, 2008) and beat their chests lyrically over some dope production.

The album features a list of producers and emcees such as Murs, Vordul Mega,Poison Pen, Madlib and J Zone who all inject some extra flavour into this fresh release. Vast and Karneige come out strong over a menacing King-Kong-ish stomp on album opener “The Uprising”. Both emcees bully the mic with Vast Aire staking his claim for topping NYC’s Best-Dressed Underground Rapper list, “I don’t care what you talk / I am the supreme King New York / Raccoon hat, sheepskin coat, Playboy sweater / Wow, isn’t that dope?”

While the release does feature some of the apocalyptic production that made both Cold Vein and Vast’s solo project Look Mom No Hands (Chocolate Industries, 2004) albums to cop if you were looking for a slightly different flavour; the beats on Empire State are a little more varied. One example, is the bouncy, futuristic beat chock full of soundbites from old-school videogames that Madlib provides on “Legend”. Vast takes the reigns solo as he delivers a vivid street report over the blunted soundscape.

The only tracks that don’t quite wind into the tapestry of Empire State are the Murs-assisted “The Dark Ages” where the usually tight emcee sounds disinterested on his possibly phoned-in verse and “Nightlife” which has a clumsy beat drowned out with unnecessary vocal effects, which end up suffocating Karniege and Vast Aire not allowing the two emcees to breath properly on this track.

Overall, the debut release dropped by Mighty Joseph proves to be a refreshing listen amongst all of the other forgettable noise masquerading as hip-hop that is currently saturating the market. If there was a Hip-Hop Zoo and there was a gorilla exhibit, you’d surely find Mighty Joseph occupying that space with a confident strut and a ferocious growl. Be careful not to feed the animals however. Not because it’s dangerous, but because they’re already full…from eating other lame emcees.


Rating: 7/10


To read this review at AllHipHop.com, click here:
http://allhiphop.com/stories/reviewsmusic/archive/2008/03/13/19461344.aspx

DJ Chong Wizard - American Ironman (Shawn Carter vs. Tony Starks) Mixtape - (2008)

Imagine what a typical day might be like for two of the games most revered emcees, Jigga and Ghost. Now picture what it would be like if both men switched identities and lived for a minute in each other’s worlds. Hip-Hop Trading Places if you will. Over at the “Wu Mansion” in Staten Island, Jay is chilling in his 3-piece tux struggling to make out the time on his Cartier piece through his bloodshot eyes; while over in Manhattan, Ghost is arguing with security at the 40/40 Club explaining that his fresh mint green Wallys do indeed fit the dress code.

DJ Chong Wizard’s (who hails from the west coast of Canada, Vancity to be exact) latest mixtape, American Ironman, is the aural equivalent of the aforementioned strange scenario. It is the latest (and freshest) in a recent string of American Gangster-related mixtapes that gives the heads out there the opportunity to hear Jigga’s rhymes over some other artist’s music. This latest installment mashes Jay-Z’s lyrics from American Gangster (2007) over beats from Ghostface’s classic, Ironman (1996) and vice versa.

The melding of Jay’s laid back, grown man bars over smoky, off-kilter soundscapes crafted by the RZA equal automatic reloads on “Ignorant After The Smoke” where Jay-Z and Beanie Siegel drop knowledge from “Ignorant Shit” on top of Ghost’s “After The Smoke Is Cleared”. Hearing Hova spit “They’re all actors / Looking at themselves in the mirror / Can’t even face themselves / They don’t fear rappers” over RZA’s haunting backdrop creates 2008’s first smoker’s anthem.

Ghost sounds equally comfortable slinging his lyrical nonsense over “Success” a blaxploitation-style key frenzy that No I.D. and Jermaine Dupri produced. The quality of the track (including a few others) are not top notch but yet again the pairing feels as comfortable as Tony Stark’s bathrobe.

On this memorable and unique mixtape, DJ Chong Wizard shows us what the “Best of Both Worlds” should have sounded like the first time around minus Kells. Staten Island and Marcy Projects’ finest need to build on this mixtape and make an official collaboration, because this mixtape can best be described in Ghostface’s own words; it’s comparable to “Plush robes made from suede/And knitted by virgins”; or something like that.

Rating: 8.5/10

To read this review posted on AllHipHop.com click here:

http://allhiphop.com/stories/reviewsmusic/archive/2008/01/16/19148356.aspx

Video: J Dilla Tribute (R.I.P Dilla)

http://www.youtube.com/watch?v=terRELJ2-Vo

It's been two years since hip-hop producer J Dilla aka Jay Dee (real name James Yancey) passed away from complications of the disease lupus on February 10th, 2006.

The musical legacy that he left behind will never be paralleled. This is a video tribute that gives you a brief snapshot of who J Dilla was as a producer, person and legend. If you don't know who he is, you'd better ask somebody!

FYI. The song playing in the background is "Can't Stop This" which is a track off The Roots' most recent album Game Theory using a beat from Dilla's instrumental album Donuts.

Video: Black Milk and Sean Price chilling in the Studio (Courtesy of XLR8R TV)

http://www.youtube.com/watch?v=uoEcM4b8BNE

This vid is cool. Shows Black Milk and P-Body in the studio talking shop.

Video: "Abandon Ship" by Gallows

http://www.youtube.com/watch?v=ri39J_076gg

Here's a video for the track "Abandon Ship" by U.K. hardcore punk band Gallows. Their debut album is entitled Orchestra of Wolves and is out now on Epitaph. For a different flex check it out. Bring some earplugs if you see them live.

Video: "Sound The Alarm" by Black Milk featuring Guilty Simpson

http://www.youtube.com/watch?v=cDmXxQk8J18

This is a dope video and track by two dope artists from Detroit. Keep an eye out for Guilty's debut album Ode to the Ghetto dropping March 25th on Stones Throw.

Prince Po and TomC3 - "Saga of the Simian Samurai" - Threshold Recordings (2007)

When notoriously slept-on underground duo Organized Konfusion (Prince Po and Pharoahe Monch) parted ways after their last official release The Equinox (1997), no one would have expected that both wordsmiths would have taken such drastically different solo paths. Neither emcee has enjoyed great commercial success while working on their own, (Pharoahe came the closest with his speaker wrecker “Simon Says” off his debut solo album Internal Affairs (1999) ), however both have pushed out solid product since then.

Where Monch has kept closer to the conscious tip, Prince Po continues his journey out into leftfield with his latest project Saga of the Simian Samurai (Threshold Recordings,2007) where he teams up with Bay-area producer TomC3 (known for his 2006 collabo Project Polaroid with Hip-Hop’s resident freakshow Kool Keith); to make heads realize that leftfield is quite a dope place to hang out in indeed.

Simian Samurai kicks off with a short instrumental (“The Saga Begins”) that features some relaxed keys interspersed with some turntable trickery and scratching courtesy of producer TomC3. This track would sound even tighter with some accompanying wordplay however.

Po begins hitting his stride midway through the disc, which is also where he happens to pack all of the heaters that require reloads. On “Candy”, he spits some agile bars about his obsession with a woman who works in the sex industry, over a slinky guitar-lick that would have Jenna Jameson shaking her money-maker.

“Now and Then” has Po taking a trip down memory lane over a bouncy funk-inflected beat where he compares popular trends from his youth to the things that are hot today, “Street Fighter 2 / Lee Majors / In Living Colour / NBA throwbacks…..MySpace /Afros and suede Pumas….”

The chemistry is definitely right on “Apocalyptic Medicine” where Po, and special guests Kool Keith and Motion Man volley tight verses back and forth over a soundscape that gives a nod to the forward-thinking aesthetic that Deltron 3030 and the Def Jux roster share.

The only real hiccup on the album is “Roota To The Toota” which strangely brings to mind the stomach-churning audio cheese “Addams Groove” that MC Hammer produced for the Addam’s Family Soundtrack from the early 1990’s. Just hit skip and everything will be ok.

If Prince Po continues to branch further away from the mainstream on his next effort, like he has on Saga of the Simian Samurai, then he will surely cement his place in the leftfield/experimental hip hop arena as an original voice that brings the promise of something fresh and exciting each time he releases new material

Rating: 8/10.

Hell Rell - "For The Hell of It" - Diplomat Records/Koch Records (2007)

The latest release from the Dipset camp, Hell Rell’s “For The Hell of It” (Diplomat Records/Koch Records, 2007) does much to uphold the street aesthetic that the
Diplomats are known for yet little to continue with the commercial flirtation that some members (ie. Cam’ron, Jim Jones) have enjoyed in recent time. Don’t expect “Ballin’ Pt.
2” on this record, just brace yourself for Dipset’s standard bombastic production coupled with grimy, hard-hitting rhymes courtesy of Hell Rell, who sounds like he has a bone to pick with the rap game on this, his long-awaited solo disc.

Based on the cover art alone for this album (Rell looks like he sees his dentist Dr. FullClip twice a year for regular checkups), you know you are in for some typical Dipset street anthems with an added dose of malice. On album opener “Intro”, Hell Rell boasts over a panicky instrumental, “I don’t get high no more/I smoke for the smell of it/Money just a hobby/N**** get it for the hell of it!”

“Streets Gonna Love Me” is reminiscent of Cam’ron’s 2002 hit “Oh Boy”, as Rell paints a picture, over a high pitched soul sample, of the bittersweet relationship he has with the streets that don’t reciprocate the love he has for them, “It’s funny that/I love the streets/But they on’t love me back.”

Rell invites a few guests to help add some menace to this already gritty album, including Styles P, Young Dro as well as Dipset alums Cam’ron, JR Writer and Juelz Santana. Absent from the album is Dipset “capo” Jim Jones, which seems to reinforce rumours about a widening divide between Jimmy and the rest of the Diplomats fam.

“I’m The S***” featuring Killa Cam, is one of the album’s standouts with Rell and Cam spitting over this car rattler that sounds like a jam session between a ghostly choir and the devil playing the drum kit.

Rell wraps things up smoothly near the end, with “Where You From” featuring Juelz, where over a laidback, soul-drenched beat, Rell gives thanks and praises to his Harlem crew that gave him time to shine in one of rap’s most interesting collectives, “Before I run off in the sunset/I f*** with a few things/But I’m only loyal to one set!”

After numerous mixtapes and guest appearances, it is nice to hear Rell stretched out over a long-player with no gimmicks, annoying DJ catchphrases and skits; just tight production and strong rhymes. This offering makes a strong case for Rell to receive a quick promotion within the Dipset ranks from a street soldier to at least a lieutenant. Hey Jimmy, what do you think?

Rating: 7.5/10

To read this review posted on AllHipHop.com click here:

http://allhiphop.com/blogs/reviews/archive/2007/10/25/18786678.aspx

Common - "Finding Forever Tour" - September 24th, 2007 - The Kool Haus, Toronto, ON, Canada

A quick glance at the massive crowd and lines outside of the Kool Haus on Monday night were a good indication that the stock of Chi-City’s illest MC has clearly risen since the last time he touched down in the T-Dot, back in February 2006 at this very same (albeit less crowded) venue along Toronto’s waterfront.

Common, who was in town for a stop on his current tour to support his latest release “Finding Forever” brought along some lively opening acts in the form of Stones Throw artist and legendary underground lyricist Percee P and Q-Tip, whom some might remember from a little group called A Tribe Called Quest. Unfortunately, due to the lack of complete organization and a proper lineup system courtesy of The Kool Haus security staff (this is a persistent problem at this venue, and will continue to be until someone in charge gets their act together!), many concert-goers (including myself) were trapped outside steaming, listening to the muffled sounds of each artists’ opening sets.

Once inside I was immediately hit with a stifling wall of heat and humidity created by the combination of poor ventilation and the thousands of hipsters, b-boys and girls, thugs and middle-aged couples eagerly anticipating the return of Kanye West’s favorite rapper. The lights dimmed and the screaming began as vocal snippets off “Finding Forever” played over the sound system. Common bolted onto the stage dressed to impress in a white tee, expensive-looking denim and one of his trademark hats; and immediately had the floor bouncing with “Go” from 2005’s instant classic “Be” and his current single, “The People”.

A welcome addition to Common’s performance was the inclusion of a live drummer (Karriem Riggins, a producer/musician/power player who is known from his close association with the Stones Throw family); which added some sonic muscle to Common’s already dope live show. Common kept the energy of the crowd up as he played a little call-and-response with the sweaty party people in attendance during crowd favorites like “The Corner” off his last album.

The floor shook when Common unleashed a classic throwback collage in which he spit Toronto-centric rhymes (Shouting out street names, landmarks, etc.) over classic beats like “Just A Friend” by Biz Markie and Nas’ “N.Y. State of Mind”. Those fans who weren’t at his last show in Toronto, wouldn’t realize that Common pulled the same trick the last time around and it wasn’t something new; however it worked like a charm nonetheless.

The energy in the building waned slightly during “Testify” during which Common left the stage to change clothes and cut the music to deliver a spoken word portion of the track to create drama; however all it did was cause the crowd to stir restlessly and complain until the beat kicked back in. The unbearable heat was surely a factor, as several people were carried out unconscious by security; but the “mini-stage production” seemed to miss it’s intended target.

Common closed off his set with a stirring rendition of one of his all-time greatest tracks “The Light” which was produced by the late production prodigy J Dilla, whom was shown love by all inside the cramped Kool Haus. He then stated that, “I always close the show with The Light and typically don’t do any more songs….however because y’all been so good, I’ll do a couple more!” The crowd roared its approval as Common bounced through the Kanye-assisted “The Food” and “I Want You” off “Finding Forever”.

All in all, Chicago’s finest delivered yet another memorable performance filled with everything you would expect from Common and maybe a little you wouldn’t. Hopefully next time Toronto is graced with Common’s fine mic presence it will be at a venue that that offers some relief from the heat being produced on stage and amongst the fans.

To view this review at AllHipHop.com click here:

http://allhiphop.com/blogs/reviews/archive/2007/09/27/18654492.aspx

Grayskul - "Bloody Radio" - Rhymesayers (2007)

Grayskul’s latest offering, “Bloody Radio (Rhymesayers, 2007), their first release since 2005’s “Deadlivers”; is an album that shares a similar (albeit darker) feel to other artists coming off of the Rhymesayers label such as Atmosphere and P.O.S, yet it fails to leave a lasting impression after repeated listens; like numerous other albums have on this respectable indie label known for holding the torch for what’s known as “emo-rap”.

Grayskul, who are comprised of MCs Onry Ozzborn (aka Count Draven, Reason) JFK (aka Fiddleback Recluse, Count Magnus) and bassist Rob Castro hail from Seattle, Washington and came up on the underground circuit with the Oldominion collective based in the Pacific Northwest. On “Bloody Radio”, Grayskul definitely bring the gloom and chills similar to the unpredictable weather experienced on that part of the map.

“3000 Voices” kicks off the album with a mesmerizing, hazy beat while the chorus of “3000 voices and they’re speaking through you / No telling what these party people might do…” leaves you feeling as if you have just woken from a bad dream, yet you can’t recall exactly what it was all about.

Title track “Bloody Radio”, sports a beat that falls a few BPMs short of becoming a drum and bass track; which is coupled with double-time verses from Onry and JFK that are for the most part undecipherable. We are again left guessing as to what subject matter is being covered in this particular track. The chorus, “What makes the world go ‘round? Radio! / What makes you scream and shout? Radio?”, suggests that Grayskul are waxing poetic on commercial radio and it’s negative effects on society. Possibly, but then again maybe not.

Track by track the album takes the listener through the many different negative feelings one can have experience, ,paranoia, fear, confusion. The list goes on and on. Grayskul spit aggressively on the majority of the tunes that make up “Bloody Radio”; it just seems that their anger is directionless.

Thankfully, there are a few notable guest appearances on the album. Def Jux’s Aesop Rock and Cage take their turn on the “radio”, as does Rhymesayer’s golden boy Slug (from Atmosphere). The album’s standout is definitely “The Office” which features guest verses from Slug and Aesop. The beat features a soulful sample and steady drumkick that all MCs sound right at home on. The track would fit in nicely as a bonus track on either Aesop’s “None Shall Pass” or Atmosphere’s last release 2005’s “You Can’t Imagine How Much Fun We’re Having”.

Grayskul’s MySpace page states that, “Bloody Radio is a perfect blend of study music intended for the open-minded listener…”. While an open mind is definitely required in order to enjoy all types of music, one can only hope that Grayskul themselves maintain an open mind when creating their next project, even if that means taking some cues from the “Bloody Radio” that they seem to despise so much. It could reap some benefits.

Rating: 6/10

To see this review posted on AllHipHop.com click here:

http://allhiphop.com/blogs/reviewsmusic/archive/2007/09/23/18637154.aspx#comments

Raekwon - "Icewater: Polluted Water" - Babygrande Records (2007)

As time ticks by and we enter the fourth and final quarter of 2007, Wu fans are still awaiting the impending releases (or so we hope!) of the Clan’s 8 Diagrams (rumoured to drop sometime in late ’07 or early ’08) and Raekwon’s highly anticipated Only Built For Cuban Linx II which apparently is already completed and currently collecting dust at the offices of Aftermath Entertainment awaiting a release date. (For some insight into that situation, check AllHipHop.com’s exclusive interview with the Chef himself in our Features section.).

In the meantime, to satiate the thirst of Wu-heads worldwide Raekwon The Chef has put out a new album, Icewater:Polluted Water (Babygrande Records) which introduces us to his crew Icewater whom Raekwon pushes into the spotlight for the first time. Unfortunately, while this release does feature special guests such as Busta Rhymes and Three Six Mafia as well as production by Scram Jones and some fire rhymes courtesy of Rae himself; it fails to bring the same bang for your buck expected from a release stamped with the Wu Tang seal of approval.

Album opener “Animal” features a grimy New York beat and acts as an introduction to the members who make up Icewater; Polite, Stomach, P.C. and D.C.
A regular fan of Staten Island’s finest might be a little taken back at the simplicity of the rhymes that kick this album off, “…they say I’m wildin’/Plus I’m from the island/Something like Gilligan.” It’s clear right off the bat that this is not going to be the second coming of 36 Chambers, but there is promise.

The album starts moving in the right direction with “Do It Big” featuring Raekwon and Busta Rhymes trading verses with members of Icewater where they explain that the hustle they’re involved with on an everyday basis is not one of choice but one of necessity and survival. The soulful and somber beat is reminiscent of a cut off of 2005’s brilliant collab-filled album Wu Tang Meets The Indie Culture.

The album follows an almost hit/miss formula both in actual tracks as well as Raekwon’s experimentation. For example, on “I’m A Boss” where Rae teams up with Rick Ross, he sounds out of place on the South –flavoured club track. Not that there’s anything wrong with it, but it’s hard to picture Raekwon popping bottles at the club. A more reassuring image is Rae on the corner, in the middle of a cipher spitting darts.

He does however sound especially tight with his Icewater soldiers and Three Six Mafia on album highlight “Let’s Get It”. Rae kills his verse over the Sergio Leone-style Spaghetti Western beat, as he closes the track off with, “Wu Tang’s foulest/Icewater’s wildest/Three Six Mafie/Big Papi with the chalice”

While Icewater:Polluted Water, does allow us to hear some up and comers within the Wu dynasty it is evident that the Chef needs to add a little more seasoning before Icewater is ready to fully meet their potential as strong additions to the Wu’s satellite family. However, what this album does is remind us that a surefire classic in Only Built For Cuban Linx II is currently sitting on a shelf, when it should be bumping out of stereos worldwide. The Chef has surely prepared a fine meal in Cuban Linx II. Icewater:Polluted Water is just the appetizer.

Rating: 7/10

To see this review posted on AllHipHop.com click here: http://allhiphop.com/blogs/reviewsmusic/default.aspx?p=2

Aesop Rock - "None Shall Pass" - Def Jux (2007)

It’s been two years since Aesop’s last release, the excellent but brief “Fast Cars, Danger, Fire and Knives” EP and four since his last full length LP, 2003’s“Bazooka Tooth”; but the wait was definitely worth while. As experimentation has increased over the last few years in underground hip-hop (most noted within the Def Jux camp itself, with head honcho El-P branching out and teaming up with everyone from Trent Reznor and Chan Marshall of Cat Power for his recent album “I’ll Sleep When You’re Dead”); it’s nice to hear that Aesop (nee Ian Bavitz) has stuck with his proven formula of futuristic production and head-scratching rhymes on his latest opus.

The new album features strictly in-house production from Def Jux power players El-P and Rob Sonic as well as Aesop Rock himself on a few joints. Title track “None Shall Pass” sounds like a mash up of a xylophone loop and a high-pitched soul sample ala Kanye West. While the strange beat lulls the listener into a repetitive head-bob, Aesop spits the chorus, “I will rejoice in your fall from grace/ When I came to the sky like/None shall pass”. What exactly Aesop is referring to is anyone’s guess. The beauty in it is no one should really care, because it simply sounds great.

“Getaway Car” is a track that brings to mind a Starsky and Hutch car chase scene through the streets of San Francisco in the 1970’s; however this car is driven by Aesop, Breeze Brewin and the very underrated Cage (semi-famous for being name dropped repeatedly and hated on by a certain “other” white rapper who turned out to be a bit of a big deal. Any guesses?) Breeze Brewin, Cage and Aesop each take turns spitting fire over the blaxploitation beat that sounds like an outtake from “Fishscale” and just begs for a Ghostface cameo.

The album does have a bit of a dark and claustrophobic feel to it, just check “Gun For The Whole Family” featuring El-P for a perfect example, which sounds like a paranoid nightmare recorded on a DAT tape. El-P nods towards Trent on this industrial-tinged banger that has him and Aesop sounding tighter than ever together.

Although he spends the majority of the album caught up in his own complex rhymes and double metaphors, it is refreshing to hear Aesop inject some shameless humour at the beginning of “The Harbour Is Yours” where you hear a “REMIX!” shout that would sound more at home on a DJ Clue Mixtape, followed by some sarcastic laughing.

“None Shall Pass” proves to be yet another fine release from one of the hottest indie hip-hop labels around (Def Jux) and Aesop’s latest effort follows in the hot footsteps of Cage’s “Hell’s Winter” and El-P’s “I’ll Sleep When You’re Dead”. If “None Shall Pass” is any indication, we can all rest assured that the Def Jux label will keep pushing out fresh and forward thinking music that will carry listeners into the next decade of the new millennium and beyond.

Rating: 8.5/10

To see this review posted on AllHipHop.com click here: http://allhiphop.com/blogs/reviews/archive/2007/08/28/18488650.aspx

Yesterday's New Quintet - "Yesterday's Universe" - Stones Throw Records (2007)

Yesterday’s Universe (Stones Throw) by Yesterday’s New Quintet, an experimental/jazz collective headed by underground uber-producer Madlib, is a record that offers both a musical glimpse into the future and also a glance into the past. With this album, Madlib has compiled appealing instrumental tracks by the various artists and groups that work together under the Yesterday’s New Quintet moniker, resulting in an exciting mish-mash of experimental, free-form and acid jazz topped off with a Hip-Hop sensibility.

The tracks on this album take the listener through a sonic tour of Madlib’s leftfield taste in music; as each track is slightly stranger than the other, however the common thread that holds the album together is eccentricity. The Young Jazz Rebels’ “Slave Riot” sounds like a Mad Max post-apocalyptic rendition of a Medeski, Martin and Wood jam session. With the off kilter drumming, menacing bass and sci-fi sound effects, this tune gives you an idea of what jazz could sound like in the year 2050.

The Jazzistics “Martin, Marcus and Malcolm” provides a more traditional flow that would not be out of place being played in the background at your local Starbucks or martini lounge. Another track that has an old, throwback feel similar to vintage John Coltrane (Madlib namedrops him frequently) is “Umoja (Unity)” by The Jahari Massamba Unit. The track has a relaxed, airy vibe that is created with light drumming and breezy saxophones bouncing off one another. The track leaves a smile on your face, plain and simple.

The only track on the album that at a first listen, would make one realize that Madlib was actually involved in this project is “Sunny C (California)” by Ahmad Miller. The track would fit perfectly onto the forthcoming Madvillian project as you can almost hear Doom spitting over the blunted beat.

If you are looking for to expand your musical tastes and take a break from the mundane commercial rap currently flooding the market, then give “Yesterday’s Universe” a quick listen. Madlib (as the head of Yesterday’s New Quintet) puts together an album that simultaneously gives a brief jazz history lesson and also a peek of what may lay ahead in this exciting musical form. This album may not be for every rap or music fan (much like a lot of the music released on the Stones Throw label); but at the very least Yesterday’s Universe will open a door wide open for you. It’s up to you however, if you want to step through and explore.


Rating: 3.5/5

To see this review posted on AllHipHop.com click here: http://allhiphop.com/blogs/reviews/archive/2007/07/23/18298646.aspx

Video: "Stronger" by Kanye West

http://www.kanyewest.com/?content=video_stronger

Whether or not you are fan of Kanye West, you definitely need to check out this new video for the the single "Stronger" which is on his forthcoming album "Graduation" which is set to drop on August 21st. The video helmed by legendary music video director Hype Williams, is a treat for the eyes; and obviously the ears as well.

The video can be compared to a mini-motion picture as it is a visual feast that allows us to watch Kanye travel through what looks like Toyko in pursuit of a beautiful woman, whom we only see gyrating at some futuristic club. While in pursuit, Kanye grows "stronger" from his introduction at the beginning of the video in a strange space pod/chamber (Ala Keanue Reeves waking up the first time in the Matrix) as he seeks out this bombshell. Let's not tell Kanye's new fiancee about this...it will be our little secret. We are assuming that Kanye's feelings for this woman grow "stronger" for her the more he searches. We even see him escape a hospital where he is laid up with some unknown illness; and he is so "strong" that he manages to get by and away from a SWAT team which has been sent in to neutralize him.

The whole video has a futuristic, Japanamation look to it; heck Kanye even name-drops "Akira" which is one of the most revered Anime films of all time. It reminds me of a hip-hop "Blade Runner" except instead of a young Harrison Ford running through a dark, depressing futuristic cityscape; we have a stylish young rapper bobbing and weaving through a kaleidoscope of colours and bright lights.

The video even features a cameo by the two members of Daft Punk; a electronic-music duo hailing from Paris, France. What makes this song and video so exciting is that Kanye bases the entire beat and the chorus from a sample of Daft Punk's track "Harder, Better, Faster, Stronger" their big hit off the "Discovery" album which was released back in 2001. The fact that Kanye is pushing the boundaries of hip-hop and pop music in general with this track, tells us that West is not sitting back on his heels and believing his own hype. He is trying to make important and interesting music, no matter what anyone thinks. Whether he is influenced by Daft Punk or Willie Nelson is irrelevant; with Mr. West we know that the end result of these strange influences will be a dope song and dope video to go along with it. Check it out and enjoy!

STONES THROW RECORDS 10th ANNIVERSARY SHOW, Monday, October 30th, 2006, The Phoenix Concert Theatre, Toronto, ON, Canada

Stones Throw Records, an indie hip hop label based in Los Angeles, California recently made its Toronto stop on the "Chrome Children" tour on Monday night. Run by an eccentric musical genius named Chris Manak (also known by his DJ alter ego Peanut Butter Wolf), Stones Throw Records has been releasing some of the most cutting edge hip hop, soul, R & B and avant-garde music during its decade plus existence.

The label is home to numerous intriguing artists such as Madlib, Madvillian (with MF Doom), the late production wizard J Dilla and Peanut Butter Wolf himself. This recent tour to promote the release of their CD/DVD entitled "Chrome Children" (which was made with the help of the Adult Swim portion of programming on the Cartoon Network) was a tour that was highly anticipated by all of those in attendance. I checked out the Madlib/Quasimoto show back in June 2005 and based on that blunted performance I wasn't expecting a pyrotechnics-filled display with spot-on renditions of Quasimoto's "The Unseen" and Jaylib's (Dilla and Madlib's side project) "Champion Sound"; however I definitely was surprised at the quality of the show that myself and hundreds others forked out $30 + GST for!

First off, this tour was dubbed the "Chrome Children Tour" which lead one to believe the show would feature artists whom had dropped gems on that album. Everyone from Wolf, Madlib, Dudley Perkins, Roc C, Oh No (Madlib's younger brother) and Dilla protege Guilty Simpson were expected to perform. The gig started with a warm-up set by J Rocc, followed by a confusing and disjointed performance by world music/MC Aloe Blacc. After that we were treated to some solid throwback hip hop courtesy of underground New York legend Percee P (who I might add could not be found at the beginning of his set as J Rocc yelled at him from the stage to "Stop trying to sell your damn CDs and get your ass on stage!"). Local Toronto-area hip hop mainstay Maestro Fresh Wes also stopped by during the concert to drop a better-than-expected freestyle. Is it just me or can we now refer to Maestro as "The Original Hip Hop Vampire"? I have seen Maestro at almost every hip hop show I have been at since 2000 and he always seems to get himself up on stage to try to remind us all about who he once was. Maybe we could call him Maestro Fresh WAS....just some food for thought.

After Percee P, Wolf spun a brief set of typical Stones Throw mish-mash. Some old cuts with the deceased but not forgotten rapper Charizma, who Wolf originally started making music with ages ago; some Dilla and other oddities that he dug deep out of his crate. In between sets, J Rocc kept the flow going with snippets of unreleased Dilla tracks which I personally CANNOT WAIT to hear in their entirety, once (if ever) they are released.

Finally, Madlib took to the stage for the finale. He came on wearing a wacky baggy, blue checkered suit with matching kicks; to a chorus of yelps and shouts (myself included) yet he never really seemed to deliver. Madlib is often referred to as "eternally-blunted" and this description proved fitting as he laboured through Jaylib standouts like "The Red" and "The Official" with a lukewarm and sloppy mic presence. Madlib is one hell of a producer, but he definitely needs to ante up on the mic skills. After roughly 30 minutes of this, the show concluded with J Rocc shouting at us "That's it folks, they're kicking us out of here!"

As I shuffled out of the Phoenix, I wondered to myself what this show would have been like had Dilla been there. One can only dream. If the Stones Throw crew could duplicate live, the sounds they put on wax, then this show would have truly been something. Hopefully this show didn't disappoint J Dilla, like it did me.