Louis Mackey & Dr. Quandary "The Dioscuri"

As I have stated many times on my little blog (the site you are viewing right now, in case you forgot) I am a fan of fully realized albums instead of just random songs thrown together that fit the time constraints to call it an LP. I am pleased to inform you that "The Dioscuri" is certainly a true album, in fact I might even go so far as to call it a "concept album." I figure if you are using Greek Mythology as a common theme and idea throughout a hip hop album (or any genre for that matter) you deserve the title "concept album" so congratulations to Louis Mackey and Dr. Quandary, you have created a concept album. The bigger question is whether or not they were actually able to pull of a successful album that makes sense. The short answer is yes, yes they did the long answer is revealed below, so here it goes.

Take a synth, a drum, a guitar and an old voice telling the story of who the Dioscuri were in a mythological context and you have the introduction to "Low Earth Orbit." At this point you realize Louis Mackey and Dr. Quandary not making your standard album, closest thing that comes to mind is Wu's use of Kung Fu movie clips. Quandary's beat continues after the lecture ends and remains throughout the remainder of the track, there is one addition though: Louis Mackey. He comes out strong with the lines "A thousand year old gift of fume’s wit aroused the mind. Picture us circling the moonlit mountainside Hallucinogenic gas rise from the earth,seducing the many masses who ask for guidance and search." and keeps it going for the remainder of the track. A few things worth noting: Mackey has no shortage of vocabulary or syllables (always a plus,) he's also great at setting the scene, but he does have a tendency to let his words run together or trail off then punch extra hard on final lines. This could have been very frustrating but luckily it is only a problem on 2 tracks.

Unfortunately the title track "The Dioscuri" is the other track where Mackey's flow does not seem on 100 percent. But here it works a bit better because each word where he adds that extra oomph is met by a drum hit by Quandary. And with each listen it makes more and more sense, it works. Mackey is using his voice to add to Quandary's beat, why I did not recognize it at first I do not know but it is plain to see. What does that beat sound like? Well, you have a bass guitar that comes in and fades out along with the drum that Mackey punctuates. What really stands out to me are the actual words which you may have to really listen to in order to fully hear each one. If you have no idea of mythology you will be lost as Mackey references Jupiter, Poseidon, and Catullus. Yes I know he mixes Greek and Roman Gods but it still works wonders.

The album really begins to shine when the beats begin to slow down and become more mellow and less rapid fire, it really fits Mackey's rhyme patterns and flow much better as is evident on "Latium." Quandary creates a minimalistic beat for Mackey to strut his stuff. This song shows what the pair are attempting to create: songs similar to the classic epic poems of the Greeks and Romans over the beats of Quandary this is clearly seen when Mackey rhymes "Manage this entropy—each stanza's potentially
—an amelioration if I channel the centuries." The picture is becoming more and more clear especially as you focus on the words (which is done easily thanks to the tremendous mellowed out beat.) This is story telling at its finest (ok that is always debatable about who were the best story tellers but it is hard to argue that Homer's "The Iliad" and "The Odyssey" are not two of the greatest stories in recorded history.

The sound of bells ringing on water buoys dominate the first half of "Unsympathetic Intellects," only allowing a crackled voice to ask "Is there anyone on the air?" Louis Mackey answers and while discussing the topic of suicide includes one of the most impressive lines I have heard in a while, "See with true clarity, then I doubt that I've ever been; They told me to read up on Ralph Waldo Emerson." Really, Emerson, who the hell says Ralph Waldo Emerson in a song, every time I hear the line I smile.

Quandary begins "Infinite Space" with a simple guitar chord before adding drums shortly after Mackey enters with "I get hit in the face with a minute of grace; and thus inspires me to leap into infinite space." As the story continues, more sounds are layered on top of the drums and piano, including a great wah wah sound and angelic voices. Once again in a slower tempo song, Mackey shines both with his flow and lyrics. I debate whether or not to post tall my favorite lyrics but since Mackey and Quandary were kind enough to offer them to everyone on their bandcamp page I figure you can check it out for yourself while you are listening to the album and decide your favorite.

"Phantasm" has such a ridiculously stripped down beat by Quandary, it is basically a guitar and a drum, simple yet effective. The simpleness of the music is in direct opposition to the vocabulary of Louis Mackey. Rarely am I so entranced by listening to an MC's word choice as I am with Mackey's on this album but especially "Phantasm." Hear is just a few of the words or phrases he uses: éclat, casks of amontillado, the maliciousness cancer and Maximilien Robespierre. It almost feels like he is just showing off at times but does so magnificently.

The somber tones from guitars and soft drums start "Nothing Universal," before Mackey tells the story of a bar fight gone horribly wrong. The vivid images created by the words is rather horrifying and at the same time causes you to look deep inside yourself and ask some tough questions about your own life and humanity. What would an album attempting to recreate the feel of some of histories great epic poems be without the story of Ulysses? Luckily we do not have to find out, as the duo covers the topic to near perfection in "Ulysses," whether it is the wave like beat of Quandary or the words of Mackey.

On "The Triumphant Return," Quandary tweaks the general sound of the album by using the drums to drive this track while pushing the guitars and piano to the background. Instead of delivering vocals that you would expect based on the title, Mackey provides us with the image of those vanquished in battle and through struggle to arrive home...where ever or whenever that is. The album ends with "Holy Thursday" a beat featuring guitars, drums and an organ that creates the illusion of rising from the Underworld or from the earth to the heavens. With his most straight forward lyrics, Mackey lets us know "Of course rap is dead, but I carry the corpse" as well as other evidence that informs us it is time to rebuild rap and make sure we have quality control in all aspects of the music.

Louis Mackey and Dr. Quandary prove once again the quality that can come out of a true partnership between an MC and a producer. Yes there were some questionable steps but what album does not have that. More important they came up with a concept for an album, and an original concept to boot: attempt to recreate the feel of epic poems over guitar and drum driven beats and they succeeded. The reasons are quiet simple: consistent quality beats by Quandary and unbelievable word play and choice by Mackey, these two things made "The Dioscuri" a great piece of hip hop art.

You can check the lyrics, stream and download the album here

The Ebony Bed "Lucid City (Sampler)"

After 3 and half years of working on this collaborative project, K-Murdock is proud to present the sampler for The Ebony Bed’s Lucid City. Mixed by respected turntablist DJ Ragz, the 7-minute sampler showcases a unique blend of hip-hop, soul & indie rock sounds that compliment the vocals of the group’s featured singer/songwriter Alona. Though Lucid City isn’t slated for release till the spring, you can find out more about The Ebony Bed by visiting: www.theebonybed.com


The Ebony Bed - Lucid City (Sampler) by Neosonix

The ThoughtCriminals "Cold Winter"

Video game rap. Nerdcore. When did we start with all the over categorizing of music? Why not just call it what it is, Hip Hop. I don't care if one of your instruments is a Nintendo Entertainment System, that is no different than sampling records, it is just a source for the music to come from. It is hip hop so let me get this out of the way, "Cold Winter" by the ThoughtCriminals is a hip hop album and it is a quality hip hop album. Yes there are some lines that will make more sense if you play video games but there's always "inside" lines in all music, it is part of the appeal. But perhaps I've rambled too much already (as always) let me tell you some things that make this album what it is. One thing is LIVE instruments, that is correct real instruments are used on this album as the credits say:

Mikal kHill - Vocals, Guitar, Bass, Keyboards, Programming, MIDI NES, Maracas
Sulfur - Vocals, Original Arrangement of "You're Gonna Miss Me"
Kevin Morgan - Guitar, Freaky Effects Pedals
Alan Erickson - Bass

There is also the overall sound of the album, it has a tape cassette feel to it, staticy (at some points maybe a bit too much) but it keeps with the overall sound. Then there are of course the vocals: quality rhymes, with vocabulary and storytelling. Since I gave you an overview of the album let us really delve in, so here it goes.


"Came to Play Some Jams" is a great introducing to who The ThoughtCriminals are and just what they do. A rather well know Nintendo note begins the song, before the bass guitar enters, followed by the keyboard and finally the vocals where we find out "Now we been doing this since we been kids," as they pour out their "soul on two track tapes" (ok they've moved on since then but you get the point.). They continue us some info about themselves before letting us know the most important thing, "we just came to play some fucking jams" then the voice fades and the NES samples bring us into right into the next track.

Video game sirens set the stage for "I Remember Now" which takes place in a post apocalyptic world (my mind instantly thinks Fallout 3) everything from the instrumentals to the vocals to the actual mix sound distorted and warped by the nuclear bomb that fell on this world.

"Return of the Antagonist" features Stevie D of the Illbotz who along with Mikal kHil and Sulfur decide to switch up their delivery and hit us with some rapid fire lines to add to the impact of the uptempo drums that are in direct contrast to the slower harmony provided by the NES. They work together to create an aural sensation of the concept of war, with the NES providing the idea of regret or sadness while the drums act as the actual fight, finally the vocals give us the reason and logic.

Old school drums and an ominous piano introduces us to "Warp Zone (1-2)" then the vocals and NES jump in to begin one of the stand out tracks. The easiest and most accurate way to describe the vocals (for this song and the entire album) is actually provided in the lyrics, "These nerds don't rhyme soft."

If you use a NES in your music and you are going to talk about getting any sort of money the perfect title is "All the Coins" and make sure it features one of the most magical sounds in the history of gaming, the gathering of coins in "Mario Bros." Now if only someone would do this...oh wait, the ThoughtCriminals and Int 80 of Dual Core did just that. They also created a rather gritty sound with the electric guitar and hard hitting drums. I will put this against any G Unit song talking about getting cash and this will win, hands down.

Somber drums, piano, and guitar provide the sound scape for "Whirling Dervish" an all too real song that takes place at a bar and captures the effects alcohol can have on a person. Just another piece of evidence that the ThoughtCriminals are not a gimmick laden hip hop group, they make real songs with real emotion and story telling, they just happen to be proud gamers who use a NES to provide some of their sounds.

"You're Going to Miss Me" continues to bring heavy emotional tones, this time in a break up song, but not a bubblegum pop break up song, no this is a Kris Kristofferson or Lou Reed sort of song. Nothing of wanting the person back or crying over the past, just raw feelings that most people feel after a serious relationship ends.

"Liquid Happy" keeps us the sphere of drinking, but not the glamorized side at all, instead it describes the wonders of a hangover and angry drunks. What works so well on this track is the balance of what is actually being said and the almost upbeat instrumental, it acts as a way to contrast how the intoxicated person perceives their actions (the instrumental) with how others see them (vocals.)

Beefy joins the group to address those that expect everything to come easy and refuse to work for them on the track "Our Time." Instead of making it a negative song, the ThoughtCriminals keep it rather positive from the beats to the lyrics, but they do make their point, "You do you and I'll do me just remember what you conveyed last time you said we."

The albums ends with "Earthbound" featuring Adam WarRock and Random. The beat reminds me of something the Flaming Lips would create, outer space rock. Each MC kills their verse but the best way for me to capture this song is through the chorus

"The first to step up and threaten our universe gets kicked like a freestyle never rehearsed the worst is yet to go but it will all be fine because the level on our rhyme is like 99"

After listening to "Cold Winter" I am reminded just how much quality and variety there is in hip hop. Great instrumentals and dope rhymes and great storytelling, that makes hip hop, not the song topic or how the beat is created. That is just what the ThoughtCriminals did here, the created a hip hop album. It even has a cohesive sound and feel to it. Once you press play you will feel the music go through you and realize this is a damn fine album that deserves your full attention. with

You can preorder the album here and check out all the possibilities

dot.|maTic "Lullabies For Winter"

What comes to mind when you hear the word "winter"? Cold, snow, dreary, quiet, calm, love. Just about every feeling can come to mind when people think of the season, it all depends on your point of view and your own life experiences. What if someone attempted to create a soundtrack for winter that touches on some of these concepts? Well that is exactly what dot.|maTic did with "Lullabies For Winter." How exactly is this achieved? I shall do my best to capture the spirit and sound of each track for you, so here it goes.

The static sound of the radio "Joie's Overture." THe synths then grow in the background as the static fades. You have found your music for this cold day, coming through clear. The warm sound of the steady drums mixed with the synths penetrates your ears. You feel yourself rocking, back and forth a bit, it is a great track to listen to in a rocking chair while sipping some hot cocoa as you groove to the music.

A short piano solo starts, before the drums kick in and the snow (or possibly even sleet)begins to fall on "Black Narcissus Joint." It bounces off your windows, sounding like little pebbles tapping on glass repeatedly, illustrated by what appears to be wind chimes. It creates a rather relaxing feeling, imagine lying in bed, underneath the covers listening to the snow fall outside as you fade in and out of sleep. That is what this track sounds like, but trust me you won't want to miss the music so WAKE UP.

"Meteor" begins with an uptempo piano and drums, creating a rather cheerful feeling and that is even before the vocals enter (a simple looping "hey".) It feels like a party atmosphere, but not a wild and crazy party, more of a gathering of friends and family, everyone is jovial to be with those that they love and that love them.

The party goes to a whole different level of funkiness on "(Hot) Steppin'" probably my favorite joint on here partly because of the contrasting sound it contains. Sythns, piano and drums come at you full force in an incredible loop, done with live instruments. I challenge you to listen to this track and not get a smile on your face as you move to the infectious beat.

"N.N. Out (Salida)" features a romantic piano melody played over some drums, imagine a soulful rhythm and blues love song. There is also a voice saying "ok" feels like someone trying to either get words into a discussion that is very one sided as they are being told all that is wrong about the situation or someone is agreeing without caring what is being said just to just up the other person. The song changes dramatic in the second part as a upbeat Caribbean style rhythm takes over, as the one of "ok" person in the discussion walks away from the relationship.

The final track "Winter Baddness (Dub)" uses piano, strings and drum (as well as some well used vocals) before it changes tempo at the end to create the picture of make-up sex (possibly from the relationship captured in "N.N. Out (Salida)," it adds a nice happy ending (pun intended) to the heartache of winter, showing once again the wide array of emotions that Winter can evoke.

Sometimes I am surprised by a recording, either on how good or how bad it is, but that is not the case with dot.|maTic's latest outing, as it is released on Record Breakin' label, and as I've said multiple times i is one of the most consistent labels out there and "Lullabies for Winter" is no exception. So before the winter ends, check out this album and fully realize everything the season can evoke from us.

You can stream and download the album here.

Koncept & Tranzformer "More Than Meets The Eye"

Who would review a project that is less than 15 minutes long? Me, that's who. Why? Because I am more considered about quality than quantity; if it is 15 minutes of quality why does that deserve less press than 70 minutes of the same or less quality? The answer is quite simple: it doesn't. So now we have that out of the way let's talk about "More Than Meets The Eye" the new EP by Koncept and Tranzformer. What we have here is 15 minutes of great hip hop music with Koncept spitting all of the verses and Tranzformer handling all the production. More importantly than how much they each do is that it is top notch music that you will certainly be listening to again after it is over (advantage of it being under 15 minutes more is that you are left craving more.) It is about that time to go track by track, so here it goes.

A lone piano and a great female soul voice begins "High" before Koncept enters at the same time as Tranzformer adds the drums. While you might think you know what this track is about, Koncept's first verse dispels that "This ain't a weed track, rather heres some feedback distortion its high that can only be seen by importance." Yes ladies and gentlemen, its a track about how damn great music is and how it can be better than any drug out there. (If you are wondering I do honestly believe it is better.)

*scratch* (you really think I give a shit) *horns build and build* (the magic of love) so begins "How I Show Up" before the full force of Koncept and Transformer's beat (drums, horn, choir) hits my headphones. *BOOM* (done to perfection.) Instead of a love song that you expect, it instead about the lack of love Koncept feels for fake women and fake supporters. In case you haven't realized this, there is a lot of misdirection on the songs because there is "More than Meets the Eye" to this EP.

Jefferson Price provides the only guest appearance on the uplifting chorus of "Change." Transformer begins the track with the sound of a music box before adding drums on top and once Koncept enters on his actual verse he replaces the music box with some great synths. The wordplay by Koncept shines on this track such as the line "I've seen the leaves fall along with my autumns passed now lets stay off of that I'm positively more of that Ive watched the snow melt," of course there is more but do not see writing an over amount of quotes when you should just download the album and check it yourself, because there will be lines you catch that others won't at first.

"Look Back" is a track that actually shows the listener what it is upfront, a soulful beat that provides Koncept a great backdrop to reminisce on his life, the good and bad (mostly negative) but in the chorus he decides to make life work for him and keep moving on "So good bye but look back, think I now can, rewind reflect reset, without them lost friends, lost fam, lost pain, if all goes to plan, I'll restore life always."

The laid back track "Day Dreaming" ends the "More Than Meets The Eye" EP. The beat is a great combination of slaps, horns, and strings while Koncept talks about one of the biggest dilemmas facing any and all musicians, the fact that life still goes on around you, in other words you still have responsibilities even while you are making quality music as he says "Hard to focus on anything other than my music cause I know its meant to be."

While the project may be just under 15 minutes in length, Koncept and Tranzformer created some high quality hip hop. The idea of misdirection and transformation is handled very well throughout the 5 songs. What "More Than Meets The Eye" really shows us is now matter the length of the project if you put your mind to it you can create something worth while that the listener will want to listen to again and again, and that is the case with this EP.

Download the "More than Meets The Eye" from DJ Booth right here.

Dr. Khil "Khilgore Trout - A Beat Tape"

I am a fan of many things, but two of the biggest are music and literature and yes I do mean literature, high quality writing, not your dime a dozen books, I am what you may even call a book snob. If you want you could probably even call me a music snob as well, because, even though I try very hard to not let this happen, when people say how much they love a musician that I think is not very talented I judge that person as having bad taste and of course taste is very personal but that is a whole different discussion. My point is I love quality music and quality writing, rarely do the two actually converge (McSweeney's Issue 6 is the best example of the two meeting.) Another example is Dr. Khil's "Khilgore Trout - A Beat Tape," any fan of Kurt Vonnegut is well aware of the title's reference. In a great move, Dr. Khil decides to name each track after a famous literary character and even creates the feeling (to a point) of said character or novel from which the character lives. Perhaps I am rambling a bit too much already (but I NEVER do that.) I think I shall get right to the meat of the discussion in an effort to not make this the longest introduction paragraph ever, so here it goes.

The album begins with "Billy Pilgrim" the main character in Kurt Vonnegut's classic novel Slaughterhouse-Five, or The Children's Crusade: A Duty-Dance with Death. Dr. Khil uses a high pitched string instrument (mandolin???)and a faded guitar sound to create the feeling of being "unstuck in time" but before you get too comfortable in each time the drums (also feel like the bombs dropping on Dresden) come in to throw you into a different major event in the life of Mr. Pilgrim.

We then enter the world of Song of Solomon (one of two Toni Morrison novels I have not read yet and yes I am ashamed I haven't read it yet) through the track "Macon Dead III." The song begins with a pitch changed sample that catches the listener off guard with some xylophone played underneath. Then enter the hard hitting drums which you would assume to dominate the track but you would assume wrong. In a surprising turn of events, I found myself keeping beat morewith the xylphone than the drums. I always enjoy when an artist (no matter what kind) can turn convention on its head as Dr. Khil does on this track.

For reasons that I can only assume are to upset me, the great Ernet Hemingway is represented on this album not by The Sun Also Rises, A Farewell to Arms, For Whom the Bell Tolls, or The Old Man and the Sea, but instead by The Short Happy Life of Francis Macomber with the track "Francis Macomber." But enough of my complaining let me tell you about this song (which is actually very good despite my annoyance.) Dr. Khil begins with drums over top of some great piano chords to create a rather cheerful and at the same time eerie (or depressing) feeling. Which fits the story of Francis Macomber quite well.

Mark Twain's "Tom Sawyer" comes through with a rather laid back track featuring a rather well known sample (well known being a relative term) that has a great string work with some drums blended in to give you that little twist. After the chill feeling of "Tom Sawyer" Dr. Khil decides to take you on a trip with "Jay Gatsby" (possibly my favorite track on the album) a multilayered track where you are searching for what is suppose to be the lead instrument and what is just background (very similar to F. Scott Fitzgerald's classic novel.)

Now I shall plead ignorance on the novel of the next track "Hiro Protagonist" (from Snow Crash) but I can tell you imagine a beat driven by a distorted organ and bass drum. Once you do that add some snares to the equation and you have the sound of this very sci-fi track. To combat the sci-fi feeling, Dr. Khil brings us back to the roots of nature for the sound of "Chief Bromden" (the main character from One Flew Over the Cuckoo's Nest.) A chorus of voices (also used to show the Chief's schizophrenia) repeat throughout with drums (that almost sound like tribal rhythms) playing over top. At the end the track fades and distorts brilliantly to give the feeling of electroshock therapy.

"Oliver Twist" is a rather straight forward beat featuring a beautiful piano and drums. It is a very relaxed, almost simple sound but executed very well. In contrast, "Frodo Baggins" is in no way laid back or simple. Instead it brings four different synthesized rhythms weaving in and out of one another (similar to J.R.R. Tolkien's writing.) While it may be complex it still has a feel of constantly moving forward to some sort of destination.

La Tumba (a story I have not heard of but is now on my list) provides the inspiration for "Gabriel Guia." Spanish guitars, bass drums, and what I can only describe is hooting provide the sound scape of this rather funky beat. The horns and chimes that start off "Sherlock Holmes" give it an old chase movie feeling and that is before the drums come in to hit the listener in the ear. What really stands out to me about this song is the occasional fading and twist of the horns before they pick right back up and go through my headphones, adding to the chase feeling.

One of, if not the most "soulful" tracks of the album goes to "Tom Joad" from Grapes of Wrath . The piano is the key to this "Tom Joad" to the point that I could easily listen to just that instrument, but Dr. Khil gives it a bit more hit with some drums and further adds to it with two other effects that I can only describes as an extended strum of the guitar and electronic rain drops.

"Walter Kovacs" is hands down the darkest beat on this album, even with the blaring trumpet. I cannot get the image of Rorschach walking through the rain and then brutalizing some heathens out of my head when I hear this track. The reason is not the drums or the blaring trumpet, its the use of the toned down other trumpet that does it, gives you that feeling that though it might be a bit dark and twisted it still comes from a good place deep within.

The feeling of the Old West is created by Dr. Khil on "Alan Quatermain" (created by author H. Rider Haggard) with a piano (or possibly two) and Western guitar. This track could easily be playing at any ol' time saloon and it would fit in perfectly. Another of the standout tracks (they're all quality but you know what I mean) is "Robin Hood." The bass drum and clap provide a great rhythm that comes off as a great funk sound, while the piano pulls you in more of a bebop. The result is a compelling beat that will stick with you for a while, especially the wonderful piano rolls that are exhibited almost in a solo format.

Just so that we do not feel to upbeat, Dr. Khil introduces us to "Willy Loman" (of Death of a Salesmen fame.) It feels like the entire track has been slowed down from the drums, and piano to the horns. I cannot move from this spot, the beat pulls me down and no matter how hard I fight I am going nowhere but down. In other words, a near perfect representation of the classic Arthur Miller play.

"Khilgore Trout" ends with "Anne Collin-Nielsen" another of my favorite tracks. It captures a bit of the complexity of What Dreams May Come but focuses much more on the upbeat and jovial feeling of the end of the movie (since it is the end of the album.) I imagine driving in my car with the windows down listening to this LA funk inspired track, with its finger snaps, heavy bass, great string work, and electronic drums.

I am once again impressed by how producers are creating more and more "beat tapes" that work so well as albums by creating some sort of unifying concept that runs throughout the whole project. What Dr. Khil did with "Khilgore Trout" is something I never really thought I would see, a hip hop concept album based on great works of literature. This is actually something I had discussed over a year ago on twitter and everyone was afraid to touch the idea (granted I also wanted MCs to take the role of said character) but damn, always glad to know I am not the only one out there who has these sort of ideas. So I take my hat off to Dr. Khil for a well put together album with 17 great beats all tied together by the wonder that is quality literature. So do yourself a favor and download "Khilgore Trout," if you have not read one of the stories referenced, why not read it with said track playing on repeat in the background. Let us unite the world of hip hop and literature because great art compliments great art.

Download "Khilgore Trout" for free here

DJ GroWeyez "Planet House Mix"

Another great mix for you to check out, this one by GroWeyez

DJ GroWeyez Planet House Mix by i-ced

The List:
1. Rendezvous (Monk's Revolution remix) -DJ Mitsu the Beats/Mark de Clive-Lowe
2. The Black Monolith - GB & Ricci Rucker
3. Move Pt. 1 (Instrumental) - Daz-I-Kue
4. Something In the Way - 4hero
5. Feed the Cat - Agent K
6. Luizao (Daz-I-Kue Re-edit) -Antonio Adolfo, Brazil & Brazuka
7. El Viaje - 4hero
8. Kilode ( remove the "a" at the end) - Tony Allen
9. Stepping Into My Life (not Steppin) Dam Funk vs. 4Hero (A DJ GroWeyez Mix)
10. Take the Box -Amy Winehouse (Seijis Buggin' Rub)
11. Moments in Life - Dez Andres
12. More Than a Woman - Aaliyah (Masters at Work Main Mix)
13. I'm the Baddest Bitch - Norma Jean Bell (Moodymann Mix)
14. Suga Deadly - J-Boogie's Dubtronic Science
15. Dance or Die - Janelle Monáe
16. Inner Temple (GrowEyez 45RPM Mix) - GB
17. Do the Astral Plane - Flying Lotus
18. Searching (Yoruba Soul Mix) - Roy Ayers

P.U.D.G.E. "Love Out Loud" mix

Here is another mix from one of my fav's P.U.D.G.E.

Click here to DL the mix

Tracklist
1) I love Music - Ahmad Jamal
2) OnTheLateNite - p.u.d.g.e.
3) I Mind - James Blake
4) Save Room (PudgeLuva rmx) - John Legend
5) You are My Love - Jamiroquai
6) Love Will Keep Us together - Captain & Tennille
7) Groovin in Love - Jacob Miller/Inner Circle
8) IceBox (PudgeLuva Dub) - Omarion
9) Falling In Love Again - Billie Holiday
10) When i Think Of You/Crazy Blue - p.u.d.g.e
11) StankLove - OutKast
12) Born to Love - Peabo Bryson
13) Ha, Ha , Ha/LoveMoments - p.u.d.g.e.
14) Moments In Love - Art Of Noise
15) Ike's Rap/Your Love - Isaac Hayes
16) DoesItRealGood - p.u.d.g.e
17) Really Love - D'angelo
18) Jah Love - Bad Brains
19) Let Me Love You - Michael Henderson
20) Cant Wait 4 Your Love - p.u.d.g.e
21) All is Full Of Love - Bjork
22) Love , Love , Love - J.R. Bailey
23) Luv, Love, Lve - p.u.d.g.e
24) U Luv - J. Dilla
25) Look of Love rmx - Slum Village
26) Love Is (instr.) - J.Dilla
27) Feel Like Making Love - Bob James
28) Feel Like Making Love - Roy Ayers
29) Feel Like Making Love - D'angelo
30) Android Romance pt.1&2 - Jneiro Jarel
31) Love Junkie (Jay-Dee rmx) - DJ Cam ft. Larry Blackmon
32) You Sure Love to Ball* - Marvin Gaye
33) Love Poems - Bilal
34) Lemme Tell u (BeauTiful) - p.u.d.g.e.
35) I Can Tell u(Nite & day) - p.u.d.g.e.
36) Baby This Love I Have - Minnie Ripperton
37) Fall In Love (demo) - p.u.d.g.e.
38) Love In War - Andre 3000

while you're at it check out P.U.D.G.E. bandcamp page here for a crazy amount of dope music

Ced's Mix #2 "What You Make It Situation"

I know I've been posting a lot of mixes lately, but that's because some of my favorite artists are either doing mixes or appearing on them, so here is one from I,CED.

Ced's Mix #2 - What You Make It Situation by i-ced

Well, I have been getting hit up about doing another mix so I did one. These are some of the joints that either grew up listening, currently have in rotation, just discovered, and made a tribute. I hope y'all enjoy this one. It is more mellow than the other but this is pretty much how I feel at this moment when making this mix. But trust, there's plenty more to come. Alright peoples, here you go. Stay peaceful... I, CED

The List:
1) Cherrelle – When You Look In My Eyes
2) Cheryl Lynn – Fidelity
3) Jody Watley – Still A Thrill (Extended Mix)
4) Alton McClain & Destiny – It Must Be Love 45”
5) The Landing – Seven Davis Jr & JMitchell as Black Genius
6) The Real Thing (Seven Davis Jr Remix) – Erykah Badu
7) Exile Radio Remix Demo – Rag G & The Afrikan Space Program
8) AV Again??? – I, CED
9) The J. Dilla Suite
a) Real Dilla Quotes (Nothin Like This) – Apple Jac
b) The Look Of Love (I, CED’s Remix) – J-88
c) Flyyy – Jay Dee
d) Skit – I, CED
e) Stepson Of The Clapper – J. Dilla
f) Wild – Jay Dee
g) Genesis – Busta Rhymes
h) Rock Box – Que D
i) The Look of Love – J Dilla
10) Fight For Love (Nicky Mendes and Brazil ’66 Sao Paolo Remix) – The Foreign Exchange
11) Ramsey Lewis - Nicole

The Jealous Guys "The Love Mixtape"

I shall not lie...I am normally not a fan of mixtapes, I don't see the point, call it a damn album, you don't need to sell it, you can give it away free and still call it an album. So why am I writing a review for a mixtape? Well, there are a few reasons:

1. I am a fan of the Jealous Guys
2. There is a solid concept to it, making it more album like
3. IT IS DOPE

I shouldn't have to explain the first point but just in case you need me to I will. I (that is me, DJ Jazzpants) am a fan (I enjoy and like) the Jealous Guys (the San Francisco hip hop duo Ayinde and BizYCasa.) The second point should be rather clear as to what the common thread is for this album (yes I am calling it an album, it is more of an old style mix tape that you would make for yourself or someone else to get a point across) is love in all forms. Now on to the third point, well that is what the review is all about right? Tell you why I feel a certain why about an album, so here it goes.

A monologue by BizYCasa on his doubts of the capabilities of people to love (and know what it truly is to love and be loved) as well as an introduction to the group, "you call it natural, but we don't develop naturally, shout out to the video games 'cause they raised me too, I'm BizYCasa, he's Ayinde, it's the Jealous Guys," begins "First Sight." Both BizYCasa and Ayinde come correct with their verses on this song about the search for true love, but the song also offers a glimpse into the style of each MC, while BizYCase says the more poetic and smooth line "Ugly thoughts make beautiful brains hurt," Ayinde counters with a much more grimy (I really don't like that word but damn it works) voice and more in your face line, "I see the female dog in their faces." This is of course a generalization of the two, both can hold their own in any style, but there this captures there overall sound.

"Love You So" features Solomon & Finder who provide a great sound (both instrumentally and vocally) for this laid back track where the Jealous Guys offer their version of capturing a relationship from beginning to end in a verse, as the chorus says "Every hello has a goodbye and every night has a sunrise." Rarely does one MC outshine another on this album, but on "Pretty Tony" BizYCasa crushes it, especially his first verse. Now this is not a cut at Ayinde, who provides two solid verses, but BizYCasa's wordplay (especially his juxtaposition of words) is incredible, I debated quoting the whole verse, but since you can cop the album and track for free, just listen to it and prepare to blown away.

In one of the easiest to figure out samples of all time "Swimming (Tribute to Passion Pit)" the Jealous Guys capture the feeling of falling in love when you feel like you are floating through the air (or swimming) and Ayinde closes out the track with uplifting line "so I tell myself that I will live forever, we are the future and the weather." The 47 second long "Female Perspective" is how to do a "skit" to keep an album flowing while offering insight that wouldn't really work in a song, in short, it adds to the album instead of just being filler.

With a hauntingly yet angelic beat produced by 82 Fresh "Caged" captures the battle between "good" and "evil" going on inside all of us. Maybe it is just me, but I can see this being a huge crowd interaction song when performed live, especially the chorus featuring the line "I thought I was the one, who the fuck was I kidding," I find myself saying that each time I hear the song. On "Tears In Heaven" Ayinde and BizYCasa talk about themselves and how they will be viewed when they're, some celebrities and loved ones lost. What makes it shine is it creates a feeling for the listener and invites them to look inside him or herself and contemplate how we want to be remembered while we are here and after he pass, at the same time look back and picture those we have lost.

"My Mother" immediately reminds me of 2Pac's "Dear Mama" not because of the sound but for the pure emotion and feeling of the track. Both Ayinde and BizYCasa pour their souls out to their mothers (and in reality, all mothers) on here. I cannot due justice to the emotion captured, so I shall not even attempt it.

Ayinde shows us he can handle production as well on "Writers." The Jealous Guys offer a wide array of inspirations (good and bad) that compel them to write and create. In fact, it makes the listener feel the need to write because of all there is to capture in the world, whether in history, love, nature, or more accurately life; life, in all its beauty and pain, needs to be recorded in some way so it's not lost. The skit "Male Perspective" tackles the double standard of our society for how men and women are suppose to view sex.

If anyone wants to know how to paint a scene, should listen to "Bus Stop Jazz" where Ayinde and BizYcasa describe, well, the images and feel of the bus stop. But as you listen more and more you realize, it is not so much about a physical bus stop, but about the idea of people being bus stops (just a break before you move onto the next one.) After a few subdued and relaxed track, "Purple Rain" hits you hard, not just wish the instrumentation but Ayinde and BizYCasa's vocals, oddly enough it is rather uplifting, creates the feeling of lifting yourself up now matter what.

And just as quickly as "Purple Rain" hit, "Lingure" brings us back down. A subtle piano intro sets the mood for this track, while Ayinde and BizYCasa discuss what they witness on their streets. "Brainwash By London" continues the dirty sound and feel of "Lingure" as both MCs (at least in my ears) go after all the negative aspects of the city of San Francisco (then again at this point I have been awake for about 20 hours so I do question my judgment a bit.)

How could you title an album "The Love Mixtape" without having a track called "The Love?" Obviously you could very easily but shut up. While, Ayinde remains rather neutral on love, if anything deciding he does not want to be too attached, BizYCasa's verse is one of bitterness and love lost, captured by the line "Meet construction, By combustion, I need love and you offered destruction."

My favorite track off the album probably belongs to "Insomniac Rhapsody" and instead of offering you my take on it, I figured why not just let you check out the music video.



The album closes with "The Last Dance," where BizYCasa and Ayinde spit for a laid back but intense just over 4 with no breaks. It has a feeling of a spoken word poem more than a "rap song" and that is a great thing. This is one of those joints you can play for someone who doesn't like hip hop and they will walk away realizing they had the wrong idea of what this music is really about.

This is not a mixtape, unless you mean a tape of mixed songs you create to capture a feeling. It is not your standard rap mixtape, it is an album that just happens to be called "The Love Mixtape." It is so much an album, that Ayinde and BizYCasa keep a common unifying theme throughout. They created an album without even wanting to while so many other artists fail at doing so and instead just have a collection of random songs. But in reality you do not need to take my word for it because you can get this for free and check for yourself. Just promise me that you will remember the name The Jealous Guys and that if you do listen to the album, really listen to it because don't be surprised if you find yourself thinking you are listening to A Tribe Called Quest, if they came out 20 years later, were from Cali instead of New York and had a different sound, but that vibe is there go find it now.

Download "The Love Mixtape" here

No "NoKnowsBeats2"

I know I am a little late on this but check out this mix NoKnows created for Blind I for the Kids it features some of my favorite artists including I,CED, Black Spade, and 84SKills, you definitely should check this one out.

NO KNOWS DOPE | NO KNOWS BEATS 2 | JANUARY 20XI by NoKnows

The Hinderance "Ape SHHH"

Let's get one thing straight right now and I am sure many of you already know this, but there are tons of dope hip hop artist who are not from the good ol USA, whether we are talking about our neighbors up north or our former rulers or just about any other country in the world, hip hop is world wide so it is about time my blog goes international. Ladies and Gentlemen, let me introduce you to The Hinderance, a hip hop group from England that features MCs Passive 65ive and Issuez and on the ones and twos ManOne. In an effort to whet our appetitives for their sophomore full length album "GoodAll" The Hinderance have released the free EP "Ape SHHH" letting us know that England has more to offer hip hop than Slick Rick. But what is the deal with this album, can a fan of "American" hip hop really enjoy the music from the UK? Quick answer is of course they can, music is the universal language but let me explain to you in a bit more detail the quality of this album, so here we go.

The album begins with "Intro A is for Ape" which features the song styling of of Tiny Tim and an ABC like lesson on the fact A is for Ape. (maybe that is too much to say for a 15 second track, oh well.)

"Sauce" starts quietly with just some every vocals before the track really begins with Passive 65ive spitting the first verse of the album. Passive reminds me Mike Ladd with a British accent, by that I mean, be ready for a flow that is not your standard cadence or phrasing, or even more bluntly, listen with an open mind and ear and you will check all that is being said (which is A LOT.) My favorite line segment of the first verse is "disrespect to the normal and voiceless." The second verse goes to Issuez and he continues the ideas of Passive 65ive at the disgust of the corruption and ignorance of the human race.

One of my favorite producers, Dig Dug, offers his remix of "Bizarre OH" where Passive 65ive and Issuez take you on a verbal mind trip, so if you are looking for rhymes that you do not have to pay attention to and can listen to mindlessly, this is not the track for you, or really the album for you. Actually let me take that further...this isn't even the blog for you but thanks for reading this far. So no quotes for you on this track...listen to it for yourself and tell me if I wrong about just how dope it is.

Now on to the next track, "Road Wrap" begins sounding like an old western TV show but with heavy drums as the story of Ricky, who I would describe as a suburban wanna be hustler, but as the gravity of the situation becomes obvious the beat transforms as Passive 65ive and Issuez reveal the somber reality. The words and the way the beat plays off of them make "Road Wrap" a great example of hip hop story telling.

What would project titled "Ape SHHH" be without at least one sample from "Planet of the Apes" and that is exactly what the track "Paws" is, coming in at just :32 seconds, it a bit of an interlude to the EP.

Original member of The Hinderance, DJ Hotel, produced the Issuez solo track "Child's Play." I'm always a fan of when a song contains mutiple references to some of my favorite entertainment references (music, tv, books, movies, etc) and this is one of those track and you know what, I won't tell you which ones there are because that is half the fun so just listen and enjoy.

Not to be out done Passive 65ive offers up "Doughboy vs Dr Manhattan," over a one of the most toned down beats on the album. Now this is not to say the beat is boring, far from it, it just has a totally different sound (probably because it is by a self taught Goth musician, Viktoria Matthews and producer R- Adaptor) and features some impressive scratches by ManOne. My comic book nerd self highly enjoys Passive's discussion of, Dr Manhattan, the character created by Alan Moore and Dave Gibbons.

Issuez and Passive 65ive come together again (along with ManOne) for the EP's final full length song, "Mantra." Synths dominate the beat composed by ManOne, creating feeling of an upcoming robotic takeover or maybe just a great sound for meditation depending on your point of view (meditating tends to lead to me thinking of robot or alien invasion, hmmmm.) Both MCs open up their mind and give the listeners some create stream of conscious verses while making sure they doesn't wonder too far off. The album ends with "Outro (Jane Goodall)" in which, via a audience recorded speech, Dr. Goodall offers the listener a chimpanzee greeting.

Overall "Ape SHHH" does a few things very well. First it introduces you to the Hinderance, if you didn't already know them, secondly it shows lets the world know that hip hop is not a US only art, the movement that started in the Bronx has reached the world and wherever you are, you can find artists making quality hip hop. But what it did best for me (besides letting me hear some damn good music) was get me ready and increase my anticipation for their full length album "GoodAll," which can't get here soon enough.

Stream and Download the EP for FREE here

IV the Polymath "Push IVward EP"

I love well down instrumental, in this case MOSTLY instrumental (final 2 tracks have MCs,) projects. Don't get me wrong, I also love MC heavy albums, but instrumental albums have a special place for me and I think it is because it really fuses the hip hop and jazz sounds that I enjoy so much. IV the Polymath's "Push IVward EP" is an album where you can turn out the lights, lay down, put on your headphones and just zone out as you turn up the volume. It doesn't have any club bangers ("Set Backs" being the closest thing) it is just good solid instrumentals (with that tape cassette feel) that does what all great music should do...speaks to you and hits you in your soul. Enough of my ranting, let us get into the details, here we go.

"Let Me Be Your Tour Guide" starts with some calm hi-hats, a single keyboard note, and an occasional bass drum, before the bass guitar and what I like to call funk claps join the party. Before you know it, more and more instruments join and at various tempos to create one pretty dope modern funk (as Dam-Funk would call it) track. It seems to take you away from where you are and sets you floating into the ethereal space surrounding us.

Pianos and bass dominate "Suckerpunch" before the drums take over and you feel like you're getting, well sucker punched by them, but in the most pleasant way possible. Because it is hitting you in your inner-being, really jarring and keeping you grounded so you don't get lost as the other instruments try to lift you up and out of this dimension. And no I will not apologize for sounding this way, because that is what this music makes me feel like.

Keeping it minimal, "Push IVward" begins with just a piano until scratches, trumpet, and drums enter the equation. For the first time we hear vocals on this album, the words "Listen Closely," and IV the Polymath demands you to do just as he adds a wobbly angelic voice and flutes while keeping the drums and dropping out the other instruments at apparently random intervals (but of course nothing is random, there is always a pattern if you dig deep enough.) The voice returns and asks "Are You Listening" and you better be because their are a few more surprises before this track's journey comes to an end.

"26" is probably the most disorienting songs of the album (especially while listening with headphones) it seems IV the Polymath plays around with how the instruments are played through each channel, at times making you feel like the music is passing through your head. He wastes no time adding unusual sounds on top of other sounds, to force you to close your eyes so you can focus, but all that does is add the the feeling of weightlessness as you go onto another plane of existence. Except of course for the drums...ah the drums they keep you near so you cannot get too far away, not quite anchored but more tethered letting you wander but never really escape.

Harps and faders. That is how "Shift" begins before the gently drum beats start and grow a little heavier, making sure you bob your head a bit and just as you relax you are hit with a great baseline that goes right to your toes or legs and gets those bouncing. Sprinkled throughout there is a piano, sax, and chimes, all used so you do not get too comfortable and content with the music. IV the Polymath wants you to relax and zone a bit but not too the point where you stop listening and get lazy ears.

The first of two vocalists on the album, Junclassic, appear on "Set Backs" a beat with with a looping piano and some nice snare drums (as well as your expected unexpected additions here and there.) If there was a track to listen to while driving in your car with the windows down this is the one. While Junclassic talks about the problems we can encounter in life, he keeps it positive by telling us to keep our eyes open for what may be coming, no matter what life throws at us we can handle it and overcome any obstacle.

"Day & Nights" with its keyboards, drums, and vocals by Jondis end this EP. Jondis discusses the cyclical feeling of life and our journey of discovery and rediscovery "Where we going, way beyond where we're at, when we get there, feeling like we've always been here." The track is incredibly laid back and relaxed, creating a feeling of familiarity and comfort.


In reality that is the general feeling of the entire project, familiarity and comfort, but at the same time the constant struggling of where to go. Should we let ourselves just float away and experience the other worlds that are all around us, or should we concentrate on the world and place we are now. Isn't that what life really is all about, taking care of the here and now, but not being afraid to go off and experience what else is out there without the constant fear that so many of us feel on an everyday basis. IV the Polymath created a short (under 25 minute) project that really covers human existence and if you let it, will take you places that only really great music can do and cause you to examine yourself in the process.


Stream and download the album here please note that 10% of all money will go to St. Jude's Hospital one of the best charities out there, so if you like please give open your wallets a bit.

Ill Vibe & Ordeal "Michael Jackson's Milk"

When I saw the album title "Michael Jackson's Milk" I wasn't sure what to expect. But as they explain on their bandcamp page "The name of this album is in no form of disrespect to the late Michael Jackson, more a TRIBUTE." Once I got that explanation I was able to put on my headphones and check out this album. As I have said numerous times on here (mainly on my review of "Lobotomy Music") I am a fan of MC and producer collaborative albums, they help to form a cohesive feel and mood for an album, really holding it together. "Michael Jackson's Milk" is no exception, Ordeal and Ill Vibe compliment each other incredibly well and while there are different sounds to each track you can hear the connection throughout. But enough of my rambling let us get on to the actual review, so here we go.

"MJM Intro" certainly features a little quote from Michael before Ill Vibe lays down a chill beat while looping the words in the album title, just a little taste of what is to come, in other words a solid intro. The listener is first introduced to Ordeal with "On the Block" a beat that sounds like a full blown orchestra, chopped up. But Ordeal steals the show here with rapid line after line of multisylabolic rhymes. I've heard the track about 10 times now and still hold on tight trying to hear each line, got most of them but damn impressive to have that speed (not over the top cannot understand speed) and still have every word hit.

On "Personified" Ordeal slows down his delivery but keeps his lyrical content, "Tell me you're not fundamentally twisted I'm gifted, you may think you're the present I'm the fucking ghost of Christmas." The piano, horn, and drum beat crafted by Ill Vibe create an atmosphere of people reminiscing over the old times while pour their hearts out, the ideal sound for Ordeal's flow of self-confidence.

Ordeal proclaims "Music is for grown-ups" on "It's a Shame" which features Phil G the Knowbody. Both MCs go after those who get into the music before having the talent and knowledge required The beat is rather cloudy with a soft mix of piano, drums, and horns. The horn actually acts as the dominant part and actually provides the rhythm, a nice twist by Ill Vibe.

The piano jumps out of my headphones on "Riddle Me This" while the drums provide a great beat for Ordeal and Nobody Cares to spit over. What is really odd to me about this track, is I found it really difficult to say much more about it and when I went back to pick out some of the lyrics I like (there are a good amount) I found myself listening to the whole song and realizing I forgot to type those lyrics, so I listened again...same thing. Not sure what this means but just thought I would share it with you, maybe you will have better luck than I did but make sure you peep the lyrics, both MCs kill it.

In what sounds like the drums of a upcoming battle (or the hollow ticking of an echoing clock) "All Night Long," tries to shut off his mind and just relax so he can go to sleep. "I just want to get along be my integrity is egging me on, begging me to deaden these pawns and finish strong," the life of an artist, never being able to rest especially when an idea comes into their head. The clock sound continues with "Timeless," but this is more of a music box sound, actually a dream (nightmare) music box. Along with Ordeal (who keeps up the horror ideas dropping a nice Freddy reference) Eyenine is featured with the opening line "excuse me avid listeners I need your undivided attention I'm questioning the very structure we're standing on in this dimension." Reading that line it does not seem like it would work, but Eyenine's phrasing and cadence make it sound so very right and spot on as if we have said these words wrong.

When I hear "I've Been Alone" I picture Ordeal walking through the streets on a cold and snowy winter night with headphones as he gets many of his personal obstacles and grievances off his chest while running down his life's struggles. It may just be the sampled chorus that sounds like a muddy, high pitched Dido. Electric guitars and drums hit you hard as "6 Feet Deep" begins. Madness 2012 starts the first verse with "We're standing at the edge of history about to leap face first into the unconsciousness without being asleep," so as you can tell this is a very upbeat and lighthearted track.

Cubbiebear spits the first few bars of "Insensible" over just few simple piano chords but as his verse gets more emotional, the drums and harps pickup until they continue throughout the track. In a great move, Ordeal gets the same treatment but in reverse, in fact the beat drops out entirely for his last 2 or 3 words.

BOOM...that is the feeling of "Verbal Stardust" starting with Ill Vibe's beat featuring chords that sound like Jason is coming for you and heavy drums (but still squeezes in a great little soul sample) to Ordeal's verses, but the BOOM is more of an explosion of thoughts and ideas. Probably the least structured and most relaxed vocals. The album closes with "MJM Outro" which uses some great background music (I'm sure you will know it) over a news report on the cause of Michael's death and just where Ill Vibe and Ordeal got the idea for the album title.

There is no doubt that Ill Vibe and Ordeal created a damn good album with "Michael Jackson's Milk" and it is not just the unifying underlying sound of the album. No, to me what really makes it shine is its reply value, not just because it is quality but due to the layers of it, especially Ordeal's lines. I swear, each track he has more rhymes than I can actually hear, on each listen I pick up more and more and then I wonder why I didn't notice them before. Upon discovering each new rhyme and phrasing I notice how well he works around and with Ill Vibe's beat, you can tell the two made an effort to create music and not just an MC over a beat, so kudos to both of them for working on crafting songs that are cohesive enough to form an album but not so similar that you get bored, I highly recommend you check this album out now.


Stream and Download the whole album for free here

PS: I apologize if this became incoherent at anytime, I just seemed to zone out to the music and lose track of my pace of writing. I always love when I can lose myself in an album but not always a great idea to write the review while stuck in the music.

Thesselonious "...while I was curling my blunt"

21 tracks, all beats, coming in at just under 70 minutes. Damn that is a whole lot of instrumental hip hop. Those were the first thoughts I had when checking out "...while I was curling my blunt," and that is true, it is a lot of music to digest, especially since Thesselonious created music you actually have to pay attention to (which is a good thing.) Now if you thought, well this is just music to smoke to and/or it is just going to be another Madlib wanna be making beats...you would be horribly wrong on both accords. Yes, you could smoke to this (you can smoke to anything) but it isn't necessary (as I have said before I don't smoke.) While the vocal samples on a few tracks to reference marijuana it isn't a pervasive theme. What this album is instead is 21 full tracks of instrumental hip hop that any fan of the genre (and really music in general) can put the headphones on and enjoy (especially if you are a fan of hard hitting drums, as Thesselonious is a "drum snob.") I debated if I should do a track by track on this album because of how many beats there are, but I figured why the hell not, even if some only get a sentence or so might as well touch base on each, so here we go.

Like I said, there are not many tracks to carry marijuana as their central theme, "Smoking Bowls Atop The Sears Tower" is, as you can probably guess, one of those that does. From the sound of a joint being burned in the intro (which continues throughout) to the dialogue of the legalization of majiuana that is played over top the beat, pot is very important to this track, which makes one think this will continue throughout (HA.) The actual beat is drum heavy (of course) with a few guitar chords played at intervals with some great scratches in between. Musically this track sets the ground work for the album, heavy drums with other instruments layered on top.

If you could imagine someone running away clumsily from a killer in a slasher film you would have the drums on "RUN!!!" At first it sounds awkward but as the beat continues and choir sound and piano are placed throughout, you realize just how well these drums actually work. Thesselonious shows us (to paraphrase Miles Davis) that a note or rhythm isn't right or wrong until you play the next note or melody, in other words he has created a great improvisational sounding beat, making the case (that most hip hop heads already know) that instrumental hip hop is music and a great art form that needs to be respected by the entire community.

The uptempo, horn fueled "Fair-ah Tales" takes aim at both fair weather friends and studio gangsters. But once again the drums shine on this track (a common theme) but the horns come in a close second. "Quarto" is one of the more unusual tracks on the album, featuring more of a bongo style drums, and synths with a harp. But just in case you are feeling lost, Thesselonious adds some scratches because damn it we need more music with harps and scratches.

The heavy and lazy bass drum of "I've Been Hallucinating (Sha La La)" along with finger snaps, organs and some other crazy sound make this track rather disorienting and creates a feeling similar to if (prepare yourself) you were hallucinating. "I Can Be Cool" shows the soul side of Thesselonious, with a great sampled hook over solid drums. Just as you begin to relax "Sugar Mama" gets you moving with an afrobeat rhythm that would make Fela very proud. Horns blaring proudly over African drums create an infectious rhythm (I know of no one who would choose this as a song to curl a blunt to.) Prepare to put this on repeat.

JillzWorth co-produces the next track "Feel So High." Now I do not fully understand how someone co-produces a track (my ignorance I know) but judging by this it almost feels as if Thesselonious created a simple beat and JillzWorth played around with it and took it to a whole different place (or vice-versa) whatever it is, it works out great. Piano, drums, and horns create "The Rain In Spain," a track that could be played next to an Irving Berlin tune and not seem out of place. In a rather haunting track (maybe it is just me feeling it could be in the OG Halloween) "Time" gives the listener as much as they can handle, with drums, horns, vocals, whistles and pianos, all coming and going, creating some incredible orchestral moments, as well as some slight instances of silence. Another instance of Thesselonious showing just what he can do with his music.

About halfway through the album, I feel I need to take a break, not because I am not enjoying the music (I am loving it) there is just so much to digest in this album, and this is my only real critique of it, it may be too many tracks for listeners to fully grasp (21 tracks is A LOT of ideas for someone's mind.) So I shall grab myself a drink and continue because we have some more great music ahead.

And we are back...

I wonder if I become persuaded by the name of a track sometimes. Do I hear stuff that isn't really there because of that? "Babylon 5" is why I am asking this question. I hear Babylon 5 and I think space, and Thesselonious creates a beat that gives me that feeling because of the whirly sound (descriptive huh) that exists in the background of this beat, gives me the sensation of traveling through the universe. This is one of the few tracks without heavy drums which is why "Phoenix Uprising" hits so hard. After the lull of "Babylon 5" the drums of "Phoenix Uprising" sound like they are going to break my headphones, beautiful contrast. But don't think this is just a heavy drum beat, there is a segment that features a sitar and finger cymbals, followed by a section of throat singing and radio tuning (ok both sounds are probably created by playing with the frequency but I like my description better.)

Oddly "Unpleasant Piano" only features a piano for a small section of the track, but instead uses a gentle drum and harp to help move the beat alone, before the piano shines for a few moments periodically throughout the beat. Guitars, Guitars and Guitars and drums describe "CoCo." I think I added enough guitars...each one is different, instead of using a wide array of family of instruments, Thesselonious uses varieties of the same one to create a funky, reggae feeling track. A steady drum beat with layers of bongos,piano, and strings give the feeling of searching within oneself on "Self Awareness (Don't Forget)," although the vocal sampled played over top is rather annoying, great words, annoying voice.

If there was a smooth R and B track on "...while I was curling my blunt," "Larlene (Elephant Redux)" would be that track. A few gentle strums of the guitar, backed by some great drum claps and angelic voice give that sort of feel. Thesselonious keeps the paced chilled with "100 Points (Do Your Math)" a Spanish guitar featured beat that breaks down the math of record labels.

We are introduced to a new superhero "Ghetto Man!!! (v 2.0)" whose theme song captures soul, funk, and rock in one 4 minute beat. The drums on this track, push the limits of my headphones (damn good ones) giving a bit of distortion. In stark contrast, the rather clean "My Ganja Weighs A Ton" gives us a Latin style rhythm, accompanied by drums, horns, and a metal pipe. The album begins to wind down with the rather minimalistic "Brash (Gettin' Small)" which features some drums, Spanish guitar, and electric piano, but it almost feels like these instruments each play at their own time and never overlap. The final track "Let The Light" brings a dance club rhythm that appears for the first time on this album. Even after 21 songs, Thesselonious brings something different to the table.

Yes the album is 21 tracks of instrumental hip hop coming it at just under 70 minutes. Yes there is a lot of music and ideas for the listener to consume and understand. Yes you may need a break because you do not want to miss any of the intricacies on this album. But this isn't an album that is laden with fillers, all the music is quality. But most importantly what Thesselonious did with "...while I was curling my blunt" was show just what can be done in the arena of instrumental hip hop, he created great music.

Check out the album when it drops on February 14th here

Robo-Robb "SOULBOT 2"

Normally I can tell right away if I am going to enjoy an album or not; that was not the case with Robo-Robb's "SOULBOT 2." I instantly enjoyed the beats and overall sound (old cassette tape and scratches) but I wasn't sure about Robo-Robb's vocals. The first time I heard his voice I was reminded of Tony M. from The New Power Generation. I cannot deny that at first I was a little turned off thinking about the lack of talent of Tony M. but then I opened my ears (as I should have done from the begining and I apologize for making such an assumption), yes Robo-robb's voice does SOUND like Tony M.'s but that is all. Robo-robb has meaningful lyrics that actually work together, so let me end any and all Tony M. comparison now. I listened to the album again and was impressed by the content and lyrical ability of Robo-Robb. I then began to really enjoy this album and I shall tell you why as I usually do, track by track, so here it goes.

The album begins with the Orwellian inspired "1984" where a haunting beat and beautiful vocals by Lauren Deming,lead into the a short verse by Robo-robb. He introduces the state of the world, incredibly digitalized (I made a new word) and emotionless, and ends with his uplifting final line "you say I can't save the world, well see me try." This leads into the sounds of far off sirens, helicopters, and ensuing chaos.

The chaos is heard in the beginning and continues throughout "Construction," where Robo-Robb addresses the flooded world of internet rap. He addresses everything from "the 5 Million rapper," "500 beat makers invading my social media," "publicists are bodyguards, protecting fragile egos," "journalist are pawns" all of which many fans of the music have encountered and feel the same way as Robo-Robb does. In short, he speaks from the voice of someone who is a fan of this music as well as a participant but does so skillfully compared to so many other "internet rappers" who say they are fans of hip hop but haven't heard of Rakim or BDP.

"Une Vie" (loosely translated as "One Life") is a dedication to Robo-Robb's grandfather (I assume) where Robo-Robb recalls the time spent together and the difficulty of dealing with his death. In a great move,Lauren Deming returns and adds her voice for the chorus which increases the almost dreamlike feeling of recollection of a life and the lesson's learned.

The words of Irving Berlin's classic "Blue Skies" begin the track of the same name, before Matt Schwartz lends a new voice to the album. Right away we realize this is not the same sort of happy song as Berlin's classic, instead it provides commentary on the current depression. Schwartz tells the story of a family going through these difficult times and how life has changed for "a family six feet deep, while the dad's in the dirt." While Robo-Robb acts as the voice of the infuriated masses detailing the huge gap between the wealthy and the every man, "people taking pay cuts to keep a paycheck, the top 1 percent taking home 40 percent."

Robert Weber, lead singer of Squid the Whale and Mister, appears on "Moment" but it is Robo-Robb's beginning verse that shines. It gives us one of my favorite lines of the album "too much to convey I can't take a vacation," not mention a great verse as a whole. The track ends with multiple conversations that become disorientating to illustrate "in order to use your head you have to go out of your mind." The upbeat and even cheerful track "untitled" tells the story of Robo-Robb finding that person who he can truly open his mind to and whose "brain is so sexy, I just want to explore it." This very well might be my favorite track on the album (betwen this and "Une Vie") as Robo-Robb seems to really relax and just let his rhymes go, almost a stream of conscious rap.

The funkiest beat on "SOULBOT 2" belongs to "289" hands down and Robo-Robb adds to the funk with great old school party vocals (while still shouting out FourSquare). The beat then switches to a spaced out rap funk dance beat and the transition is seamless. Any nerds (and as you know that is not a bad thing) want a track to move to "289" should be at the top of the list.

The spaced out feeling continues with "GMS" as Robo-Robb takes a trip with his girl (who says he "drives like Buzz Aldrin") to the moon. I am very curious to see how many people get confused on the lyrics of this track, but for anyone at all interested in outer space, the lyrics (and beat) are spot on and impressive.

While at first I wasn't too sure about this album, I once again learned the important lesson of listening to any and all music (and everything really) with open ears, heart and mind. Once that happened I was able to see what Robo-Robb was doing, creating an album with thought provoking lyrics, with an old school hip hop feel, while it evolves into a spaced out almost nerdy demonstration. In other words, in contains just about everything a enjoy about music. So hats off to Robo-Robb and I recommend you check out "SOULBOT 2."

You can stream and download the album here.

Mega Ran and K-Murdock "Forever" video

Here is the "Forever" video by Mega Ran and K-Murdock off of "Forever Famicom" one of my favorite albums of 2010; check it out.

Dotmatic "Lullabies for WInter"

Dotmatic - Lullabies for Winter (Promo RE:Winter Mix) by Recordbreakin

Winter, the coldest and most dreaded season of the year. The days are short and the nights are long. If you're not used to the cold you will hate it but for someone who was born in the winter, there is beauty and warmth already present.

Each track takes you through a different moment within the season.
Quiet, stillness, calm, gentle snow, storms, blizzard, love, family, break up, solitude

Goal: Forget that anything one else exist for that moment if you're snowed in or coming home after a long day work-whether you're alone or with the one you love-find your moment. Let this project be your soundtrack.

Re:Winter - songs listened to during the creative sessions for
"Lullabies for Winter" (plus a few special treats..)

Please support LULLABIES FOR WINTER by going to: http://www.recordbreakin.com/rbm025.html
Release date: February 14, 2011

Tracklist:
Intro
J Dilla - Steppin Out
Dotmatic - Restoration
Kool & The Gang - Winter Sadness
Pete Rock - Midnight and You
Pat Metheny Group - James
Joe Henderson - Black Narcissus
Atami - Under the Sun (Jazztronik Remix)
Digital Underground - Sons of the P
Catalyst - Bahia
Miles Davis - Minnie
Caldera - Ancient Source
Madeline Bell - That's What Friends Are For
Clouds - Over Clouds
Spinnerty - Just Listen Pt. 2 ft. Jacqueline Marie (dot.|maT!c's unauthorized rework)
Madlib - Parklight
Quasimoto - Tomorrow Never Knows (Jaylib mix)
Lamont Johnson - Theme from Thunderfist
Marvin Gaye - Feel all my Love Inside
dot.|maT!c - Baby
Sir Froderick - cantyousee

The MC Faceman "#wordemupskislopes"

In an era when artist are so afraid (or incapable) of doing albums that are linked by a common concept, The MC Faceman has made a name for himself by doing just the opposite. His album's always a strong link of ideas from track to track, except for "#wordemupskislopes" which as he says on "wordemup YO!!!" (the album's first song) "just got some dope tracks on it." And damn it I cannot blame him for putting this out, because he is right, there certainly are some dope tracks and I'm glad he didn't sit on the tracks because they didn't fit into an album, sometimes you need to release something that is dope track, no need for a concept (as long as you do that sometimes, be an artist people.) So instead of my usual extended rambling let's cut to the chase, here we go.

The sound of an organ (which would've fit perfectly in Faceman's previous album "Tales from the Sick") kick off "wordemup YO!!!" which I assume will be a main stay in future live performances if for nothing else, that clear set up for a call and response situation. This is easily one of the standout tracks of this album, with Faceman spitting just one verse that comes in at under a minute but it is pure heat in which he rhymes hubris, Horus, whore us and chorus and changes the pace and breaks mid delivery to make it work beautifully.

If you think you're going to get to just chill while listening to this album, "Piff Wit It" reminds you that will not be allowed as Swollen Drums crafts a beat that would fit into a club DJs mix no problem. Warren S. Britt (who has one of my favorite lines on the project "you're nice without the N, I'll let that ass melt") and Precise I.V. join Faceman on the track. This a straight banger. The style and sound of "Who Benefit?..." is almost in direct opposition to the previous track. This time Faceman shows his conscious (political, revolutionary, or whatever you) side as he goes after the government and big business for their attempt to control all aspects of our lives through a variety of paths (military, media, food, government.) This is one of the things that impresses me about the MC Faceman, his ability to handle mutiple styles and aspects of hip hop so seamlessly.

"Hello Rider" offers the listener a taste of horror rap or whatever it is called nowadays, and even though I rarely enjoy tracks like this (just not my style) Faceman and Eric Choy pull it off rather well. There is one thing missing though, OZZY OSBOURNE. If there was a hip hop track that called for Ozzy this is it, in fact this could be a Black Sabbath rap track and it would work spectacularly, great work by Anno Domini to create that atmosphere. Judging by the title you would think "Inner Demons" might fit into the same style and you would be partially correct. But it has a dramatically different feeling that stems from the violin driven beat of KO Beatz. Only the end of each verse (where the Inner Demon speaks) has that horror rap feel the rest is very introspective (which is of course the idea of an inner demon.)

Fair-weather friends (something that we are all too familiar with) are addressed on "Bobbleheads,"another standout. The beginning of the first verse sums up the song and idea perfectly, "Hopefully you've got friends you can trust, not pretend grins whose ends are what they lust, because those limbs must be cut." But do not think those are the only dope lines in this track (or the rest of the album for that matter, just do not feel the need to quote each line to you.)

MC Faceman and OTiS CLaPP decide to lift us up (off of our asses) on "Save The World." Vega provides a drum and guitar heavy beat for both MCs to get their message to us to make this world a better place and remind us that we have to do something to make that way and inform us "Only people can save the world, but we would much rather prefer to ruin it." In other words stop making this world a worse place and live right (as individuals and as a society.) The most unconventional beat (sitar, fife, bass drums) is provided by Luger McCoy on the album's closer "(p)Imperialism." The MC Faceman shines on this track blasting the U.S. government for their creation of paper foreign governments, love of big business, and the federal reserve.

While the MC Faceman says in the first track that this album "just has some dope tracks on it" it is more than that. This album, more than his other more concept driven albums, show his diversity. Whether conscious rap, party rap, or horror rap, Faceman can just from sub genre to sub genre with ease but still make it cohesive enough that you can call this an album and not just a bunch of previously unreleased tracks. So here is to hoping that Faceman keeps it up on his next release whether it is idea driven album or just a bunch of dope track.

Stream and download the entire album here

Eratic and Mr. Kinetik "The Green Hornet"

There is so much great music coming out now a days, if you know where to look. Because of this, I try not to say things such as, music was better back in the day, because music just grows from what has come before it and sure maybe the music on the radio isn't great but there is tons of music out there that is of extremely high quality, in fact as a whole there might be more great music available to general population now than ever before. But there are times when I miss the feel or sound of a certain age of music and on rare occasions a new album has the feel or sound of that age you miss.

That is exactly the case with "The Green Hornet" by Eratic and Mr. Kinetik. The EP wouldn't sound out of place in 1988, it has that "Golden Age of Hip Hop" sound, including the oft overlooked scratches. What is thoroughly impressive about "The Green Hornet" is while it does have a great "old school" feel it does not sound dated, it sounds like it came out last week (which it did.) Now that I have rambled I think it is time for the actual track by track review, so here we go.

"The Green Hornet Intro" kicks off the album, and the track begins with a snippet from the classic TV show of the same name before we are greeted by the first of many scratches by Mr. Kinetic. The scratches blend right into a nice soulful beat before Eratic begins and I won't lie, when I heard the first few bars it became very clear that one of Eratic's influences is the God MC, Rakim (in my opinion the GOAT.) Eratic isn't a Rakim ripoff, you can just hear that he has studied Ra's work (as every MC should), this just added to the "Golden Age" feel for me. Eratic doesn't waste bars to get to a punch line, he comes out of the gate correct. "When I prepare, you just stare at the artillery, you try to dial out to call the fam you say he's killing me." This might seem like a minor detail but I get tired of every MC (generalizing here of course) doing some uh and come on, yea I feel it, and then some half ass rhymes before saying anything of substance, so bravo to Eratic for realizing there is no need to waste what time you have on a record. In reality I should probably post the entire first verse but don't want the review to on forever and hell you can get the album, correction EP, for free so listen to it. But just as I am feeling thoroughly satisfied with the track and preparing for the next Eratic verse, I am thrown by a new voice, Mr. Kinetic. At first I thought, damn I want Eratic on this whole track but Mr. Kinetic goes bar for bar with Eratic's verse making me realize: I am in for one hell of a ride for the next 25 minutes.

Mr. Kinetik does nice job chopping up some classic Motown sound to create the beat for "Crazy Hornet Swarm" and once again Eratic kicks off the track, but this time blesses us the two verses broken up by some more great scratches. Before Kinetik gets on the mic he gives us some more scratches. I feel like I am short selling this album by not posting more lines but this is one album where you pick up more and more lines on each listen and I don't want to ruin that joy of discovery for the listener, but I promise you there is some dope shit in here.

"Eucalyptus Brew" is great sit back and chill track, both with the beat and verses. This time Kinetik leads off before Eratic closes. What really sells this track though is the beat and the great vinyl sound it presents. This impressive beat is followed by another just as dope one on "And Ya Mama Too," but this one has a lot more of that sweet funk bounce to it. Both Eratic and Kinetik switch to more a slow flow, showing their diversity (another "lost art" by many of today's radio artists).

Kinetik only speaks through the beat on "Kato's Move" (this is appropriate since earlier Kinetik introduces is introduced as the Green Hornet and Eratic as Kato). The drums and horns of Kinetik work to punctuate many of Eratic's line (once again adding to the "88" sound). The chorus "We were old at 19, without the chance to go pro," offers you a clear picture of just what this track is about and damn you if you cannot figure that out. (I apologize for the bitterness today but people need to be able to put 2 and 2 together.)

At 4:10 (and the final 45 seconds lets you ride out on the beat before it distorts and fades), "In Time" is the longest track on "The Green Hornet" proving once again that a track only needs to be as long as it needs to be. Think about that for a second. The phrasing and breaks of both Eratic's and Kinetik's verse are impressive and not "standard," another display of their versatility.

Ever wonder what a hip hop lounge track would sound like? Well wonder no longer because that is exactly what "UV Lounge" is, well at least the beat, another dope one by Mr. Kinetik. Eratic wins the album award for funniest final line of a verse with "My position's played from the front line your position is fetal." Then again, this is not an album filled with your comedy fueled punchlines (thank you.)

The album ends with the rock fueled "Stay Tuned," in fact after listening to it I am now wondering what I am going to need to listen to before I go to sleep. So that makes rock, jazz, motown, r n b and lounge styled beats (I probably missed something) and Eratic and Kinetic weave wonderfully between all three. Eratic wins another award for mentioning Kris Kristofferson on this track because any time you mention someone who was a collegiate star athlete, Rhodes Scholar, an Army Ranger. a janitor, helicopter pilot, singer/songwriter and actor, you deserve a damn award. (Yes that sentence is a giant run on but damn it, it is my blog so I will ramble incoherently when I choose to).

With "The Green Hornet," Eratic and Mr. Kinetik have created that rare album that once you are done listening to it, you want to hear it again and again. Whether it is the great production by Mr. Kinetic or the solid verses by both, Eratic and Kinetik show their versatility on this appetizer that in reality will leave you more full than most main courses. So sit back, push play and really listen to it, there is a lot to digest in these 25 minutes. Do not just skim over it, delve in, you will not be disappointed.

Download "The Green Hornet" for FREE here

PS:
This album shows that when you make an album or EP or whatever you want to call it, the best idea is to make it as long as it needs to be to tell the audience what needs to be said and that is all. There is no need for filler. I wish more artists would focus on that, than on making an album that is 70 minutes long and has something for everyone, trim that fat. That being said you can make an album 3 hours if that is how long it needs to be. Concluding this rant NOW.