MUSINGS, MUSIC REVIEWS, ARTICLES AND MORE

Review: Arythmatik - Pre-Algebra EP

2005-12-20T20:43:00.000-08:00

Phoenix, Arizona emcee Arythmatik may be unknown now, but he's about to change all that with his first EP: "Pre-Algebra". Arythmatik is not only an emcee but was producer and artist for the album as well. Yes, he actually does it all. Arythmatik produced all the beats, wrote and performed all the raps, and created all the album cover art. The interesting thing is that I'm not sure what the EP showcases more, Arythmatik the emcee, or Arythmatik the producer.

"Pre-Algebra" starts off a little slow with a spoken word sample intro and then transitions to the first track, a slow plodding verse and chorus revealing his "Mind & Heart". I don't feel this track shows the best of Arythmatik's delivery and flow other than the catchy chorus. The slow rhyming sounds too simplistic and off balance. On the other hand, the beat is a slow, dark track that gives the first glimpse of Arythmatik the producer.

The album gets out of first gear and Arythmatik cranks the throttle wide open on track 3 "Polynomials". Production is top notch on this funky banging track. Horns blare over organ drops and funky 70's guitar riffs. The track is layered thickly and features cuts by Pickster One. Arythmatic opens up on this track and his flow is spot on. His word choice and rhyme patterns are well thought out he's comfortable on the mic.

Tempo is slowed again with "Square Roots" featuring guest emcee Fabel. Layered guitar samples float over a hard beat. This track again shows Arythmatik's growing skill behind the boards. His down tempo raps and Fabel's lazy style of delivery are overshadowed by the music itself.

"Southweststylez" and "Absolute values" better highlight Arythmatik's flow. He's got a slightly nasal voice and a staccato delivery reminiscent of B-Real from Cypress Hill. I think in time his flow will continue to mature.

"Factoring" starts off with Chinese sounding flute and grows to include vocal opera samples soaring above deep 808 kicks embellished with scratches by DJ Pickster One. This is another of the his memorable beats; another point scored by Arythmatik the producer. "The Cause" wraps up the Arythmatik lesson. It's a beat that quickly marches along with a repetitious hook. At under three minutes though it's more of an outro.

Arythmatik has done and given his all on this EP. The cover art is unique and well done. The beats show a lot of promise for a budding producer. Hopefully we'll see him on more albums producing tracks. He's got a unique flow that shows potential for future growth. On the constructive side: this EP is a bit rough around the edges and the flows are a bit inconsistent. The slow tracks don't suit his delivery. Despite this, the "Pre-Algebra" EP shows Arythmatik's growing skills and dedication to the game. He's put a lot of effort into this EP and it's showcases not just Arythmatic the emcee, but Arythmatik the producer and artist.

Points: 2.5 out of 5

Review: Vocab Malone - Happy Hardcore

2005-12-20T20:38:00.000-08:00

Arizona native Vocab Malone has been pursuing music for several years now. He's appeared on cameos and has even created theatrical hip-hop productions. His first album "Notepad Nomad" introduced the underground to this west coast rapper's unique style. What can I say about Vocab Malone that hasn't been said already? Well, apparently a lot since some folks are still sleeping on this eclectic emcee. With today's proliferation of "thug life" preachin, mean muggin, tough guy emcees Vocab dares to have some fun with his music and break out of the current molds.

Hip-hop's roots are in the basement and block parties of NY. Now it seems an artist will loose all "street cred" if he cracks a smile. Vocab brings back some of the fun with this album. Vocab combines the serious with the lighthearted in his second album Happy Hardcore.

Vocab Malone approaches his raps pretty straightforward. His flow go from conversational, to sing song, to rhythmic depending on the track. He's comfortable with switching up his approach to each track and this album has a wide variety of musical styles present. There are tracks with heavy boom-bap drums and hard DJ cuts like "s'UP!" and "Prime of Life". There are tracks with strong jazzy beats like "A New Home" or sounds of discord on "Notalotalove" and "Yes/No". From happy to sad, harmony to dissonance, Vocab challenges the listener to keep up.

Topics on Happy Hardcore are as eclectic as his musical tastes. At times he opens up his heart and spills his feelings and fears. Daily struggles, depression and money troubles stand alongside carefree energetic tracks celebrating life. Vocab is open about his faith that God will take care of the turmoil around him, and finds strength in that. These individual tracks create an album with a unified theme. Happy Hardcore acknowledges life is hardcore, tough things happen and it's not always perfect, but God will give the strength and joy to cope. So he can be happy with the hardcore.

Vocab has strong support from DJ Cre One who handles all the production on this album. While Vocab and Cre create the backbone of this album they have a strong supporting cast as well. Guest emcees include Lightheaded, Pigeon John, Redcloud and Man of War among others. The turntable scribbles, stabs and flares are courtesy of guest DJ's Skribe, Fidel Castro, Manuel and Bombay.

Stand out tracks are "Prime of Life" featuring Lightheaded with its high energy disco influenced beat. The title track "Happy Hardcore" is another disco laced track that is really put together well and features a nice hook by Bridgett Kern and Bryan Kilgore. "Boo Hoo" is a stripped down track giving a tongue-in-cheek look at being happy in the midst of the daily struggles. Finishing out the album is a great live spoken word performance called “TV Poem”. This and “A New Home” highlight Vocab’s ability as a poet. He shapes words and meanings to serve his purpose and adds depth to the album as a whole.

Happy Hardcore’s strengths are tied to it’s weaknesses however. The variety of musical styles shows diversity but many people may want a more consistent feel to the album. Vocab switches up his flow and delivery depending on what type of track he’s on which may throw off some listeners.

Vocab has given an interesting mix of tempo, style and subject on Happy Hardcore. Cre One does a great job on the production, creating a very diverse group of tracks. Vocab Malone has put together an array of lyrics that show his growth and depth. This sophomore release will appeal to a variety of listeners.

Points: 3 out of 5

Review: DJ Form: On Deck Circle the Next Mixtape

2005-12-20T20:32:00.000-08:00

Ok how many of you remember mixtapes! I mean the real thing: the Maxwell 60 cassette with a hand written label or none at all. The type of mixtape that you had to steal or “borrow” from your older brother or friends? These tapes (yes, I said TAPES) were often carefully recorded from late night hip-hop radio, with the commercials omitted by judicious use of the pause button. Perhaps you were lucky enough to pool the resources and pause/record only the best songs to create a veritable eargasm of hits.

For the financially challenged, like your truly, the mixtape represented the only piece of the music world I could afford. There wasn’t money to go out and buy 5 albums, but there was enough money to get a 3 pack of Maxwells (the kind with screws holding them together in case you have to fix a tape jam!). That 3 pack had the potential to hold a years worth of smokin tracks dubbed from friends, family and radio to be passed around among friends. If the mix was hot, “Break the tabs off!”

Social status was improved for those with the latest and greatet mixes so it soon became a competition, and the mixtape industry was born. Fast forward to today and the indistry is still pumping out mixes of artists to wet our appetites. Some “mixtapes” (now on CD) are mere collections of songs and have lost the “mix” element. However, the pinnacle of the industry lies with DJ-mixed performances that provide a non-stop sound assault of hits and potential hits, from established artists and up-and-comers.

Mixtapes get the word out, they capture attention, highlight DJ’s musical tastes and their turntable scratch/mix skills. A true hip-hop mixtape can keep your head nodding, get you hype with cut up mixes, and open your ears to new artists.

This brings up to the Mixtape (CD) at hand. DJ Form, of GRITS fame, has reappeared on the scene with a mixtape of his own. "On Deck Circle the Next Mixtape" featurs DJ Form behind the wheels mixing up a long list of emcees. The entire CD is mixed together for non-stop music and get this, NO SHOUTOUTS! What a relief to grab over an hour of music that has no corny "commercial breaks" or annoying DJ overdubs. With 29 track changes in this mixtape DJ Form takes full advantage of the time behind the table.

The mixes are well done but there are one or two awkward blends. Worth mentioning are several interludes featuring Form working out scratches on the tables. It's always great to hear some good juggling and cuts on an album. He does well in this setting with a classic hip hop DJ approach and execution.

Form chose a crossection of musical styles to showcase. West Coast carefree hip hop, Dirty South bangin tracks and raw East Coast raw raps are all represented. There are some known artists like Braille, Sev Statik and ManChild mixed with newer cats like The Rizewells, Soul Plasma and DJ Form's Incorporated Elements crew to keep this album fresh and diverse. The good thing about this mixtape is that while you'll know some artists or songs, you are sure to discover a few others.

This production is a high quality album that carries the torch of the old style mixtapes. It takes you back to the good old days when mixtapes were traded around and served as THE connection to the hip-hop scene. DJ Form created a mixtape with good blends, good scratches, good music and a variety of styles to choose from. The CD sound quality is high and is a welcome step up from my old cassette mixes. The only real downsides are that some of these songs have been out for a while, and there are a few rough blends between songs that could have been better. Buy this mixtape if you want to sample some new artists and if you want to have that feel-good mixtape experience again, without all the rewinding. This album stands head and shoulders above what's been sold recently in the name of mixtapes. Non-stop music for your head.

3.5 out of 5 stars

Review: Locke and the Chris Wilson Five "Loose Ties"

2005-12-20T20:27:00.000-08:00

REVIEW: Locke and the Chris Wilson Five - "Loose Ties"

Locke makes up the emcee element of the Chris Wilson Five. This jazz/fusion group from Spokane, Washington has teamed up with Locke to produce "Loose Ties", a full length experiment in rap, jazz and funk. Guitar, bass, drums, horns, percussion and keys blend together in a live setting to create a jazzy backdrop that Locke rhymes over. Think of it as an emcee moving uptown to a smoky live jazz club and rocking the mic.

Don't judge this "book" by its cover. A glance at the album gives no clue as to what lies within. A black and white and pink (?) album design shows a group of suited guys lounging around, a la the university "glee club". The text and layout resembles an 80's throwback album, unique but somewhat confusing, I thought I had the wrong album. Fortunately, the music overshadows the packaging.

The Chris Wilson Five is a band that plays well together. The musical production is well done. The whole album feels like a one-take studio recording or night club performance. Instruments are layered and intertwined as only a real band can do. Rhodes and bass riffs set the tempo with ever changing drums and percussion weaves intricate patterns over which Locke works. The snare drum sets the 4/4 beat necessary for his rhymes and is sometimes the only consistent thread as the group adjusts and changes the music in typical jazz fashion. Fans of jazz, fusion and live performances will certainly enjoy this album. There is something lost in much of today’s formulaic hip-hop production. It’s refreshing to hear a band and emcee just get down.

Locke does a good job rapping over the music. Without a strong boom-bap on most songs it must have been a bit of a challenge to work with. His mid-tone vocals follow the beat closely and he seems best on mid to faster tempo tracks. Locke seems to jump around on his topics and doesn’t keep a consistent focus. Life, Love and Spirituality abound but the topics seem less important than the delivery.

His easy going style matches the jazzy up tempo tracks. One noticeable aspect of this album is that most of the tempos are similar. This gives the impression, after a few tracks, that Locke is using the same patterns on each song. This does not help him stand out and he sometimes blends into the track. Locke tries to work some lyrical angles in his writing but is still a fairly straightforward lyricist. Locke adds a nice element to these songs but is sometimes overshadowed by the instrumentation.

The album has only 10 songs at slightly over 30 minutes, including an abstract jazz instrumental “Featuresque“. I’d like a few more songs but I know that a musician produced album is a much larger undertaking than your average hip-hop Rapper/DJ offering.

“Loose Ties” by Locke and the Chris Wilson Five is a good niche album. Fans of jazz and fusion will enjoy this twist on the genre. The up-tempo songs shine. They have good flow and progression to them and Locke sounds comfortable on these tracks. This is not your average hip-hop album. It's a heavy dose of live jazz band featuring raps throughout. It should appeal to a variety of people. That may be the real strong point of this album, its broad appeal. Fans of Jazz Fusion and hip-hop alike should enjoy the latest offering from this group of talented musicians and a lyricist.

Score: 3.5 out of 5

Review: Sev Statik - “Slow Burn”

2005-09-08T21:35:00.000-07:00

Sev Statik, member of the Tunnel Rats and Deepspace 5 crews, presents "Slow Burn". This veteran rapper is one of the more prolific in the game today. This is his 4th solo album after numerous cameos, group projects and even a few albums under an alias. He's paid his dues, built his street cred and deserves respect. This Albany, NY emcee spits street level raps... straight NY rough style. This is hip-hop from the street for the street.

Sev’s style has matured and morphed slightly on this album. While other offerings were good, this album continues to show the artist’s growth as a lyricist and as an overall artist in relation to beat choice and overall album composition. Slow Burn is a decidedly moody album, exposing sorrow, pain, hope and disappointment. The beats are more diverse and emotive than other offerings and really give a musical depth that well suits the depth of Statik‘s lyrics and delivery.

A diverse array of producers showcase their talent on Slow Burn: Tony Stone, Joey Beats, Shawn J. Period, Relic The Oddity, Finer Arts, JB!!, Dert, Gershom and The Hobbyist. Turntable acrobatics by the likes of DJ Majic, Money Mike, and J-Swift create a stellar supporting cast to Sev Statik’s leadership. It’s like a who’s who of underground up-and-comers.

While each producer has his own style, there is a common feel that keeps the album cohesive. Tracks like “Slow Burn”, “As One” and “Spare Change” are up-tempo gems with cuts, chopped samples and hard kick/snare drum breaks. Contrast these with the mournful “Kept the Break” with its stripped and sad piano loop, “Wasted Tears” haunting vocal samples or the layered sounds of “Line Life”. As an added bonus, between many tracks are short creative musical interludes which seem to further mature the album.

Truth, justice, poverty, greed and personal struggle are exposed like a raw nerve on “Slow Burn”. Sev slogs his lyrical boots through the city’s dank alleys, shining his light on the ills he sees. “Well Traveled” and “Line Life” reveal the heart of a rapper who loves hip hop but struggles with the pain of making good music and a living at the same time. He shares the struggle that goes on inside a man who sees pain all around and believes God has the answer for all of it. More than any individual song’s message though, the entire album comes together to reveal a complex man’s take on a complex world.

Sev Statik's trademark raspy voice and silky flow bless the tracks. His wordplay is excellent; words and ideas intertwine with double meanings and emotive imagery. There is a depth of thought and emotion not often seen in artists. Sev is in the game for the long term. While others may flare up in a burst of light and smoke, Sev will still be here slowly burning and always bringing the heat.

Points: 4 out of 5

Review: Ambassador - "The Thesis"

2005-09-08T21:28:00.000-07:00

It's been a while for this member of the Cross Movement. After co-founding the hip-hop group in the late 90's he released a solo album "Christology - In Layman's Terms" in 1999. 6 long years later we now have his sophomore solo album "The Thesis". Despite this time gap, William "Deuce" Branch has been very busy. In that time he's helped release 4 Cross Movement albums, obtained a Masters Degree in Theology, became the President of the non-profit CM Ministries and recorded "The Thesis". Ready to make waves in the music industry once again, The Ambassador has upped his game and has given us another good album.

"The Thesis" is decidedly more upbeat and aggressive than its predecessor "Christology". There are several bangers on this album as well as some more musical tracks yet he has kept a consistent overall feel. Production is mainly handled by Cross Movement partner DJ Official. This NY deejay puts it down with a good mix of sample and keyboard sounds and knows how to keep things fresh from track to track. Guest producers like Todd Bangz on "Oh Wretched Man" and The Saint Man on "My Clothes, My Hair" help add depth to the album.

Ambassador is in top form. He pulls no punches and makes no excuses for his lyrics. He's a man who has strong theological training and convictions and he seeks to reach out and challenge at the same time. He makes clear his beliefs spiritually and theologically. He challenges Christians and non-christians alike to live to higher standards. If you've heard anything from Ambassador you know he's not one to waste words on meaningless rhymes; every word and bar counts. His voice is hard and confident as he uses stories and imagery to make his points. His rhyme patterns are subtle at times and he has an great ability to not let rhyme get in the way of the lyrics.

His thesis is clear: Hip-hop needs Jesus. Where Christology was all about what and who is Christ, this album is about how Christ should affect and influence lives and how He can save the increasingly lost culture of hip-hop.

Standout tracks are the bouncy "Get You Open", the anthem "Feels Good" featuring Truth, the emotional "Oh Wretched Man" and the lyrically poignant R&B influenced “My Clothes, My Hair”. Admittedly, some of the tracks are awkward and not as polished as they could be. Some of the elements added to tracks, like an old hymn, don’t really work well together. Ambassador’s flow stays fairly consistent but sometimes becomes bland and repetitious. Despite these shortcomings the overall feel and production that is “The Thesis” sets the bar for many other artists in the game today.

Points: 3.5 out of 5

Broken heart for Disaster victims

2005-09-02T07:43:00.000-07:00

I've watched many reports and my heart is broken. I didn't get much sleep last night and i was praying every time I awoke. My spirit is restless, man, I feel pulled to those in need and to pray.

I figured initially, after hurricane Katrina, that people would be hurting, some dead, but that after 2 or THE MOST 3 days the wealthiest nation on earth would have been able to begin the fundamental aid needed. Now on the dawn of the 5th day I am slack-jawed and crying out to the Lord more than ever.

The most utterly disturbing to me are the following:

Elderly and children now starving for 4 days and with very little water. This 5th day may be the "tipping point" in their LIVES. Death is coming.

Medically needy people are being helped as best they can but are dieing at higher rates now. No medicine, no specialized equipment etc. Now on the 5th day I fear it even greater loss of life after barely surviving for 4 days.

Gangs of heavily armed men terrorizing survivors. Greed for power, money and sex motivated them. They are raping women and CHILDREN. I heard a woman on the phone from the convention center tearfully and fearfully tell of a 10 year old girl that was raped and her ankles were broken. The Gangs are going around stealing what little food and water people have and then even trying to sell it back to them for any money they have. They feel powerful and the lust in them for power, money and sex drives them to further depravity. The one with the biggest guns wins.

Why are snipers hampering the resue efforts? The more aid and help, the less power they have. The less money they can steal and the less people they can rape and terrorize. This is not simply desperation or frustration manifesting itself. It is the bloody raw core of sinful man stripped bare for all to see. We think people doing this type of thing in other countries are barbaric and that it is somehow beneath a "civilized society" like ours for that to happen. Wrong, evil is all around us in this fallen world. Only God's love and grace can save us from ourselves.

The last thing that frustrates me is seeing the busses off-loading an interesting mix of people. I wonder if any of the big strapping men getting off the busses will feel any remorse for having taken the seats on the bus from the children and women still left in the heat and sewage?? The busses should be offloading elderly, children, women with infants and the sick/injured.

There are many stories of heroism and brave survival though.

One man gathered 18 small children from his area and ROWED a boat with them to a safer meeting place. The mothers could not fit on the boat and he had the strength for the journey. The mothers have yet to be seen.

Please PRAY for God's hand of protection on the many people and swift action now on this 5th and critical day, and for the many to come.

Give what you can. Pray always.

Review: Bobby Bishop - "Government Name"

2005-08-29T07:17:00.000-07:00

Bobby Bishop - Government Name, Beatmart Recordings 2005

Bobby Bishop? What type of hip-hop stage name is that, you say? Where's the requisite "Lil" or "Young"? I suppose Paul Pope was taken. Well, as Bobby makes clear, this is his real name... his government name. The fledgling record label Beatmart Recordings has now released Bobby Bishop's first full length album entitled "Government Name". Hailing from his hometown of Lynn, Massachusets - Bobby is more than ready to lay his 15 tracks on the line. For the past 5 years he's been building his lyrical arsenal, making several album cameos, released an EP, and had a strong appearance on Beatmart Recordings "Best of Submissions" which helped ink the deal with the label.

The album starts with two up-tempo songs, the title track "Government Name" and "Get Down". Production is handled by Todd Collins, head of Beatmart, who provides his typically bass heavy production and bouncy drum tracks. These hype songs get the album off and running and set the pace for the rest of the album. PeeWee Callins provides the soulful singing on the third track "He Won't Leave You". The match up is solid with sung hooks by Callins, hot raps by Bishop and a swaying track by Collins.

Bobby does a good job of track layout with slower emotive songs separating the up-tempo bangers. The album continues to progress through deep message tracks like "Amy's Song" and bouncy head nodders like "Here We Go" and "Stimulate My Senses". Guests like KJ-52, Pigeon John, Sev Statik and ManChild bless several tracks on the album. Bishop raps about life issues. Topics like his love for hip-hop, struggles growing up or making fun of some of his fellow emcees are fair game. "Government Name" is not without serious messages though. Bishop makes sure that everyone knows that his strength and purpose come from his faith in Jesus. He tackles some tough issues from abuse, or rape to soul-searching. He involves listeners in conversation, without being preachy.

Bobby Bishop has an emotive delivery that bounces along tracks with ease. His mid-tone voice fluctuates for emphasis and is instantly recognizable. He rides the beats with a ease and flair, and his wordplay is not overly complex. He's got a handle on what works and makes sure he delivers. Todd Collins handles all of the album's production and while the fingerprint is there he does a good job of producing a diverse blend of tracks and styles. The mix-down and album quality is excellent. This album has good structure, good rhymes, good beats and great messages.

This is a highly polished freshman album from this New England rapper. Bobby Bishop is not afraid to focus on the entertainment factor of his music. He wants to get people moving and vibing off the album and does a good job of it. It's a mostly lighthearted feel-good hip-hop album aimed to, as one track puts it, "Get your back up off the wall".

While mostly good, every album has it's weak spots. This album could have used some guest producers to add variety. Many of the tracks were at the same tempo and had similar feel to them which is understandable considering the single producer. The group-chant hooks seemed a bit stale after hearing them on many of the songs. It is a personal taste issue, but I would rather hear Bobby keep rapping than hear some of the hooks used. Overall this is a solid effort.

"Government Name" is sure to find its way into a lot of CD players this summer and fall. If you are looking for that good hip-hop feeling pick up your copy now. Bobby Bishop is just getting started and I'm sure you're going to see and hear a lot more of him in the near future.

Points: 3.5 out of 5

Review: Sivion - Mood Enhancement

2005-08-11T12:37:00.000-07:00

Review: Sivion - "Mood Enhancement"

Sivion first pinged hip-hop's radar as one half of the group Phat K.A.T.S., the other half being his twin brother. With a few songs and cameos the name started to stick and folks took notice. As the K.A.T.S affiliation dissolved Sivion continued to network and ended up landing a spot on the Deepspace5 crew. While a welcome addition to the soon to be dubbed "super-crew" he was not content to exist only in cameo-land. So now he's presenting his first full length album "Mood Enhancement" on Illect records.

The album is a jazz influenced combination of mellow hip-hop a la Native Tongues of old and new school conscious rap like Common or Talib Kweli. Having said that, this is no copy-cat, faux-intellectual, "me too" album. This is a creative, insightful, well produced and heavy effort that truly belies its freshman status.

Sivion brings out all the stops with guests like Deepspace5, Phonetic Composition, Heather Randall, LaConda, Blaze Won and more on the mic. Freddie Bruno and Harry Krum guest produce alongside Sivion. With 18 tracks though, "Mood Enhancement" doesn't smother the listener with guest after guest. Content to cluster the talent into a few key songs there are plenty of tracks for Sivion alone. Of note is track 9 where the album takes a break with a full length airy jazz set... sans vocals.

This is a good cool out album. At home in headphones or in the whip, this album is clean musically and vocally. This is a great listen as there is no overdone theme yet all songs feed off of each other. "Mood Enhancement" has a good combination of up-tempo and slower songs, showing Sivion's diversity. Whether attacking the mic of just smoothly riding the beats Sivion presents a deliberately moody album. Sivion has a very rhythmic flow, with runs of staccato interspersed with runs of harmonized sing-song raps. The word choice is effortless and Sivion utilizes a storytelling style as opposed to a punchline flow. The rhyme never gets in the way of the message, and the flow never fights the beat. He throws out questions and challenges to the listener as much as he drops knowledge. "What is it"s smooth flow detailing Sivion's spiritual journey transitions into "Glamour Shots" where he touts his lyrical prowess along with partners in crime Keynote, Travii the 7th and Blaze Won.

His mid-tone voice is easily recognizable but has a tendancy to start sounding the same from song to song. When rapping in a group, Sivion truly excells with his vocal tone complimenting those around him with his flow polished in comparison. Word of warning, what makes him great in a group may leave others wanting after an entire solo album if there is not enough diversity. I think he's balanced it well this time around.

Sivion's created a good album in "Mood Enhancement". Solid production backs up intelligent raps. While only a first time solo artist, Sivion shows maturity, experience, depth and more importantly talent. This album has a depth and complexity to give long term playback potential.

Points= 3.5 out of 5

Review - Deepspace5 "Unique, Just Like Everyone Else"

2005-08-02T20:55:00.000-07:00

Deepspace 5 started as a group of 5 emcees from various groups who were hanging out and decided to throw together some collab recordings. These humble tracks sent ripples through the underground hip-hop community and revealed the potential success of a full length album. "The Night We Called It A Day" was an underground success; a bit rough around the edges but brimming with raw talent and energy. Fast forward to 2005. Backed by Gotee labels and a few years of individual album releases, countless hours in the studio and months on tour they present "Unique, Just Like Everyone Else". 5 members has grown to 10. Skills like steel have hardened and technique has been honed to a keen edge. This album IS hip-hop.

If you don't know by now, Deepspace 5 (times 2?) consists of Dust, Sivion, Sintax, Manwell?, Sev Statik, Fred B, ManChild, Listener, Beat Rabbi and Playdough. If you think this is too many people to cram into one album, you'd be wrong. Remember, 3 of them are producers and there are a total of only 4 songs that incorporate all 7 emcees. While these 4 songs showcase the full lyrical onslaught that this crew can deliver it's been kept in check to help retain it's impact. The rest of the album consists of random pairings of 3 or 4 emcees maximum. With 19 full songs on this album there is time for everyone to shine. The various emcees play off of each other's sound and style, keeping listener engaged. The brunt of the production is handled by Dust of Mars Ill. The signature chunky drums and chopped samples weaving round brooding strings and basslines provide the foundation. Beat Rabbi and Sivion add their production touches to 6 tracks and the vinyl cuts of Manwell? punctuate 5.

While 19 tracks could have been a recipe for monotony, Deepspace 5 has done an excellent job managing the talent. Think about it as a mixtape more than a crew album. The album is primarily up-tempo but does have variety in tempo and mood.
There is something for every listener on this production. If you like beats, you can spend hours listening to the thickly layered samples and head knocking drums. If you like wordplay then Sev's raspy flow, Listeners rugged rants, ManChild's rolling imagery or Playdough's melodic chants are just the beginning. If you like a message then listen for musings on responsibility, battling or spirituality.

I've listened to "Unique. . ." many times over and while I understand that people appreciate some hip-hop styles more than others I think this album has a place on everyone's shelf. It's hip-hop: pure, elemental, creative, underground and polished. Whatever you want to call your hip-hop "preference", this album has a place in your collection.

There are rare times when an album will reach down inside you and stir your gut. Sparks that rush of energy and gets you hyped up like the horns in the Rocky movie. This is one of those albums that can restore your faith that good hip-hop is still alive an well.

Overall rating - 4.25 out of 5

Review - Bone Circus "The Locals EP"

2005-08-02T20:52:00.000-07:00

Bone Circus consists of emcee Eric Craddock and DJ/emcee Sean Patrick. Not your typical clever stage names, but Bone Circus puts on no fronts when it comes to stage presence. The self effacing, humorous approach and lighthearted delivery is a departure from the typical self glorification of most underground hip hop artists these days.

Bone Circus' "The Locals EP" is for the hip-hop purist who likes a traditional loop-based beats and raps. Bone Circus has a familiar feel that keeps your head nodding but a creative approach that is a welcome change from many of today’s “me too” artists. This EP could get lots of rotation due to Bone Circus’ deep layering of samples and ideas that multiple listens will reveal.

Musically, this album starts strong with a stripped down, neck snappin' beat and guest emcee Sivion of Deepspace 5 lineage. With beats handled by Sample based beats. Funky drums laced with chunky sampled instrument and the samples are chopped nicely and punctuated by good drum breakdowns. There is a nice bit of scratching to round out the mix in this EP. There are several short interludes on the EP which hint at the depth this crew has to offer. Beat-breaks, jazzy piano and funky guitar loops abound from Playdough and Blake Knight of Ill Harmonics.

The entire EP has a good upbeat feel. The vocal calisthenics of Eric and Sean mix old school boom bap with some new school avant-garde. They try to strike that delicate balance between classic and cutting edge. Stand out tracks are #1 or #5 which takes a mournful and introspective look around, questioning the hurt in the world. Great use of a Randy Newman sample for the chorus. # 8 brings a more artistic approach with new school hip-hop meeting old school Jazz.

What left me a bit disappointed was the wordplay in some sections of the EP. There is basically good wordplay and a creative approach to the rhythm evident but there are a few songs where it falls flat. Songs like #4 fell short with simple rhyming and a flow that seemed a bit amateur and not up to par with some of the other tracks. With a little more time these rough edges could polish up, with flows being more consistent.

Bone Circus gives a decent performance on “The Locals EP” to introduce themselves to the industry. Eight full songs and two interludes is solid for an EP and shows their creativity, experience and love for basic beat and rhyme hip-hop, no frills needed. Pick up Bone Circus and get introduced to a group that you’ll want to keep track of.

Points: 3 out of 5

Review - Benjiman "Activate"

2005-08-02T20:49:00.000-07:00

This album isn't your typical hip-hop album. In fact it's more of a rock album featuring rapped lyrics and sung chorus'. Primarily synth based beats leaning more towards rock than hip hop complete with strumming guitars. My first impression of the album was that there was a middle of the road “heard it before” sound to the album. Despite this there is decent musical production, consistent performances by Benjiman and a positive message throughout. This album could best be described as a hip-hop-rock hybrid along the lines of Linkin Park.

Title track #1 "Activate" and #4 "Outta time" are very similar to Linkin Park’s signature sound. I don't like making straight comparisons to other bands but in this case it's pretty accurate. It's a popular sound for some but these are a little too "me too". The throbbing guitar riff, heavily distorted, over synths in a minor chord are familiar sounds now. Producer Zach Hodges lends singing vocals to the chorus breaking up the rapping of Benjiman. Dark chords often build into frantic crescendo choruses.

Benjiman lays pretty consistent verses through the album. The tempo may change but the cadence and vocal approach remains similar from track to track. The real differences come with the singing treatment given by vocalist and producer Zach Hodges guest Kyle Mitchell. Benjiman uses a forceful rhyme style whether fast or slow. He keeps things pretty consistent on every track and flows smoothly and confidently.

Benjiman wants to put a positive message into the popular music of the day. He talks a lot about being able to go from despair to freedom spiritually. His song "Original 1's" attacks the preconceived notions people have based on looks. Benjiman reminds us to look past external to see the real people, without judging and that, this new generation should be accepted in all its diversity. I felt this album to be a little light on content with only 10 songs. With many EP's having 6-8 songs you expect more from a full length.

For all of its message, clean production and Benjiman's consistent performance on the mic this album fell flat. I'm not a fan of the Rock/Rap mix. While "Activate" does alright fitting into that Genre, it mimics what's been done before. The signing doesn't add the hard edge that is needed and the synth sounding beats lack the spark that a live band would bring. This album might do better in a rock market but as far as a hip-hop album it doesn't stand out to me. If you are a fan of rock and hip hop mixes or high energy music with a message then do yourself a favor and pick up Benjiman's "Activate". I've graded this based on how it stands with most other Hip-hop only albums.

Points: 2.5 out of 5

Waste Management - Trash Talk Review

2005-02-05T18:21:00.000-08:00

Waste Management - "Trash Talk" 2004

Waste Management consists of emcees ill-DAY and Meccanism. Hailing from Connecticut and Massachusetts these two emcees have been hitting as many venues as possible in New England and have future plans for Florida. Their debut release "Trash Talk" has been in the works since 2002, with tracks being recorded throughout that two year period. The relatively unknown duo have now unleashed their freshman recording on the masses.

This album has an upbeat feel-good hip-hop flavor throughout and features 3 songs in the Reggaeton style. This style of dance music originated in Puerto Rico as a mixture of Dancehall Reggae, Hip-hop, and other Latin beats. It’s signature sound usually features singing and/or rapping. Waste Management has an upbeat and high energy approach to all of their music. Several guests mix it up on this album and as an intro album it shows promise for the future. There are guest emcees on nearly every track.

The album starts off with "Mixed Emotions" featuring Braille and "Fists Up" featuring Bobby Bishop which are standout tracks on this album. The high energy beats and tight vocals by all involved get "Trash Talk" off to a good start. Not only do these songs showcase two of the strongest beats on the album, but also two of the best lyrical offerings. While the experienced guests add variety and a mature presence, they begin to steal the spotlight from ‘The Management’. Ill-DAY and Meccanism both use a fast lyrical delivery with occasional sing song phrases. The use of Spanish phrases shows creativity on their part as does the way ill-DAY and Meccanism work together on harmonized hooks or phrases. There are 3 songs on this album completely in Spanish which bring this album to another level. They are Reggaeton style tracks which typically feature more of a mix between singing and rapping. Unfortunately, one of these songs, "Necessito", isn’t the best showing by Waste Management. This Reggaeton track isn’t up to par with what ill-DAY and Meccanism seem to be capable of.

The production on the hip-hop tracks is good. Production handled by SirRocdomz (Syntax Records) who shows good sample and drum kit choice along with good scratching and cutting by DJ’s Drenalin and Deftone. The last three Reggaeton tracks were lacking in sound quality however. The beats seemed to be synth based with a bit too much treble. The bass was lost and didn’t have enough punch to really give the tracks the needed thump for the clubs. Overall, there are some rough edges that can be smoothed out on this album which is understandable as this is the crew’s first serious offering.

There are a good 5 tracks that could get major play off this album among hip-hop heads. If you are already a fan of the growing Reggaeton style then skip over to the last three tracks. If you are new to Reggaeton then it’ll be a good introduction into this Latin style. It is a mixture of musical influences based around upbeat and danceable rhythms.

As a whole, this album show’s the potential this group has for the future. Good hip-hop beats, a few creative twists and a willingness to dive into the Reggaeton style on a debut album show Waste Management is ready to take chances and reach out to new audiences. Ill-DAY and Meccanism are newcomers settling into their stride. There’s still work to be done musically and lyrically to smooth some rough edges and bring another dimension to the group. The musical creativity shown goes a long way to help Waste Management stand out from the crowd. This album contains only 9 full tracks, 3 of those are Reggaeton sung in Spanish. Unfortunately, for a debut album, there are too few songs and too many guests. This keeps the listener from really getting a feel for Waste Management’s ability to carry a full album on their own. Having said that, Waste Management has put together a creative album in "Trash Talk" that is certain to open doors for this new duo. There are several great guest spots worth catching and a good showing by this tag team of ill-DAY and Meccanism. They’ve shown their musical diversity and have compiled an album that is sure to find it’s place in CD players acoss the country.

POINTS - 3 out of 5

Q & A about my album reviews

2004-12-17T14:29:00.000-08:00

What is an album review?
This may seem like a stupid question but the answer is very important. An album review is merely one person’s opinion of an album. It is a look at the work through one person’s eyes and ears. Every person hears, feels and reacts to music differently. Reviews are not the final word on whether or not one should buy an album. It is not a personal judgment on an artist. An album review is merely an analysis of the music based on one person’s perception of how well they met the reviewer’s perceived goals. Reviews shouldn’t be taken too seriously by readers and artists alike. In my reviews I try to withhold no praise and withhold no constructive criticism.

How long do reviews take to write?
I typically listen to the album for many days and write the review over several days as well. I put a lot of effort into writing my reviews. I want to increase my skills as a reviewer and writer. I go through a few rough drafts before finalizing the review and posting. I have no way of knowing if or how many people actually read my reviews and if they find them helpful or not so feedback is always welcome. I am not afraid of constructive criticism. I try to be fair and balanced in my assessment of albums. I do not try to overly editorialize the review. I do make it a point to use the Active Voice in my reviews since they are my opinion. I feel a review filled with “maybe”, “might”, “sort of” and “possibly” would be a waste of time.

Why are you reviewing albums?
I’ll start with a cliché: ‘Any publicity is good publicity’.
It’s tough these days for a new artist or “non-mainstream” artist to compete with the music industry’s deep pockets. There are many albums out these days by new and established underground artists that deserve to be heard and recognized. Hip hop heads want to hear the latest releases and reviews help them get information. I want to help shed light on artists. I review albums because it is a challenge and I enjoy it.

Why use a 5 star rating system?
I don’t always like using the star rating system; it is sometimes the hardest part of a review! It would be great if I could simply write down my thoughts on the album and leave it at that. Forcing myself to distill all my feelings, opinions, reactions and experiences into one number is essential for a review to be effective for the reader. It helps place the album in context with other albums as to quality, maturity, depth etc. A 5 star rating scale is pretty standard in the magazine industry these days. It’s a common scale that is understood by most people who read reviews. It is often a hotly contested number by readers of reviews. I can’t imagine I’d have much credibility if all albums were given 5’s if they were clearly not of high caliber. (That’s not to say that I’ll grade low “just because”)

What music will you be reviewing?
Primarily Hip-hop. I have been a fan for over a decade. I prefer the positive and creative artists that have something more to offer than the standard “Hip-Pop” radio hits of today. I also usually stay away from reviewing artists that have a lot of publicity since they are getting lots of major reviews already. I’m a fan of many types of music styles but I like to stick with what I know best. I’m also open to reviewing Roots Reggae and Dancehall Reggae albums.

How do you review the albums?
Of course first I listen to the album. I listen to the albums a lot. Often it is the only album I’ll listen to for several days. I listen to each album a bare minimum of 10 times through. I prefer to hear the whole album from start to finish on first listen. I listen to it on several different stereos: a small shelf unit, my large surround sound/subwoofer home system, on headphones, in my car and even on my computer while I’m at work. This gives me a good idea of how it sounds in different settings, how the mix down will sound different when played on various speakers and how the music feels in different situations. I’ve heard certain sounds on one stereo that may be completely lost on another. At each new listen I start to focus on each individual criterion that I am concentrating on. While I write the review itself I am usually jumping around from song to song.

Do you have set review criteria?
Yes. I have a list of over 23 categories that is filled out for every album I review which serves as a foundation for what I look for. It lists such categories as lyrical style, emotion, genre, message, content, production, bass fidelity, treble fidelity, overall mix down and mastering, creativity, overall impression and best/worst songs to name but a few. I use this list of elements to focus my analysis and listening. Every album is different though and I sometimes add different notes and categories.

Is every album judged the same?
Actually, no. While the foundational criteria are the same, I also listen to the album and get a feel for what genre it may fit into and then analyze it based on how it functions in that particular genre or style. For example, an album that is very upbeat and has a lot of danceable beats may be judged on how it fits into the club/party type scene and how it stacks up against other albums in that area. On the same token a political complex lyricist rhyming over simple down tempo beats shouldn’t be judged on how well he could “move the crowd” at a club. So there are certain allowances given, however, fundamental elements that I look at despite the genre.

Does anyone else help you review?
No. All reviews are researched and reviewed by me. All opinions are my own. The only input I may seek is a musical or “first reaction” response from a friend or passerby. I seldom do this but knowing the questions others ask or the reactions they have can sometimes help spark the creative analysis in my mind. I do not use other’s analysis or opinions as my own.

Would you like to have your album reviewed?
Contact me via e-mail and I’ll let you know where to send it along with the Bio sheet. I’ll typically need about 3 weeks to do the review due to personal time constraints. If you’d like the album review shopped around to various websites then let me know and I’ll see what we can work out.

Malachi Perez - Stereo Phenomenon Review

2004-12-10T13:01:00.000-08:00

Review written for www.sphereofhiphop.com

Malachi Perez - Stereo Phenomenon

Malachi Perez presents his first full length album titled “Stereo Phenomenon”. After releasing his EP in 2003 and extensive touring for 4 months on the Hawthorns Most Wanted Tour with Pigeon John and RedCloud he went right to work on his solo debut full length. With 11 full tracks and 1 bonus track it’s a bit light among today’s 15 and 16 track albums. All beats are made by Noviss as well as an intro and 2 instrumental interludes that showcase the talent of this producer. There are only a few guest appearances, namely Lightheaded and the singing of Sirens Echo which is a good call on Perez’s part. He’s confident that he can carry the entire album, unlike many in today’s guest happy industry. Malachi Perez has a good voice and delivery. He employs a straight forward lyrical style, stays on tempo and prefers an aggressive approach. Perez doesn’t change up his patterns too often. His work on this album is energetic and upbeat and he’s put a good amount of effort into polishing his delivery and the overall sound of this album.

Most of the tracks focus on Perez’s bragging, battle style raps yet he does depart from this emphasis a with a few more personal issues. The tracks where Perez speaks on relationships show another side to the artist. He does well on these tracks, adjusting his vocal style to fit the deeper subject matter. They give a brief insight into the man behind the rapper fascade.

The production is good on this album with Noviss creating every track. This gives a solid feel to the album by keeping the listener grounded with an underlying familiarity provided by the producer. His musical style is a typical MPC based sound consisting primarily of samples chopped and scaled over a drum beat. He shows a solid undertanding of production technique that with time is sure to grow in complexity. There is apparently no use of scratching by Noviss nor are there any guest DJ’s. Many of the beats, while showing potential through sample choice and clean production, can get repetitious. There are few breaks or instrumental change-ups to add needed variety and depth to each track. There’s a conspicuous absence of turntables and scratching on this whole album. This untapped territory could have add much needed depth to “Stereo Phenomenon“.

There are several tracks that are memorable. “Fancy Things” uses a dope vocal sample with funky guitar and horn samples. Noviss is able to change the tempo of the album with this funky beat. “Warning” is Perez’s first hand warning about relationships. This track grew on me with the vocal style Malachi adopts. It is a soft sing-song delivery that matches the beat and shows a glimpse of vocal adaptation on Malachi‘s part. On “Love Letters”, Noviss utilizes a (steadily becoming hip-hop cliché) sped up vocal sample that works surprisingly well with the feel of the song. Lastly, the most unforgettable offering, “Consider This”, features Lightheaded. In typical Lightheaded fashion, the combination of emcees complement each other well while laying knowledge over a beat that’ll keep your head nodding. This track shows that Perez is a great support and group emcee as well.

Even with these highlight moments on the album, I feel that “Stereo Phenomenon” didn’t live up to it’s title. It seems like Malachi Perez aimed squarely for the middle of the road , shying away from pushing any envelopes. The album is a good listen but if you are looking for an album that stays fresh and gets deeper with each new spin you may be dissapointed. The fault lies in the repetitious beats and the abundance of self indulgent bragging and lack of message that leaves the listener wanting more. It’s a case of what you hear is what you get. Malachi Perez has good delivery and shows that he can spit lyrics with conviction, but there’s too much of Malachi telling how good he is and too little proof of it. Good for the stereo but not quite a phenomenon yet.

Rating: 3 out of 5 stars

Nomad

LMNO - Economic Food Chain Music Review

2004-12-06T11:43:00.000-08:00

Review written for www.sphereofhiphop.com

LMNO – Economic Food Chain Music 2004

As an emcee in the crew “The Visionaries” LMNO honed his skills on the mic. Not content to be just another entertainer on the stage, LMNO (which stands for Leave My Name Out) chooses to use his platform to speak on political, social and spiritual topics. The Long Beach, Califormia emcee’s second solo offering “Economic Food Chain Music” follows on the heels of his self-titled full length release. There are 14 full tracks offered ranging in tempo and emotion. Guests on the album include KutMasta Kurt, Evidence, Oh No, KeyKool, Discreet Merchants, Life Rexall and Dj Rhettmatic.

Fans of “The Visionaries” will recognize LMNO’s flow right away. For those not familiar with his style you’ll quickly become accustomed to his unique tone and flow. LMNO attacks the microphone on every verse. He spits his lyrics out forcefully with conviction and emphasis. His staccato delivery is signature and is undeniably compelling. LMNO has good wordplay and likes to use a “one-liner” approach where one or two lines completes a thought and then moves on. His ability to effectively give double-meanings and shaded references shows LMNO’s maturity as an emcee. His raps are not merely emcee braggadocio or random thoughts. He isn’t afraid to tackle hard issues such as US foreign policy, discrimination, materialism, his spiritual beliefs and much more.

There are some good concept songs on this album. “Thankster Boogie” was my top pick for this album. LMNO is at home on this funky track. The bouncy drums, match his vocal gyrations and will have you nodding to the track long after it’s over. Another standout track is “LMNO” where words starting with those letters are used to for every verse. The beat is handled by Evidence (Dilated Peoples). The only downside of this song is its sample similarity to Dialated Peoples song “The Platform”. A clever vocal sample is tied into the end of every verse on “Hit”. “Moves don’t make you” contains a nicely chopped up sitar sample over rolling drums. These concept songs along with his more traditional offerings help round out this album. LMNO does a decent job of keeping the songs creative and new for the headphone fan and yet familiar and accessible enough for the casual listener.

Production is top notch on “Economic Food Chain Music”. He’s chosen tracks with interesting samples and drum kits and has a good amout of scratching and cutting on the album. Some songs may be less approachable than others, such as the lo-fi sound of “More (pawns) Than (dons)” or the dramatic orchestral drops in “1888”. Most beats will get your head nodding while a few may have you concentrating on their complexity.

There were a few shortcomings in this album. The first being LMNO’s familiar flow. At first listen this may be a put-off to some since his style is pretty consistent though the whole album. There are no big changeups in his delivery, and he sticks with what has become his signature sound. Some of the beats on this album sound too familiar. It seems like samples are duplicated and scratches come from well known battlerecords. There isn’t anything inherently wrong with the tracks, just that they could have been stretched a bit more in terms of originality.

Overall this album has good production, good thought invoking rhymes and a solid guest list. Despite its shortcomings this remains a solid Sophomore release from the SoCal emcee LMNO. His politically and spiritually charged lyrics will make you think, while the great underground production style will keep your head bobbin’.

4 STARS OUT OF 5

Nomad

Tonex - Out the Box DVD release party

2004-11-20T01:30:00.000-08:00

Well, It's 1:30 AM and I'm back from Tonex's first public DVD release party held in Baltimore. I went to the event with "Majeye" who runs http://www.aphire.com/ so that we could interview Tonex and see what this DVD release is all about.

We left for the event early to make sure we checked in for our press badges on time. It was at New Psalmist Baptist Church in Baltimore and I'd never been there. We found the place pretty well but we did have a little detour before hand. I accidentally motioned for Majeye to turn down an alley that I thought was the street (hey, it looked right!). There's a little more to the story, but I'll save it.

We parked, went in and took our reserved press seats in the front row (pretty nice VIP treatment). The church itself is a cavernous sanctuary with a full balcony and large stage backed by an even larger choir section. There were 3 large movie screens, 5 TV cameras in the sanctuary and it was certainly bigger than it looked from the outside.

The forcasted rain held off just long enough to keep the entering crowd dry. People filed in steadily and I realized that the whole lower level and some of the upper level would soon be filled. I don’t have an accurate count but I’d estimate at least 1,500 people were present. The air was filled with eager anticipation.

Denise Hill-Smith, better known as “The Gospel Lady” (on Washington DC’s WKYS Sunday Morning Gospel show) was the MC for the night, and welcomed everyone to the premier showing of “Out The Box: The Movie“. After that, the action really got started.

For those who already own or have heard the CD, you know that it was recorded live in one night. Well, this DVD is the presentation of that one night, and much more. Essentially, it combines the live recording with behind the scenes footage, commentary, preaching interludes and digital effects. It is part music video, part documentary and part live concert to put it simply. Camera angles are cut together like a music video and images are altered or highlighted with special effects to accentuate this high energy DVD.

I’ll venture to speak for everyone at the event by saying, once the music started, the whole audience was transported back to September 29th, 2003 in San Diego to relive the excitement and energy of that night of live recording. When there was prayer on the DVD, people said “Amen” in the back row. When Tonex said to clap, we all clapped. Throughout the movie there was applause, laughing, hollers, yells and dancing right in step with the movie. We weren’t watching a DVD, we were AT that concert in San Diego!

The DVD followed the double CD’s track listing, keeping true, yet adding a whole new dimension to the musical experience. After the 2nd segment of apparently 6 on the DVD the lights came on and an emotional Tonex took the stage. Later, during the interview, he said that he was surprised at how much energy the audience had while watching. Over a year of effort led to this moment of its first public showing and he was humbled by the results.

When Tonex took to the stage in person, the crowd erupted. I don’t think they reacted simply because they thought a budding “Gospel Superstar” was in the house. I believe that after seeing the talent, diversity and dedication of the man Tonex in the movie, they had a clearer vision of what he is all about. I’d venture to say that they applauded the sacrifice and heart of a man called to change gospel music.

There was more to come from Tonex this night, however. After singing two songs, Tonex proceeded to “Have some CHURCH!”. You know what I’m talking about too. There was singing, dancing, preaching and praying for the following two hours of a scale not soon to be rivaled.
The nights program was altered due to the long praise and worship session and no more of the DVD was shown but I don’t believe many people minded. Majeye and I went into the green room, where a tired Tonex relaxed for a few moments after the concert, and conducted an interview session. The interview will be posted on http://www.aphire.com/ soon so I won‘t get into it here. Tonex then headed out to sign autographs and chat with the large line of people waiting for him.

Overall, I’m glad I went. I enjoyed the DVD. As Tonex said, it’s something “the whole family can enjoy”. The production and behind the scenes footage is interesting and the music and dancing is great. (Oh, did I forget to mention that Tonex dances the whole time, has a full band, a full choir and a dance team on stage? Sorry, I’ll try to fit that in next time)

To be completely candid, I listen to mainly hip-hop and occasionally enjoy gospel music. I picked up Tonex’s first CD “Pronounced toe-nay” in ’97 when it first came out and have kept an eye on him since. I think this DVD would make a good stocking stuffer this Christmas season for fans of gospel music. I’m glad I was able to see and speak with Tonex. He’s grown a lot over the years, as has my appreciation for the work he’s doing to change the face of Gospel music.

Catch you next time,
Nomad

Mark1 - Audiosyncracies Review

2004-11-15T06:27:00.000-08:00

Mark 1 - AudioSyncracies

“Hip-hop is a global force.” We say it, but do we really believe it or understand what that means? Mark 1 knows exactly what it means and is here to redefine the boundaries with his first album “AudioSyncracies“. As emcees have always done, Mark 1 reps his city, but in this case his city resides in the southern hemisphere, in Australia. The limited American exposure to Australian culture has left us handicapped with images of crock-wrestling, bowie-knife-wielding, snake handling bushmen, or leather-wearing punk-rockers who ride through the desert on machine-gun-equipped dune buggies a la Mad Max. Mark 1 is here to trash those stereotypes and rewrite your definition of what the land down under has to offer. With his freshman release “AudioSyncracies” Mark 1 asserts that Australia is the next force to be reckoned with in hip-hop. He’s assembled a great team of producers - Elected Official, SammyB and Bdeps alongside guest lyricists Sankofa, tooBiz, Trials, ManChild, Listener, Othello, Sev Statik and Elias. Not only does Mark 1 serve as the emcee for this project but also shows he can work the steel wheels along with guest DJ’s Sammy B, DJ Shortkut, DJ Allstar, DJ DavidL, and DJ Flagrant. If that’s not enough to get your attention then maybe you don’t deserve to wear that “I am hip-hop” t-shirt just yet.

Unlike other freshman attempts to break into hip-hop, the strength of this album does not lie in the strength of Mark 1’s lyrics alone, nor does it lie in a mass of guest appearances or a hit production team. The strength of “AudioSyncracies” lies in the skillful pairing of producers, lyricists, DJ‘s and concepts with these single fibers twisted together to form a strong cord. Push play and the first thing to hit you is Mark 1 cutting up vocal samples over a Sammy B intro. It’s immediately followed by an audio onslaught of 4 head-banging tracks. This sets the album off on a good foot and instead of letting up he merely changes tempo into some darker introspective tracks before finishing with a few creative and avant garde pieces. Mark 1 shows versatility and creativity often absent on freshman albums. Instead of trying to establish himself into one niche he’s chosen a variety of tempos, emotions and concepts to explore. A standout track is “Maze of words” featuring a blazing 16 bars by guest Sankofa and an Aussie attack by Mark 1, tooBiz and Trials showing the depth of his crew. The Elected Official beat also reps Mark 1’s roots with bouncing harmonica samples over what sounds like the aboriginal didgeridoo instrument. “Around the World” starts off with rattling bongos, a skankin guitar, dark piano drops and probably the dopest “Blues Brothers” vocal sample ever. ManChild and Listener compliment Mark 1 in this neck-snapper. As Mark 1 slows it down with the dark and sorrowful “Myths” he looses no steam as precise chops and cuts by DJ Shortkut highlight one of the more straight forward flows by Mark 1 and a compelling performance by Sev Statik. The sad violin and guitar loops and stuttering drums form a foundation for Mark 1 to expose the stereotypes and myths that he sees prevail around him.

Mark 1 isn’t afraid to take on tough topics in his lyrics. Whether it’s a scathing attack on the hip-hop industry for not supporting creative and talented artists in “It Seems to Me”, his desire to be a good influence to his children in “Under the Influence” or a graphic depiction of the death of Christ in “Spotless Crucifixion”. This particular track is a powerful story of Christ’s suffering and death told from the perspective of the thief crucified next to Jesus. This emcee excels as a storyteller and he uses a straight forward flow to compliment the track. Elias appears to sing a filtered vocal hook over the live rock sounding beat. This song seems to echo in the mind long after it is finished.

Mark 1 flows loosely over the beats, only landing on the 2 and 4 when necessary. His vocal tone rises and falls for effect creating an undulation to his rhymes. At times he will rhyme right on the metronome but usually chooses to stay just shy of that. It is a flow that seems to suit him but after a time can loose the listener’s interest. Mark 1 seldom changes his rhythmic approach to each track, usually content to settle into the rolling flow that he’s become familiar with. While most songs are strong and show promise “Jessie’s Song” is the weakest link in the chain. He goes for a jazzy, upbeat and happy approach with a sung hook that falls short of the mark. The last two tracks “Random Thoughts” and “Chemical Reactions” are a bit complex but may suit those looking for purely lyrical offerings. With 3 interludes, an intro and an outro the total offering is 10 full tracks. Not bad for a freshman attempt but just shy of the usual 12 preferred. The 3 interludes produced by SammyB and Bdeps are dispersed throughout the album a la Pete Rock in the 90’s. These interludes seem to segment the album into different creative blocks. Starting more upbeat and moving into a darker period before ending with creative free form songs at the end. These 30 second interludes are thickly layered and could be full length pieces on any instrumental hip-hop production.

Overall this album shows that talent lies in every corner of the globe. Mark 1’s talent on the mic, the tables and with graff (also b-boying from what I hear) shows a commitment to hip-hop seldom paralleled. He’s assembled a great team of producers and lyricists to help create this album. Add to that the fact that he’s also a husband and the father of 5 and he’s to be respected and envied for being able to create such a solid album. Mark 1 doesn’t ask for your respect with “AudioSyncracies“, he earns it and puts Aussie hip-hop on the map in a way that can’t be disputed. This album shows his maturity in its musical and lyrical versatility. The creative beat production is top notch. The audio quality of the CD is spot on. The sheer confidence that Mark 1 brings in his delivery moves the listener quickly past any surprise after hearing the Australian accent. He’s effectively breaking down barriers and giving the world notice that this Bloke and his Mates are not to be taken lightly. The world hip-hop coalition has a new member nation with Mark 1 serving as the official ambassador from the land down under.

Overall rating: 4 stars out of 5

Beatmart - Best of Submissions Review

2004-11-15T06:15:00.000-08:00

REVIEW: Beatmart Recordings Best of the Submissions - DJ Morphiziz Mixtape

Todd Collins is the founder of Beatmart Recordings, a new record label that is looking to sign the hottest new talent in the Christian Hip-hop arena. This mixed CD showcases a variety of artists rapping over a selection of beats all created by Todd Collins himself. These beats get mixed together by DJ Morphiziz, a DJ with over 10 years experience in the game. With 24 different artists represented on a 19 track album (minus intro and outro) this mix will, if nothing else, shed some light on a few upcoming artists. This CD is decidedly East Coast and Southern in flavor, relying on punchy bass and more stripped down tracks.

Mixtapes fall into two categories typically. The first category is usually a mix of all the hottest music to come out at that time, showcasing popular talent with the DJ striving to drop the hottestclub banger first. The second category would be the fully exclusive mixtape, featuring new music, hot freestyles, original vocals and collaborations. This Beatmart Recordings Mixtape falls into the latter category. This is all new music, vocals and freestyles for you, the listener, to enjoy. Mixtapes have always been a method of advertisement, whether to introduce artist's latest songs or to showcase the next upcoming star. This Mixtape is no different; it serves to advertise Beatmart Records, the next Beatmart Mixtape and new talent, in about that order.

First off, I'll say that the best thing about this mixtape is the artists themselves. There are some new names on this album that you'll want to take note of so you can grab their first releases. Notable performances were given by Japhia Life, Bobby Bishop, Rob Hodge and Craig Nice.
There are a few freestyles interspersed for good measure as well. Standout tracks right away were "Who's that Boy" by Craig Nice. Despite the mediocre hook Craig Nice's flow was solid. Manchild (from Mars Ill) gives his typical solid performance on "How Is It" along with Adan Genesis. "One Hit Wonder" by Bobby Bishop is a lighthearted song listing out one hit wonders of hip-hop and hoping that he could at least reach that level. "Single Mother" is possibly the best track on the album as far as overall performance/production. This is the most well rounded beat, with an R&B hook by Donnie Lewis and a funky soundscape. Japhia Life and Rob Hodge ride the beat well, giving a great tribute to those single mothers in the world.

This album is not without fault however. Most notably is the excessive shoutouts littering every track though the entire album. I quickly and easily counted 19 shouts to Beatmart or Todd Collins by just jumping from track to track. This quickly gets old and is enough to keep replays of the album to a minimum. This is certainly an overuse of a common part of the mixtape experience. Instead of listening to a mixtape I felt as if I were listening to an infomercial for Beatmart Recordings next 2005 Mixtape for with submissions are being accepted. I think this could have been downplayed more.

This is a Todd Collins produced album, with all beats coming from Beatmart Recordings studios via Todd Collins himself. I found this to be another shortfall of the mixtape. Many rhythms are built similarly, with an emphasis on bass driven electronic beats. Not very many samples are used. It was interesting to note that there were not many hard hitting snares, nothing to really get the head snappin'. A lot of times the snare was merely a placeholder with a lot more attention to the bass hits. The snare is a critical element that was missing power in some songs. I like some of the rhythm programming but the drum kits used lacked punch. There were some awkward tracks as well, with ill-fitting hooks or simplistic construction. "Survive" by Rob Hodge had potential until the chorus consisting of a kids choir kicked in. Toby Mac and Todd Collins' song "Yes Yes Ya'll" is an attempt that really sounds out of place on this mixtape.

DJ Morphiziz did a good job of mixing tracks together but didn't really get much chance to let loose and showcase his skills. There was some mixing, a little juggling and cutting but overall it would have been great to have more DJ'ing showcased. It would have been great to hear a few songs juggled completely or seriously chopped up. For me there was less a feeling of DJ Morphiziz mixing these tracks together for the audience than there was of just transitioning from song to song.

Overall I was disappointed in this Mixtape. I enjoyed many of the artists and will be on the lookout for a few of them making moves in the future. The beats were mediocre and lacked the edginess that the emcees seem to bring. I think it had potential as a good east coast style bangin' mixtape but it unfortunately fell short. The replay ability is really hampered by the excessive shouts as well. I'm looking forward to hearing some more work from these artists and hope the next Beatmart Submissions Mixtape works the kinks out and sets the bar for the rest in the game.

Beatmart Recordings Best Of Submissions Mixtape 2 STARS OUT OF 5

Dragon Fli Empire - Conquest Review

2004-11-05T14:00:00.000-08:00

Review written for www.sphereofhiphop.com

DRAGON FLI EMPIRE - CONQUEST / 2003 MAKEBELIEVE RECORDS

Dragon Fli Empire (DFE) consists of emcee Teekay (Terakoza) and DJ Cosm who hail from Western Canada. The freshman offering “Conquest” is now widely available after an initial limited offering nearly 2 years ago. Interesting enough, the majority of the 12 tracks on “Conquest” were recorded in mid 2002. The limited 200 CD-R offering in 2002 created interest in the group. After working the details out and remixing and remastering the album they are ready for this official pressed release. Formerly of the Crown of Thorns Crew emcee Teekay brings a smooth and laid back style to combine with the multifaceted DJ Cosm. Experience as a college radio DJ and concert promoter round out Cosm’s resume as producer and DJ for the DFE. “Conquest” is the DFE’s way of offering an alternative to the thug and club hip hop prevalent today. The self proclaimed “jazz and funk-oriented beats over driven drum loops” and carefree lyrics approach is meant to take listeners back to the 90’s boom-bap era.

The highlight of this album is the production. Nearly every song is a joint effort by Teekay and Cosm. They show that they have a good ear for choosing samples, whether it’s a soft saxaphone or a rhythmic guitar riff. The funk/jazz soundscape could nearly stand on it’s own and really creates a signature sound for the DFE by the end of the album. Every track is purposefully jazzy boom-bap. The samples are clean and well thought out. And the mixdown is clean and well done. There is decent bass but it takes on the more musical forms of guitar and cello rather than overpowering thump or booming bass. Some tracks could use a bit cleaner treble for a crisp sound. Where the production falls short, however, is in the heavy reliance on unaltered instrument samples and unchanging drum loops. There are some songs that contain long samples that sound nice but possibly at the cost of pure creativity. The same goes for the drum loops used. There are very few moments when the beat stops or changes at all. Most loops simply play through the entire song. There are several intros to songs consisting of live concert recordings that hint at live keyboards and drums. It would have been a good call for the DFE to include a live track on this album since the live intros have a vibrancy lost on some of the studio tracks.

Teekay’s lyrical style is laid back, expressive and contagiously upbeat. His flow is reminiscent of the late 80’s Young MC with tonal fluctuations and story telling. Teekay makes it a point to keep the mood light and the topics carefree. Teekay does not dwell much on brainy wordplay or political jabs. There are occasional references to his spiritual side but there are no real deep messages, just raps to make you enjoy life or laugh. Whether it’s a rap about riding the bus, waking up in the morning, or a story of a kid buying a yellow jacket and thinking he’s “All That” the topics never get to heady or require much effort of the listener. Teekay’s wordplay and patterns are simplistic and periodically awkward. Teekays delivery is not consistent from song to song despite showing potential on such tracks as “D-E-F“, “Mount Pleasant” and “From Under”. Not surprisingly these tracks were all recorded in 2003 as additions to the initial 2002 production. Comparisons to the Digable Planets’ thoughtful spoken-word/rap delivery may arise in the future if Teekay continues to refine his abilities.

“Mount Pleasant” is the track that has received the most radio and television time in Canada for Dragon Fli Empire. The jazzy keyboard and bass samples combine with a live sounding jazz beat to create feel-good backdrop for Teekay’s stream-of-consciousness description of a bus ride. “From Under” is a stand out track on this album. Produced in 2003 by guest producer Nato, this song shows a slightly more aggressive DFE. This beat is a gem featuring thickly layered samples chopped together. Bells, horns and even whistling bounce over thick boom bap drums and turntable work by featured emcee and deejay Shortop. Guests C-Plus and Shortop combine with Teekay to lyrically bless the track. “Beauty Full 2.0” is a remix of an earlier track that features a more confident Teekay and guest Ohmega Watts (of Lightheaded fame). The beat is produced by both Teekay and Ohmega Watts and is by far a much better track than the initial offering “Beauty Full“.

Are people ready for a throwback to the jazz rich days of the 90’s just yet? I’ll let the listeners decide for themselves if it’s too early or not but this album falls short for me.
His delivery needs polishing and consistency in order to truly shine.

DRAGON FLI EMPIRE - CONQUEST 2.5 STARS OUT OF 5

DJ DNA - Impressionism Review

2004-11-02T08:55:00.000-08:00

Reviewed for www.sphereofhiphop.com

DJ DNA - IMPRESSIONISM / 2004 BOMB HIP HOP

DJ DNA has been the producer for Solseekers and Future Shock crews and he’s shared the stage with an impressive list of artists in his career. After years of production, touring and stage time behind the wheels DJ DNA takes his place in the spotlight with the instrumental hip-hop release “Impressionism”. He is the sole producer, composer and turntablist for 10 instrumental tracks (plus an intro and outro). No emcees, no interludes, no shout-outs and no one to distract the listener from DJ DNA’s aural onslaught.

Certainly snap comparisons to DJ Shadow, RJD2 and Cut Chemist & Numark will dominate reviews of this type. DJ DNA embraces that and advances in this album. Where DJ Shadow’s traditional break beats pound, DJ DNA will morph sampled drums from break beat to newly chopped rhythm in the course of a song like “Infection Collection I”. Where RJD2’s instrument samples may blend smoothly into a soulful soundscape, DJ DNA uses both musical and non-musical sounds to create harmony or discord at his bidding. This is most evident on “Re-balance” where vocal tones, static, electric guitars and rotating rhythms create a complex arrangement that challenges listeners to stay balanced during the ride.

DJ DNA gives a nod to his predecessors by utilizing an occasional signature sample, but this is no copycat effort. The aptly named “Impressionism” track is both a respectful bow to the innovative turntablists and producers that helped develop the art of hip-hop and a continuation of the creative process that those pioneers defined. The track is a collage of classic beats from artists most influential in DJ DNA’s musical life (DJ Shadow, DJ Premier, Ali Shaheed Muhammad, Pete Rock and Dan the Automator to name a few) and he puts a respectful twist on each beat. While there is hardly room on this album for an emcee to have a word edgewise, not all of DJ DNA’s tracks are exercises in complexity. The introspective “Daily Grind” and “Odyssey” are compelling in their simplicity. Of course, DJ DNA works the needles hard for the feel good “When Day Breaks, Night Falls” and “Live From the Unheard”.

Impressionism is an album that seems somehow familiar. The breaks and samples have a classic yet reworked feel. Like that old hoodie that you just can’t get rid of, the beats and scratches are comforting and reminiscent. This is feel good, head nodding instrumental hip-hop. Unfortunately, this is where the album may fall short for some. While DJ DNA pushes forward to create his own sound, he stays well within the existing framework of what instrumental hip-hop is expected to be. A break beat, a few samples chopped up and some scratching. Impressionism does not innovate or introduce many new angles or approaches to the genre. It is not groundbreaking, yet neither is it formulaic or cliché. DJ DNA set out to create a body of work that showed appreciation for where the art has been, as well as where it is going. His success in this pursuit may leave serious heads wanting more.

As a whole, this album is solid. The production shows maturity, the sample/drum programming shows experience and creativity. There is enough action in each track to keep replays interesting as each song continually changes. DJ DNA has created an album that should be listened to for what it is: a nod to the past and present. Having said that, I’m interested to see what DJ DNA will do next to truly take us out of the present and into the future.

DJ DNA - IMPRESSIONISM 4 STARS

Welcome to my humble blog

2004-10-26T17:00:00.000-07:00

Well,
I may be the only one reading my various ramblings but if you do stop by my little corner of the world I hope you enjoy reading my various reviews, articles and general ramblings.
God bless,
Nomad