WHY?: Elephant Eyelash (2005)

::: Where do I begin when trying to explain the style of this Anticon mainstay? It's not very often that an artist's name truly exemplifies the sounds that is created. WHY? (real name Yoni Wolf) is somewhere between hip hop, pop, and folk music, but never leans toward any genre in particular. He is a singer, though his voice is not what most would call exceptional, but it gives him a distinct and endearing musical presence. His first release Oaklandazulasylum was one of chaotic yet mellow sounds, somewhat similar to his collaborations on the cLOUDDEAD projects. But with Elephant Eyelash, the sound became less harsh and unpredictable with the incorporation and accompaniment of a full band. Much of the album comes across as folk or pop, with slight influences of hip hop scattered throughout. Yoni frequently displays his unothodox hip hop delivery along with his unconventional vocal melodies. It is safe to say that Yoni Wolf and WHY? are truly one of a kind. If you are into previous releases from Anticon (i.e. cLOUDDEAD, Themselves, Restiform Bodies, etc.), you will probably enjoy Elephant Eyelash. His new album Alopecia is also a great record, that builds upon the style that Elephant Eyelash established and pushes it further.

MySpace Music

Anticon Records

Jantsen: Gutter Music (2007)

::: So lately I have been getting into a lot of mash-up projects, most of which combine rap/hip-hop and intense electronic music. While browsing through the iTunes radio stations I came across one called "Psyphy Machine" that really caught my ear. The station revolves around this psyphy (psychedelic/hyphy) style of mash-ups and original productions, where hard-hitting electronic synths are combined with hip hop elements. One artist that particularly impressed me was Jantsen, out of Colorado. His work resembles the style of eDIT and Tipper, but he puts his own unique twists on each track. The mix opens up with a dope mash-up of "Still Bigger Than Hip Hop" by Dead Prez and "Ruck" off of Tipper's Tip Hop album. The entire set is an eclectic blend of styles, but overall it has a riotous and glitched-out feel to it. Jantsen also has another mixtape called Whomptronica, where he mixes other glitch-hop, psyphy-style artists. Definitely check both albums out if you are into this genre. Both are available for free download on his Myspace Music page.

MySpace Music

Sage Francis: Human the Death Dance (2007)

::: Back after a couple months hiatus, so I thought I'd do a post on one of my favorite artists in hip hop. For those of you who haven't heard of him, Sage Francis is a master at bringing the raw emotion and intensity of spoken word poetry and incorporating it into music that is undeniably hip hop. A lot of artists who attempt to use spoken word elements in hip hop tend to overemphasize the poetry aspect and, in turn, stray too far from the perennial pulse of hip hop music. Sage, however, is able to blur these lines and approach both forms from the perspective of a seasoned b-boy veteran. While many of his lyrics are powerfully deep and reflective, there is always a lighter side that prevents him from becoming a downer. Basically, he is dead serious and cleverly facetious at the same time. I had the pleasure of seeing him live in Lawrence, KS a few years back and he performed the whole show in a monk's robe. At one point he stopped the music and challenged any member of the audience who was man enough to come up on stage and wrestle him. The outcome was a hilarious half-naked and half-assed wrestling match, which was definitely an interesting spectacle to witness during a hip hop show. But back to the music... Human the Death Dance is Sage's most recent album, and probably my favorite since Personal Journals or his Non-Prophets project with Joe Beats. His lyrics are as sharp and clever as ever, with a mixture of ruminative reflections and upbeat bravado. There is an ever-present theme of death (hence the title), but mainly in reference to a defiance of the fear of death rather than overly morbid overtones. Sage utilizes a lot of great producers, including Alias (Anticon), Ant (Atmosphere), Sixtoo, Buck 65, and a local K.C. producer Miles Bonny (Soundsgood). A few favorites are Clickety Clack, High Step, Keep Moving, Black Out On White Night, and Call Me Francois. If you are a fan of Sage's previous albums, you should definitely check Human the Death Dance.

Verse from Clickety Clack:

You should have known better than to be mingling with rats

Got a lead to your shack from some gypsies in the trash

Cryptic interactions, I asked them to stick to facts

Made a trade and gave them everything that I packed

Now there's a brick through your window, kid, sift through the glass

Notice the note in which the brick was wrapped

Explaining that I know how you're quick to the dash

But it won't be very long before you slip in my trap

Like a moth to the flame with its wings in the wax

It's hard to escape with your limbs in a cast

Your heart will deflate when your wrists both get slashed

And gradually I snap these synapses in half

Magnificent crescendo, the cymbals all crash

You'll pay for your deeds, but we don't accept cash

We will mix and match this for that, tit for tat

Gonna get it, get it back, gonna getcha getcha back.

Tracklist

MySpace Music

Strange Famous Records

Cold Duck Complex: Figureheads (2003)

::: I had the pleasure of first hearing this band on a free live session that they released from a college campus, and I have yet to find a band that resembles them in any form. Cold Duck Complex is one part hip hop and three parts jazz in an incredible combination that is as unique as it is uplifting. The group consists of rapper/vocalist Platypus Complex and jazz/groove band the Cold Duck Trio, who mesh to form the Cold Duck Complex. Platypus has a flow that's all his own, but at times reminds me of a less angry version of Zach De La Rocha of Rage Against the Machine. He spits intelligent and socially/politically conscious lyrics, which can be fully appreciated after several listens. The band incorporates the element of live jazz with hip hop, which is upbeat or mellow depending on the intended feel of the track. This is one band that I would kill to see live, but I don't see them coming to my neck of the woods any time soon. Though they are best suited for a live atmosphere, their sound translates well to recording on Figureheads. A few tracks that really stand out to me are Son of a Snapper, Upstream, Wake Up and Lucky Me. If you can get your hands on a copy of this album, you have to buy it. It is a rare blend of intelligence, creativity, and individuality.

Aesop Rock: Appleseed EP (1999)

::: For those of you who have heard Aesop Rock before, you might think Float was his first album, or maybe even Labor Days. But before his semi-major label deal with Mush for Float, there were two releases that Aesop put out on his own. The first was entitled Music For Earthworms, which is a great album to start off his collection, followed by his Appleseed EP. I chose to write about Appleseed because it is one of my favorite Aesop releases overall. At only eight total tracks, it is similar to his later Daylight EP, in that every song is solid and there isn't any filler. One great thing about this album is that Aesop produced almost all of the beats, with the exception of "Sick Friend" (Omega) and "1000 Deaths" (Blockhead). The beats are not all that complicated, usually a combination of the traditional sample and drum loop, but they work well with Aesop's distinct style. With Aesop I think it works best when there is a steady rhythm to balance out his unpredictable and complex delivery. One of my favorite Aesop tracks of all time is on Appleseed, entitled "Hold The Cup," and there is also a cameo from Dose One on the last track, "Odessa." Appleseed is a must-have for any Aesop Rock fan, and a good start for those looking to get into his music.

Tracklist

Def Jux Bio

Cannibal Ox: The Cold Vein (2001)

::: Once in a while you come across an album that is truly one of a kind. The music isn't recycled, the flows are unorthodox, and the atmosphere is otherworldly. The Cold Vein, by Cannibal Ox, is an exemplification of unconventional. I would describe the album as sounding as though it was from the streets of Harlem, circa 2120. As if Vast Aire and Vordul Mega were frozen in time, only to be revived along side producer El-P, who uses his old school turntables to scratch the sounds of tomorrow. The vocals are rough and gritty, with an emphasis on abstract wordplay and aggressive verbal assaults. Vast Aire has a delivery unlike anyone I've heard before, where his slow and almost offbeat vocals highlight the chaotic nature of El-P's production. Vordul Mega is a nice accompaniment to Vast's elocution, as his monotone voice helps to balance out the sound. Overall, this album is not exactly what I would call "user-friendly," but it is one that is innovative, unique, and ahead of its time. I suggest listening to it a couple times through before making a judgement. Once you get used to Vast Aire's flows and El-P's production, you will presumably understand why The Cold Vein has been critically acclaimed since its debut in 2001. Definitely Recommended.

Tracklist

Atmosphere: God Loves Ugly (2002)

::: So I figured I would do a post about this album for those who might not have heard it before. God Loves Ugly, by Atmosphere, was actually the album that got me into underground hip hop. I first heard Slug and Ant at a tattoo shop, with the now familiar rhymes of a track called "Trailer Park Chicken" playing over the stereo system. I asked the artist who was playing in the background, and he said "Atmosphere, man" like I should have already known. The next day I went out and purchased God Loves Ugly, and from then on I was hooked. But I'm not trying to bore you with consequential details, I am just giving the context in which my eyes were opened to the world of underground, intellectual, and independent hip hop. God Loves Ugly showed me that there was more to rap than the banality of the "gangsta" lifestyle. I had no idea music like this even existed, let alone there was an entire subculture of independent hip hop artists that had been making music for years. Needless to say, I never looked back, and Atmosphere is still one of my favorite duos today. What makes God Loves Ugly so great is that it is a perfect blend of deep, emotional, and introspective lyrics, along with a sufficient amount of hip hop bravado. Slug lays down consistently solid verses about individuality, love/love lost, and social commentary among other things, while ANT creates the perfect setting with great production. God Loves Ugly completely changed the way I viewed hip hop music, and opened my mind to so many other artists and genres as a result. If you haven't heard this album, then stop sleeping.

Josh Martinez: Midriff Music (2005)

::: I guess I must be on a Canadian kick these days, because after I wrote my previous post about Classified, I came across another talented artist from up north named Josh Martinez. I really wish I would have heard of this guy earlier, because his album Midriff Music is really an excellent CD. It is one of those albums that just puts you in an upbeat and positive state of mind, like a carefree summer day. He has a distinct, almost raspy voice that works great with his flow style, which is a mixture of both rapping and singing. It is refreshing to hear someone bring a distinguishing style to the mic and combine it with catchy crooning. His subject matter is diverse, with his own views and interpretations on personal life and life in general articulated effortlessly over the boom bap percussion. All of the beats are done by a producer named Samix, who does an awesome job creating the backdrop for Midriff Music. His style is reminiscent of ANT of Atmosphere, and is highlighted on a couple of instrumental tracks throughout the album. The combination of Josh Martinez and Samix makes for a great album that is sure to put any listener in a cheerful and positive mood. Highly recommended.

Myspace Page

Classified: Boy-Cott-In The Industry (2005)

::: There is a common misconception here in the U.S. that hip hop is done best by those within our borders. And while I have agreed with that to a certain extent in the past, it's obvious that hip hop has spread around the world and there are plenty of talented MCs from abroad. Classified, of Canada, is one example of a foreign MC that not only has a dynamic flow but is also a meritorious producer and beatmaker. It's safe to say this his producing skills are good enough that he could easily make a name for himself on beats alone. The first track that I listened to by Classified was one entitled "Beatin It" in which he raps about the beatmaking process, while actually constructing the beat as you listen. It was an idea that really caught my attention and drove me to inquire more about him. I came across Boy-Cott-In The Industry, which is his second major release, and was very impressed. He has a unique view on the state of hip hop and doesn't simply fall back on the typical cliche topics discussed in many hip hop releases. He reflects on the troubles and triumphs of his life on "No Mistakes," reps his home country of Canada in "Meritimes," and displays his lyrical prowess on "Unexplainable Hunger" with Choclair and Royce Da 5'9". To top it off, all of his beats are world-class. Whether it's a high-pitched female vocal sample or catchy piano loop, you always know it's going to bump with Class behind the wheel. If you haven't had the chance to check out Classified, or are unfamiliar with the world of hip hop outside of the U.S., be sure to listen to Boy-Cott-In The Industry.

Spoonfull: Drawn With An Eraser (2007)

::: When I found out about Spoonfull, I was getting tired of a lot of the hip hop that's been coming out lately. It's not that the artists aren't talented, it's just that the same themes and subject matter are being recycled over and over so that too many rappers sound the same. I stumbled upon Drawn With An Eraser, which is Spoonfull's debut album, and it was like a breath of fresh air. The album covers a wide variety of topics, from relationships to social commentary to typical hip hop bravado, which Spoonfull lays down with the best of them. But it's the way he rhymes and the way he presents these ideas that makes him so great. His flow is distinct and idiosyncratic, and he just has a confidence and swagger on every track. It's one of those albums that gets better each time you hear it. Definitely get this album if you are a fan of underground hip hop, quality content and solid rhymes. Make sure you check out "A Girl Named Crown" on his Myspace page.

1 Drawn With an Eraser
2 You
3 Maple Leaves feat. iii
4 Walk Back
5 Backpacker
6 Hey Friend
7 Rivera Dance
8 Mood Swings With Torrey
9 A Girl Named Crown
10 Photo
11 The Sleepers
12 Lady Liberty ft. Gravity, Hibernation, Nimrod, and K-nice
13 H.O.M.E
14 Unfold
15 You Know The Name

Favorite Tracks: Drawn With An Eraser, You, Backpacker, A Girl Named Crown, Photo, You Know The Name

Devin: The Dude (1998)

::: Back in high school, before I discovered underground hip hop, I listened to a lot of gangsta rap. I had the subs in the trunk, always riding around Wichita bumping as loud as possible. Basically, the harder the bass hit the better. During that period my favorite rapper was Devin the Dude, and he is still one that I listen to today. What makes Devin so dope is the fact that you always know what you are gonna get: weed, beer and bitches. No talk about guns, murder, or selling drugs, just feel good flows about drinkin,' smokin' and gettin' laid. Simple as that. But Devin has a style about him that is totally unique and entertaining. The Dude is his first album, and provides an intro to what makes him who he is. Hailing from Houston, Devin has a southern kind of style that doesn't sound like anyone else I've heard before. And even though he raps about pretty much the same things throughout the album, it doesn't get old. Along with his hilarious rhymes and take on life, he sings as well. All of the choruses are performed by Devin in his distinct southern drawl. So if you are in the mood for a laid back album to smoke or drink to, just pop in The Dude and prepare to bob your head. Check out his album Just Tryin' Ta Live also. If you go to his MySpace page, be sure to listen to "Doobie Ashtray." It's a classic.

Favorites: The Dude, Sticky Green, Do What You Wanna Do, Mo Fa Me, See What I Can Pull, Write or Wrong, Boo Boo'n, and Show 'Em.

Tipper: Tip Hop (2005)

::: To start, it's hard for me to put into words how dope this album is. Since Prefuse 73 blew up and has gotten a lot of exposure, it's more and more common to see new "glitch-hop" artists coming out of the woodwork. It seems to me that most of these artists are coming from a more hip hop oriented background, and use influences of electronic music to enhance their sound. In the case of Tipper, it appears to be the opposite. Tipper's releases prior to Tip Hop (go to the music section to listen) were more along the lines of ambient, breakbeat and IDM, where in this album he created his own version of electronic-based hip hop (hence Tip Hop). Not only did he produce all of the music himself, but he also does his own scratching. And this is not just some half-assed attempt at scratching and mixing... Tipper is a pro. The scratching is so flawless and fast that I've had a person tell me he thinks it was done on turntables then pieced together on a computer, because it's just that good. Along with the amazing scratching, there is a constant barrage of glitched-out synth instrumentation that I can only describe as organized chaos. The only person that is on Tipper's level as far as impeccably mixing and mashing is edIT, who I will mention in a later post. Tip Hop has a few guest appearances from rapper Epcot, whose flows fit perfectly with Tipper's volatile style. To try to get more specific with how this album sounds would just be a disservice to Tipper. So please, go buy this album. You will not regret it. If you like it, give his other albums a spin as well.

01		Tepid Bile
02		Ruck ft. Epcot
03		Tip Hop2
04		Crimp
05		Paperthinreality
06		Learning Is Remembering ft. Epcot
07		Run4Cover
08		Gong Show
09		As Thick As You Can Quink
10		Dead Pixels ft. Epcot
11		Pins & Needles
12		Grubby Weasel
13		Flitch
14		Fleas And Itches
15		Primordial Soup
16		Ton Of Brix
17		CycleswithinCycleswithin
18		Ruck (unmixed) ft. Epcot
19		Learning Is Remembering (unmixed) ft. Epcot
20		Dead Pixels (unmixed) ft. Epcot

P.S. "Ruck" featuring Epcot is insane.

Aesop Rock Meets Portishead: Rockhead EP

::: As an avid Aesop fan, I have made it a personal quest to find all of the music he has released to date. His unique style is one that never grows old. However, I wasn't a huge fan of the Bazooka Tooth album (though it was still artistic and innovative). That was, until I heard the Rockhead EP by J. Kingz. In a seemingly odd combination, J. Kingz fuses the avante-garde musings of Aesop with the beautifully eerie downtempo music of Portishead. And this is not just your typical mash-up or a sloppy slapping-together of two opposing styles and genres. J. Kingz blends the two equally inspiring artists into something that sounds totally unique. Each beat and vocal sample taken from Portishead is chosen to suit the tone and mood of the flows laid down by Aesop (courtesy of Bazooka Tooth). Not to take away from Aesop or Portishead in their original forms, but J. Kingz gives the selected tracks a whole new feel and vibe. I highly recommend this to any Aesop Rock and/or Portishead fan, not as a replacement for the artists' original works, but as an excellent tribute.

Personal Favorites:

TRACK THREE :: Aesop is accompanied by fellow label-mate EL-P on a track that gives their history and interpretations of the underground scene. EL-P just rips this track, rapping about getting his start in the business and building the Def Jux label in the face of naysayers and critics. Aesop follows with insight and tongue-twisting wordplay, as the hard hitting distorted beat of "Over" thumps along with plucked strings.

"You don't innovate because you can't innovate. It's not a choice, despite what you might tell your boys. Keep your identity crisis under the table, I always know who I was and I'll always be more famous"

TRACK FOUR :: This is probably my favorite track on the EP. The synth melody of Portishead's "Roads" is fairly basic, but it's paired with slow-building violins and a steady beat. Beth Gibbon's vocals on the chorus make the song feel both triumphant and somber at the same time. Aesop's subject matter on "Babies with Guns" creates a dark, almost disturbing feeling, with lines like "Nowadays even the babies got guns. Diaper snipers having clock tower fun. Misplace the bottle might catch a bad one. Have a mid -life crisis when your ten years young." The combination of powerful abstract lyrics and haunting instrumentation makes for an excellent song.

"if the jesus piece around your neck is bigger than your pistol
it makes homicide okey dokey and your god will forgive you
just show the saints at heaven's gate you should be on the list
i hear he overlooks manslaughter for a tattooed crucifix"