Music

[Falcon2001]

Alright, I'm prefacing this with the knowledge that I will listen to almost anything, so be warned.

 

Falcon's Top 5 Albums of 2005!

 

#1 - Motion City Soundtrack - Commit This to Memory

 

Some folks may deem this to be "Emo" or "Bad Music", but what do they know? I'm the one posting. This band is an excellent example of almost stereotypical alternative rock, but they do their job very well. Everything is Alright, the single from the CD, is a delicious and upbeat song that has quickly risen to be my #2 favorite song of all time. Don't come to this CD expecting anything completely new, but you won't be disappointed by some really fun songs.

 

#2 - Avenged Sevenfold - City of Evil

 

Coming out strong with Bat Country, this metal group rings up the hefty rock with guitar riffs oddly reminiscent of the sweet solos from the Guilty Gear series and lyrics worth listening to. A couple notable parts are the acoustic guitar part of Sidewinder, starting about 5 minutes into it; also the aforementioned Bat Country hides one of the best solos I've heard in a while smack dab in the middle.

 

#3 - Fall Out Boy - From Under the Cork Tree

 

Another group that's rocketed to fame and fortune just about the time I started listening to them (Giving me absolutely no time to claim indie cred), Fall Out Boy have made my day more than once with their interesting lyrics and solid music. Sugar, We're Going Down contains one of my favorite lyrics to date: I'm just a notch in your bedpost / but you're just a line in a song. Don't let the fact that everyone else enjoys them turn you away from these guys.

 

#4 - Nickelback - All the Right Reasons

 

Jeez, I listen to some hated music. Alright, this is actually one of my favorite CDs from this year, but is narrowly edged out by the others. Songs like Animals, Someone That You're With and Photograph all define this country-tinged metal band from the great white north. I highly recommend these guys just for the listenability of the entire CD.

 

#5 - Bah I'm tired.

 

[Ayshela]

heh.. if it makes you feel any better... i'm not familiar with the first one, but #2, 3, and 4 i'll happily second, and put in as many votes as possible on #5! LOL

[Mira]

I liked Motion City Soundtrack's earlier album, "I Am the Movie", better.

 

 

 

Mira's top 5 of '05 (In no particular order)

 

 

...And You Will Know Us By The Trail Of Dead - Worlds Apart

 

The Decemberists - Picaresque

 

Electric Six - Senor Smoke

 

Motion City Soundtrack - Commit This to Memory

 

Paul McCartney - Chaos and Creation in the Backyard

[Tamaranis]

Okay, so... Megaman Rock Opera.

 

You can actually get the first song on their CD at www.protomen.com and they've got the next four with lyrics (mostly) at www.myspace.com/theprotomen.

 

Didn't like the first one so much, but the next four are awesome, and since there's a story being told and such...

 

It's free to check out and awesome.

[Wyvern]

It's that time again. :-) Sooo, after much contemplation, here's a tentative list of my top ten favorite albums from 2006. Note that the order of these albums kind of alternates depending on the mood that I'm in, and albums 7 through 10 are also interchangeable with a pool of other excellent albums released this year (honorable mentions: Modill, Subtle, Ceschi, Count Bass D, People Under the Stairs). I also still need to listen to a few albums such as J. Dilla's "Donuts" and Ellay Khule's "In My Own World," plus Dudley Perkins's funky "Expressions" album has been creeping up on me over the course of the last few days. Still, I felt like writing up a list of some sort for the Pen, so I hope that this will do for now:

 

10) Mr. Lif “Mo’Mega” (Definitive Jux)

 

Mr. Lif is a talented and well-versed M.C with a couple of acclaimed conceptual albums behind him, but this is the first of his full length CDs that’s really stood out to me as a quality record from front to back. While Lif is widely known for his high-concept politically charged raps, this is perhaps his least conceptual and political album to date, and it’s actually his most enjoyable work to me. While “Mo’Mega” may lack the conceptual framework of past albums (see: “I Phantom”), it feels a lot more personal and stylistically varied than his other albums. Lif’s signature political raps are still in tact on tracks like his scathing critique of the fast food nation, “The Fries,” but he also gets down and has fun for a change on numbers like “Washitup!” and “Murs iz my Manager.” Lif’s monotone voice and flow have turned me off halfway through his previous albums, but here the range of moods in the tracks and subject matter seem to give it more variety. El-P’s industrial beatscape also suites Mr. Lif very well, and the artwork, packaging, and lyric booklet that come with the album look fantastic. Definitely worth checking for.

 

9) Royce “Tuff Love” (Galapagos4)

 

Chicago’s own electro-disco-funk-dance-jam-rock band offer up their official sophomore album of dreamy alternative rock and swirling hypnotic instrumentals. Headed by Galapagos4 staple DJ Whitelightning, the band owes as much to electronica and hip hop as it does to soft rock, and blends an impressive range of genres and styles into its dreamy lovestruck atmosphere. The album isn’t perfect as it drags a bit during the first few tracks, but the standouts on the album are some of the best tracks of the year. “City Heat” and “Girls on Bikes,” featuring Qwel and Robust respectively, both deserve a mention as they combine soft rock with hip hop in a brilliant way that never feels forced or contrived. Royce also shines solo on tracks like the dark disco-influenced “Vladimir” and the sublime story of mended relationships “Cigarettes & Cisco.” Plus, the track “Big Tears” sounds like it could be an excellent track to apologize to your significant other with. Vocalist Jamie Clemmons has a nice singing voice throughout, and DJ Whitelightning takes the band in some very interesting directions that are sure to get you hitting the rewind button. A great piece of music.

 

Pigeon John “And the Summertime Pool Party” (Quannum)

 

Pigeon Johnny has been flexing his unique brand of fun, down-to-earth hip hop for some time now, and his “Summertime Pool Party” record marks the maturation of his style… if “maturation” is really the right word to use for his brand of music. It’s apparent from the moment you press ‘play’ that PJ’s prime objective is to put a smile on your face and show you a good time, and it’s hard not to grin along with the music when it’s this positive and humorous. Pigeon Johnny has a voice and cadence that’s best described as “deliberately corny,” but it comes off as more original than annoying. His songs are often very uplifting and easy to sympathize with, plus he’s the only M.C I know to date who references Cowboy Bebop mid-verse: “Like Spike Spiegel I’m lethal/ Illegal aliens are all my people.” (not the best representation of his lyrics overall, since PJ more or less portrays himself as a wimp over the course of the album, but I still got a kick out of that line). Highlight tracks include the RJD2-produced “Last Sunshine,” the whimsically nostalgic “Growin Old,” and the Pigeon John’s own oddball rendition of R.E.M’s “End of the World.” The best feel good comedy hop you’ll hear this year.

 

7) Molemen “Killing Fields” (Molemen)

 

This album is actually somewhat of a disappointment given that it’s an album that was in the works for at least five years from one of my favorite production crews in hip hop, and expectations can be a bitch… Never the less, “Killing Fields” is an undeniably professional and polished piece of work with some seriously stunning highlights, and still registers amongst the better albums of the year. The guest list of rappers on “Killing Fields” is mindboggling in itself, with Kool G Rap, Cormega, Del Tha Funky Homosapien, Felt (Slug & Murs), Brother Ali, Mikah Nine, Poison Pen, JUICE, Vakill and Mass Hysteria all making appearances amongst others. As a production crew, the Molemen are currently in their prime, and the beats they provide over the course of the album are consistently impressive. Standouts include JUICE’s track “The Come Up,” which is probably the best JUICE track to date and may be the best track released on any album this year. Felt’s hilarious track “My Alien Girlfriend” and Brother Ali’s excellent “Life Sentence” are not far behind it, though a few appearances from less talented M.Cs prevent this album from being ranked higher in this listing. Still, this is a real quality album overall, and it rivals anything released this year at its high points. With the release of this, “Chicago City Limits vol. 2”, and Vakill’s second album, Molemen have had a seriously excellent year of music. Here’s hoping their reign continues in 2007!

 

6) Daedelus “Denies the Day’s Demise” (Mush)

 

Fresh off of last year’s amazing “Exquisite Corpse,” Daedelus once again establishes himself as one of the most creative and forward-thinking producers today with yet another album that stands out as one of the best of the year. “Denies the Day’s Demise” is a pretty sharp turn from the dreamy melancholy that coated “Exquisite Corpse,” but still retains the signature elements of Daedelus’s sound: obscure oldie easy listening samples, incredibly intricate layers and texturing, and an underlying feeling of warmth. While “Exquisite Corpse” sat somewhere along the borderlines of hip hop, “Denies the Day’s Demise” leans more towards Bossa Nova and techno... a style that Daedelus has dubbed “electro-tropicalia.” A strong Brazilian influence runs through the album, from the percussion to the choice of sampled voices and instruments, and the result is a lively album full of exotic surprises. The record is entirely instrumental with the exception of the last track where Daedelus sings a bit, and it really showcases his diverse talents as a producer. Fantastic stuff.

 

5) P.O.S “Audition” (Rhymesayers)

 

P.O.S boldly treads (scratch that, shreds) the line between punk rock and hip hop as no rapper has done before. This is probably because P.O.S (whose initials stand for everything from Promise Of Stress to Pissed Off Stef) was a member of the punk rock bands Om, Cadillac Blindside, and Building Better Bombs before founding the Minneapolis rap crew Doomtree and letting his style loose in hip hop. In short, this guy is no rap-punk crossover gimmick… he unifies the anger and angst of both punk and hip hop in a natural and seemingly effortless way. The results are staggeringly good. “Audition” wastes no time and kicks into high gear right away with “Half-Cocked Concepts,” a track that combines screeching guitar static with heated rap verses and a screamo punk chorus… a combo that works surprisingly well under P.O.S’s tactful guidance. The album only goes uphill from there, delivering one bold and successful experiment after another and creating a cohesive and highly original album. The album references everyone from Nation of Ulysses to Arnold Schwarzenegger’s role in “Predator,” and features a diverse lineup of guests including Greg Antonio of Bouncing Souls and Slug of Atmosphere. This album is exactly the sort of body blow that hip hop needed in 2006, and remains one of the most striking and essential albums of the year.

 

4) Caural “Mirrors for Eyes” (Mush)

 

Caural uses an amazing palette of emotions on this gorgeous record of quiet downtempo music and instrumental hip hop. “Mirrors for Eyes” is by far Caural’s best work, and demonstrates a real growth in style and a stunning cohesiveness that’s difficult to achieve when the music’s this delicate. This is required headphone listening for quiet nights when you just feel like drifting away. It plays like a journey that brings you to the edge of sleep and then seeps under your skin, poking around at your various feelings and moods with some profoundly beautiful sound collages. The influences at play here range from soft pop music to middle eastern melodies to soft rock to free jazz, but everything maintains a very consistant sound with a warmth that’s somewhat reminiscent of Daedelus’ work while still remaining unique. “Mirrors for Eyes” features guest vocalists on four tracks, with the three indie pop singers (Hrishikesh Hirway of One AM Radio, Paul Amitai, Jacob Croegaert) and one emcee (Racecar of Modill) all adding performances that really enhance the tracks that they grace. Music critics who didn’t like this CD oddly seemed to tag it as either too experimental or not experimental enough, but I think that Caural strikes a perfect balance between the experimental and the accessible, which is an element that was lacking on his previous albums. “Mirrors for Eyes” is a truly exceptional album that casts a beautiful reflection.

 

3) Dr. Who Dat? “Beat Journey” (Lex)

 

Continuing this year’s odd trend of excellent electro-tropicalia albums, Dr. Who Dat? offers this incredibly smooth and intricately layered piece of work. Having already released a slept-on quality album under the monicker of Jneiro Jarel in 2005, the good doctor offers up a serious helping of funk-fueled tropical breakbeats and loving souled out grooves on this superb journey through beats. While Daedelus’ electro-tropicalia shows a strong affinity towards techno and Bossa Nova, Dr. Who Dat?’s is decidedly more founded in jazz, funk, and tropical soul music. His beats are funky in fresh and creative ways, often relying on a combination of creative sampling and live instrumentation on trumpet and keyboard. The results are exotic indeed, with more than enough tropical soul to pull you through extended Summers. Surprises abound, with a few highlights including Count Bass D’s appearance on keyboards in “Kelly Drive” and the sampling of a ringing telephone as a form of percussion on the ultra-funked-up “Stop Calling Me.” This album really feels like the work of someone deeply in love with the roots of Brazilian jazz, and the record’s a real pleasure to listen to from front to back. His last album as Jneiro Jarel was good, but this one’s in a different league entirely. In an excellent year for instrumental hip hop, Dr. Who Dat?’s “Beat Journey” is undoubtedly one of the year’s crowning achievements. A real gem… The limited edition UK version also includes a bonus album with two vocal tracks and two instrumentals, as well as super deluxe Lex packaging, all of which are excellent! Well worth seeking out.

 

2) Vakill “Worst Fears Confirmed” (Molemen)

 

“Battling me is like surfing for porn with two left mouse buttons. You ain’t got the right click to save that ass.” The most vicious lyricist in hip hop returns after a three-year hiatus, and delivers a sophomore album that lives up to the sky high expectations set around him. Vakill’s last album, “The Darkest Cloud” (2003), was a brutal verbal manifesto that ranked as an album of the year in an excellent year for hip hop, standing out for it’s exceptional lyrics and grimey production. Vakill is one of the few M.Cs who could make an entertaining album of punchline tracks alone, but he always varies the concepts of his works, preferring to turn to creative stories and personal contemplations instead of being a one-trick punchline pony (though his punchlines are amazing). “Worst Fears Confirmed” is a actually step up from “The Darkest Cloud” is many ways, though it’s a very different piece of work. Vakill’s flow has calmed from the constant assault found on “Darkest Cloud,” and he longer crams as many witty lines into a verse as he did back in 2003. Having said this, the production from the Molemen on the album has gone up in quality 100%, switching from grimey basement tape beats to dark and soulful compositions with a professional feel. When all’s said and done, Vakill sticks to his (brilliant) cruel old self, forming twisted concept tracks about how vaginas have been the causes of multiple wars and spitting lines like “So many Makievelli mini-mes in the game/ it feels like an outbreak of Small Pacs.” “Worst Fears Confirmed” is more than just a follow-up to “The Darkest Cloud,” it’s the sound of one of the finest M.Cs in the game refining his style and going professional. Best lyrics on a hip hop album in 2006… check out the final track about the ghetto pastor for a chill. Essential.

 

1) Glue “Catch as Catch Can” (Fat Beats)

 

Glue are not envelope-pushers like some of the acts listed in this end-of-the-year line up. There’s no punk-rap fusion, no innovative uses of tropical breakbeats, and no references to Cowboy Bebop in their music. “Catch as Catch Can” is an album firmly founded in the traditions of old school hip hop, with plenty of homages to the eras past and an emphasis on the forces at the base of the music: emceeing, DJing, and producing. The difference between Glue’s work and the work of countless traditional hip hop acts lost in the shuffle is simply skill. There ain’t no half-steppin’ on “Catch as Catch Can,” as Glue brings the traditional elements of hip hop at full throttle, with a passion and energy rarely witnessed in modern day hip hop. Adeem, the M.C of the group, has made a name for himself over the years as an exceptional freestyler, and has stepped his flow game up for this album. He’s rapped on some nice albums in the past, including Glue’s excellent first album “Seconds Away,” but “Catch as Catch Can” is the first time that his live energy and meticulous flow have been accurately caught on record. Backing Adeem on the beats is the ever-reliable Maker, who abandons his typically soft style of production for some slamming old school energy. Maker has established himself over the years as one of the best modern producers in hip hop, and the heat he laces this album with fits nicely on his impressive track record. DJ DQ “the folk-tablist” tops the group off with his scratch wizardry and haunting instrumental pieces, cutting up records with enough intensity and precision to rank amongst the top scratch DJs in hip hop. The chemistry between the three members of the group is apparent throughout the record, and the constant energy and passion displayed by all three of them gives the album an urgent momentum that makes it exciting to listen to. Of course, just because Glue is founded in tradition doesn’t mean they aren’t creative… “Beat Beat Beat” see’s DJ DQ replicating Adeem’s flow with impressive scratches, and “Vessel” tells the haunting story of a robot who thinks that he’s human over a beat that eventually breaks into a heavy metal breakdown. These guys are also absolutely incredible live, and while this CD still isn’t quite as good as witnessing them yourself, they’ve included a video of some stunning live footage from one of their shows as an album bonus. The album also comes with an additional CD including all of the album instrumentals, which are so well-constructed that they feel like an album in and of themselves… double bonus! Hip hop fans and people who have been waiting for Adeem to release something worthy of his skills should check out this record.

 

 

I'd be interested on hearing any of your thoughts on music you liked in 2006. Overall, I'd rank 2006 about the same as 2005 in terms of music, though it might have been a little worst than 2005 due to there being more disappointing albums this year than there were last year.

[Falcon2001]

As it was before, so shall it be again.

 

Regina Spektor - Begin to Hope

 

Tentatively I'll hand this album a place as one of the best albums of 2006. I cannot even express how excellent this woman is or how amazing her voice is without letting you listen to it, which I can't. However, I would like to take a moment to look at a few tracks from this CD. For those of you who aren't familiar with her work, she floats between many different styles, with a heavy focus on vocals and piano work.

 

Track 1 - Fidelity

 

This is the single, and is flat out amazing. It's both soothing and hypnotizing - It's hard to listen to it without paying attention. Her vocals float gently along the top of the very light piano background to start with, but by the end of it the vocals have soared to a crescendo, but without the sudden 'switch' that you often hear in songs. Very natural, very beautiful. Also check out the music video located here.

 

Track 3 - Samson

 

This song was released on her earlier cd, 'Songs', and this is a remake of it. I personally prefer the newer version, as it's less up and down than the older one, but both are worth listening to. An excellent song and example of her piano and vocals without accompaniment.

 

Track 5 - On the Radio

 

Very addicting, good use of vocals and non-invasive backing melody. A fairly upbeat tune as well, I use it to wake up in the mornings.

 

 

 

I gotta say it was very strange showing up again to see one of my threads at the top

[Wyvern]

I was browsing in one of my local records spots today and got to wondering whether there are any other music nerds like myself at the Pen who get excited over upcoming CD releases. Are there any discs that haven't come out yet that you're just dying to get your hands on to listen to? :-) I frequently update a Word document on my computer entirely devoted to album release dates and music that I'm looking forward to. Since I've never been able to contain my excitement over music too well, here are a few of the upcoming discs that I'm really salivating to hear in 2007:

 

Shape of Broad Minds "Craft of the Lost Art" - This is definitely my most anticipated album of 2007... I've been looking forward to it ever since the project was announced back when Jneiro Jarel signed with Lex Records in '06. Shape of Broad Minds is a hip hop supergroup of sorts consisting of Jneiro Jarel, Dr. Who Dat?, Panama Black and Rocque Won... all of whom are the same person, but all of whom have different styles and approaches to music. Jneiro's rapper buddy from Texas, Jawaad, is also a member of the group, and seems to be a really talented MC. Jneiro's album as Dr. Who Dat? last year really showed off his talents as a producer, and supposedly this new one's on a whole new level. The album also features guest spots from a variety of ultra-talented hip hop artists, with MF DOOM, Count Bass D, John Robinson, and Stacey Epps all making appearences. I was disappointed today when I couldn't find their first single in stores... several spots had it listed as coming out on July 17th, but it turns out that that's only in Europe and that we have to wait until the end of this month for it to arrive over here in the States. Damn Brits! ;-p The full length is supposedly dropping on August 28th... I have to find a way to hold my breath until then.

 

Y Society "Travel at Your Own Pace" - This one kind of crept out of nowhere and took me by surprise. Y Society is a traditional hip hop dup consisting of Insight on microphone duties and Damu the Fudgemonk on the beats. Insight is an excellent MC who's released a huge number of quality projects over the years, and is widely respected for his talents in the underground circuit. Damu the Fudgemonk is a producer who has yet to demonstrate his production skills over the course of a full album, though he's shown some promise. I have somewhat of an unfair bias towards Damu since he's a Washington DC producer, and I hung out with him a couple of times and interviewed him while I was at WRGW. It's pretty exciting for me to see a DC producer in such a promising-looking group and signed to Tres Records (an excellent indie label), especially since the Washington DC scene never gets ANY props. Hopefully, Damu's beats will turn some heads. Really looking forward to hearing the results of this project, though I'm somewhat skeptical about it coming out this year. Fall 2007 is announced as the release date, and their LP is finished, but it seems almost too soon after the announcement of the group forming. We'll see...

 

Offwhyte "Mainstay" - Arguably the most talented MC out of the Galapagos4 camp, and certainly the most consistant at releasing great albums, Offwhyte has yet to ever disappoint me with a release. He's one of those rappers whose nasal voice and original style take a while to adapt to, but once you've adapted to them, there is nothing else like them on the music scene. This new album apparently finds Offwhyte collaborating with talented producers such as Maker and Mike Gao, which is no surprise since he's always collaborated with Grade-A producers. This album is supposed to definitely drop in 2007, but there's no release date set for it yet. I'll keep my fingers crossed.

 

Anyway... I don't wanna gush TOO much about this stuff, but here's a listing of some other albums I'm reeeaaaaallllllyyyyy looking forward to hearing:

 

Mestizo & Julian Code "Dream State" - 9/4/07

Robust "El Foto Grande" - 7/24/07 (soon!)

DJ Alibi "One Day" - 8/14/07

K-Kruze "Mr. Weeks" - TBA 2007(?)

Percee P "Perseverance" - TBA 2007 (this guy's been an underground legend since 1983, and has never released an official album until now. Officially curious)

Buck 65 "Situation" - 8/14/07

Abstract Rude & Vitamin D "Dear Abbey" - TBA 2007(?)

Junk Science "Gran'dad's Nerve Tonic" - October 2007

Deadpan Darling "TBA" - TBA 2007(?)

DJ Signify "TBA" - Fall 2007(?)

 

Those are just a few picks of the litter, of course... there's plenty more that I'm waiting for and that I'll be purchasing, but I think the thought of those ones excites me the most. Of course, that's not even counting CDs scheduled for 2008... Neon Neon's debut album and One Be Lo's "L.I.F.E" album are at the top of my '08 stack, currently. ;-)

[AshtonBlades]

I listen to a lot of different types of music, mostly rap, hip hop and reggaeton. But I also listen to others...

 

 

Reggaeton- I love Latin music. Salsa, vallanatos, merengue, bachata, kumbia, you name it. But reggaeton caught my ear the most, because of that hip hop edge it has to it, and it helps that a lot of English rap collaborates with them, so that just makes it more enjoyable.

 

 

Metal- is awesome. I don't care what anyone says. It is a genre of music just like any other, and in my opinion, the most difficult to play. It's just great music to go crazy to, or to even relax or get hyped up. It sounds it's best when played live.

 

Rap/Hip-Hop- A movement for the last 27 years, it just adapts to whatever the times are, and has become a main pioneer in culture all over the world. I've been involved in hip hop my entire life. It speaks to me like no other music genre.

 

Games/Anime-Nobuo Uematsu rules. Enough said.

[Wyvern]

Since another year has come and gone, I thought I'd drop my thoughts on some of my favorite albums of 2007. Once again, this list is tentative and can be re-ordered or jumbled with my honorary mentions depending on what mood I'm in, but the following albums definitely stood out in my mind:

 

 

10) Copperpot “WYLA?” (EV)

 

Chicago producer Copperpot’s sophomore album far surpasses its predecessor “Chapter 7” and registers as one of the better albums of 2007 in my book. “WYLA?” (which stands for “What’re You Looking At?”) is supposed to be loosely based around Copperpot’s fear of public speaking, though I couldn’t identify any reoccurring themes in the songs. Regardless of thematic focus, the album is a highly quirky and enjoyable listen, and certainly feels like a labor of love on Copperpot’s part. The worldly producer enlists an eclectic gang of guests to tackle his beats, including big names like KRS One and Masta Ace as well as some British MCs like Braintax and Rodney P. His beat compositions also incorporate the musical talents of folks from the Chicago post-rock bands Tortoise and Isotope-137, all of which makes for a very tightly knit album. And it’d be impossible to write a positive review of this record without mentioning Psalm One’s chorus on the track “Blow,” which is catchy enough to put most other hooks this year to shame. Well worth a listen.

 

9) Joe Beats “Diverse Recourse” (Bully)

 

The driving production force behind Sage Francis’s exceptional rap group the Non-Prophets puts out this compilation of beats he’s done over the years, and it bangs. This record simply consists of raw, uncut hip hop beats the way they’re meant to be done, with slamming drum breaks and an exceptional old school atmosphere typical of Joe Beats’ production. One amazing thing about this record is that while the beats come from a variety of times and places, the entire thing is exceptionally well-mixed and really flows nicely from track to track. I usually don’t gush over these kinds of collections of beats, but Joe Beats proves that there are exceptions to the rule and that tracks produced for MCs actually can stand out on their own if detailed enough and placed in the proper context. Add another great instrumental hip hop release to Bully’s impressive repertoire.

 

Y Society “Travel at Your Own Pace” (Tres)

 

This collaboration between rapper Insight and Washington DC producer Damu the Fudgemunk really feels like a throwback to early 90s old school hip hop, and it works really well. Insight is quite a productive force in hip hop. Handling beats and MCing with an equal amount of ease, he’s put in loads of work over the years. In the group Y Society, he puts down the MPC for a while to focus on just his rapping skills, and delivers a very solid performance with his nice gruff voice and topical songs. Damu may be the star of the show on this album, however, as his lo-fi jazzy beats have been worked to perfection to create a sound reminiscent of early east coast hip hop. The Fudgemunk has been a mainstay producer of the Washington DC scene for many years now, but this is the first album that he’s produced in its entirety and the first time he’s really been exposed to a market outside of the DC scene. I think that a lot more people will be on the lookout for Damu’s production after hearing this full length, as details like the percussion and bassline on “Good Communication” and the rhythmic opening organ chords of “On and On (Never Off)” take the work of someone with serious skills behind the boards. A very well structured album that gets better with each listen… glad to see that Damu and Insight are on the come up. DC represent!

 

7) Fog “Ditherer” (Lex)

 

My indie rock pick of the year is Andy Broder’s latest, which is considerably different than his past epics but no less easy to enjoy. While Broder’s previous albums under the Fog moniker have been quiet basement folk-tronica affairs, “Ditherer” is a stadium rock album, straight no chaser. Some of Fog’s fans will be upset that the gentle atmosphere of Broder’s previous records has been replaced by blaring guitars and chant-a-long indie rock hooks, but regardless of the approach Fog continues to create some brilliant and innovative material. While Fog’s past records were Andrew Broder and various musicians that he enlisted for different tracks, the new “Ditherer” Fog is now a three-man band consisting of Andrew Broder on vocals and guitar, Mark Erickson on guitar and piano, and Tim Glenn on drums and sampler. The three of them churn out some very lively tracks that at times sound similar to Radiohead or Sonic Youth, with some additional quirky electronics thrown in to make the package more eclectic. The influences at play here range from Bob Dylan (“Your Beef is Mine”) to Velvet Underground (“On the Gallows,” a 10 minute track that could almost be considered a modern interpretation of “Heroine”), with the electronic flourishes of tracks like the title track “Ditherer” also harking to modern IDM. The album is full of stand-out songs, and “I Have Been Wronged” is possibly the best indie pop track you’ll hear all year. Andrew Broder's nasal deadpan delivery is bound to turn some people off, as it always has, but you rock n’ roll folks should at the very least give Fog’s new one a shot. Recommended.

 

6) Doomtree “False Hopes” (Doomtree)

 

Doomtree consider the tracks on this album loose-ends that didn’t make their actual upcoming album, but the fact of the matter is that these guys could release their D-sides and they would still annihilate most other hip hop being released today. Doomtree is an awesome crew from Minneapolis consisting of P.O.S (who dropped last year’s excellent “Audition”), Sims, Dessa, Mictlan, and Cecil Otter on rhymes plus Lazerbeak, Paper Tiger, Marshall Larada, Tom Servo, Emily Bloodmobile and a couple of others handling beats. Talent seems to be overflowing from this collective, as each of the MCs is skilled in their own unique ways and each of the producers knows how to deliver some seriously excellent and distinctive production. P.O.S mauls beats with a punk rock swagger, Sims flows smoothly over tracks with a gruff voice and sophisticated cadence, Mictlan tears things up with a booming yell and ridiculous flow, Cecil Otter philosophizes poetically with an approach bordering on spoken word and Dessa is simply hands down the best female MC in the game, with a gorgeous singing voice and a stunning verse-crafting ability. This CD is a collection of collaborative tracks between the various crew members, with a few solo tracks and instrumental interludes thrown in-between to add some variety to the mix. It’s a little on the short side at just under 40 minutes in length, but everything on here is excellent and their collective talents shine throughout it. I can only imagine what their official full length is going to sound like… in the mean time, this appetizer easily qualifies as one of the better albums this year.

 

5) Awol One / Josh Martinez / DJ Moves “Splitsville” (Camobear)

 

This album is actually split into two EPs of music, with the ever-lovable Josh Martinez kicking off things with DJ Moves for the first half of the CD and the seminal stoner MC Awol One joining forces with DJ Moves for the second half. Josh Martinez and Awol One also guest on each other’s halves of the album, and DJ Moves’ consistently banging production ties everything together. I couldn’t be happier with the result of these three creative forces coming together on the same album… the whole thing is pure quality. Josh Martinez has to be the most melodic MC in the game and everything that he’s put out recently has been a pleasure to listen to. His second track on this record, “Last Train,” is an exquisite piece of borderline pop music that has more catchy melodies and choruses than you can wave a stick at. As for Awol One, he has one of the most distinctive voices and cadences of any MC in hip hop, and his low key half of the album is some of the best stuff he’s done to date. Add guest appearances from some excellent Canadian rappers like Cee!!!!!!!!! and Kunga 219 along with a Chicharones appearance at the end of the record, and you have an exceptional piece of alternative hip hop that shouldn’t be missed.

 

4) Mac Lethal “11:11” (Rhymesayers)

 

O.K, so I’ve heard a lot of people complaining about this record, whether it be an assessment of how disappointing it is or just outright hate for this style of hip hop. Personally, I adore “11:11” and think that it’s hands down one of the best albums of the year and easily Mac Lethal’s best material to date. The name Mac Lethal is pretty ironic considering that this guy is a suburban white kid from Kansas City who raps about such “lethal” topics as beer, women, atheism, anti-veganism, and his hometown. The entire record is very down to earth in terms of topics, with lyrics that are easy to understand and immediately accessible. What I love about Mac Lethal is how focused and humorous he is with his material, as he creates a lot songs that get you smiling and laughing without losing deeper meaning or significance. A few standouts include “Calm Down Baby” which makes pop culture references to everything from General Tso’s Chicken to Fergie of the Black Eyed Pees wetting herself on stage, “Make-Out Bandit” which gives male and female perspectives on the joy of making out without the burden of sex and ends with a fantasy of making out with Bjork, “Sledgehammer” where Mac Lethal cracks some jokes with a ridiculous reggae-style flow, “Tell Me Goodbye” where Mac calls out supposed “political rappers” who rap about politics just because they want to appear controversial and gain new fans… and the list goes on. The truth of the matter is that every track on here is pretty much a standout, which makes for an excellent album. One could argue that Mac Lethal doesn’t take anything too seriously on “11:11,” which might not rub some people the right way, but to me his cynical and sarcastic approach is refreshing and a whole lot of fun to listen to. Great production from Seven, Lenny D and Lazerbeak seals the deal. Fans of Pigeon John or “Lucy Ford” era Atmosphere material should not miss out on this album under any circumstance.

 

3) Shape of Broad Minds “Craft of the Lost Art” (Lex)

 

The most progressive and futuristic hip hop album of the year. Jneiro Jarel has been quite the renaissance man as of late, with last year’s tropical “Beat Journey” album establishing him as one of the strongest producers in the game. Shape of Broad Minds is Jneiro Jarel’s hip hop group, and features Jarel producing and rapping alongside Panama Black, Dr. Who Dat?, Rocque Won, and Jawaad… three of whom are different characters and aliases for Jneiro himself. This album is mindboggling stuff, and can take a few listens to get into just because of how daring and original the material is. The beats on this album sound like they could have been recorded in 2020, with wild synth arrangements and some incredible uses of sampling really distinguishing this record from anything else that dropped this year. The album is no less daring on the rapping front, as Jarel kicks a number of different styles and cadences under his different aliases, which include singing, rapidfire flows, and a crunked-out drawl. Jawaad, the only member of the group who isn’t Jneiro Jarel, also proves that he’s quite a skilled rhymer with a very natural voice and flow, and holds his own over Jarel’s beats. The album also features appearances from talented rappers like MF DOOM, Lil’ Sci, and Count Bass D, all of whom rip it. My only complaint with this album is that it’s a little on the long side, clocking in at about 70 minutes in length, which can make for a pretty exhausting listen given how far into left field this music goes. Still, it’d be hard to deny that this is some seriously innovative stuff, and I wouldn’t be surprised if more hip hop started sounding like this about 10 years down the line. Check it out.

 

2) Thes One “Lifestyle Marketing” (Tres)

 

Hands down the most interesting and original instrumental hip hop album of 2007. Thes One, commonly known as one of the main MCs and producers of the rap group People Under the Stairs, specializes in really chilled out downtempo California hip hop. For his solo debut as a producer, however, Thes decided to add an interesting twist to his music by basing all of his songs on the compositions of Herb Pilhofer, who composed a great number of TV commercial jingles in the 1970s. In some ways this could almost be considered a remix project, as Thes bases each of his tracks around a different commercial tune from Pilhofer's catalogue and builds on it from there. Thes’ beats are often relatively simple on the project, relying on a few looped parts of the jingles and some live instrumentation with keyboards and electric bass, but the selection of jingles really stands out and makes for an outstanding lazy Sunday album. One amazing thing about this album is how modern and cool Thes One manages to make Pilhofer’s commercials sound. You’d think that the outdated jingles would run the risk of sounding corny, but under Thes One’s direction the music takes on a life of its own and sounds innovative and unique. There are some truly gorgeous beats on here, with “Pan-Am” parts 1 & 2, “Hy-Vee”, “Grain Belt Beer,” and “Pacific Bell” all immediately coming to mind. The whole record also has a really relaxed and soothing atmosphere typical of Thes One’s beats, which gets you spinning it on repeat… I’ve probably played this one more than any other record this year. As an additional bonus, an album of Herb Pilhofer’s original compositions is included when you buy the album, so you can compare the original commercials to Thes One’s interpretations and can come to appreciate the re-interpretations even more. Very highly recommended to any instrumental hip hop head, anyone into downtempo music, or any person who really likes old TV jingles.

 

1) Brother Ali “The Undisputed Truth” (Rhymesayers)

 

Brother Ali’s 2003 debut “Shadows on the Sun” was such a superb record that many critics argued that it couldn’t be topped. Well, now 4 years later, Brother Ali drops his second full length album and not only is it as good as his first, it’s arguably a better and more mature record. Hailing from Minneapolis, Brother Ali is pretty much the MC’s MC, practically unrivaled in the skills department. He has a booming soulful voice, an impeccable sense of rhythm and flow, excellent writing and some truly heartfelt subject matter. “The Undisputed Truth” is basically Brother Ali laying himself bare on record, as he goes into some painful aspects of his life that most MCs are not sincere enough to touch upon, like divorce and gaining custody of his son while on tour. Also not to be overlooked is producer Ant, who is mostly known for his beats for Minnesota’s favorite rap group, Atmosphere. Ant’s beats for Brother Ali are probably some of his best to date, and have a real live/funky/soulful feel to them. Ant also produced “Shadows in the Sun” in its entirety and did an excellent job on that, but his beats here feel more professional and melodic, and they compliment Brother Ali perfectly. No guests or shiny gimmicks, just one MC and one producer laying it down with all they’ve got and delivering a stupendous album. "The Undisputed Truth" also includes a bonus DVD with several hours worth of interviews and live performances from Brother Ali, as well as a booklet with all of the lyrics and commentaries from different MCs for every track. Essential listening.

 

 

Honorable mentions (in no particular order): Mestizo “Dream State,” Joe Dub “Pooretry,” Robust “El Foto Grande,” Blacklove R88ers “Memoirs of Planet Lovetron,” DJ Alibi “One Day,” Subtle "Yell & Ice," Disflex6 “Slow Burn,” Kid Acne "Romance Ain't Dead."

 

As always, I'd be very interested in hearing your thoughts on some of your favorite music that came out in '07. :-D Feel free to list'em here!

[Patrick]

2007 was definitely a good year for my tastes. A very good year. Hard making this list.

 

An honourable mention goes out to Ayreon's newest album...I got it in 2007, but unfortunately it can't make this list as officially it comes out on the 29th of January. :-p

 

10. Within Temptation - The Heart of Everything

 

An overall very solid album by the dutch gothic metal outfit, it is constant throughout and has few high points, which is probably why it is only number ten on this list. Hand of Sorrow would probably be my favourite from this album.

 

9. Pain of Salvation - Scarsick

 

A masterful album from the swedish group, which branches off into several other genres, like pop and surprisingly disco. Very original and innovative album, but number nine means that it's not metal enough for my taste. Spitfall is a definite favourite from the album.

 

8. After Forever - After Forever

 

Again a very solid album from a dutch gothic metal outfit. (Hey, it's not my fault that most of the best metal comes from Holland and Scandinavia...) Equally Destructive is a clear favourite. This is actually the first full album that I've gotten from this group, having gotten into them because of Epica (check lower on this list), but I'll definitely be looking for their other albums now.

 

7. Sonata Arctica - Unia

 

The Holland/Scandinavia/Holland/Scandinavia trend of the top 10 continues. Sonata Arctica are a finnish power metal band. Unia had quite a bit of play time in my media player this year, quite deservedly. Caleb, although a slowish track is probably my favourite from this album. That haunting piano part at the beginning is great.

 

6. Symphony X - Paradise Lost

 

No, not from Holland, Symphony X are from New Jersey. They've been described as progressive power symphonic metal, which is a long name trying to describe something that can't be easily described by names. The music is definitely symphonic, using some classical instruments. Vocals are powerful as usual. The album inspired me to pick up its inspiration, the book going by the same name, which according to my Dad is well and truly despised by those having to read it in school. Well a good music album works better at making you want to read it than a teacher telling you to do so, I can attest to that. Favourite track is the title track, Paradise Lost.

 

5. Threshold - Dead Reckoning

 

This album would have made it into the top ten on the strength of Pilot in the Sky of Dreams alone. The fact that all the other songs on the album are great pushes it into the top five. I was going to see them in concert in October...but the concert got cancelled...*curses the french metal fans for not buying enough tickets* Oh well, might be an excuse for me to make it over to Holland for the Progpower Europe festival, I've heard they are playing there. (Threshold are English btw)

 

4. Serenity - Words Untold & Dreams Unlived

 

An absolutely amazing debut album by an Austrian band. Blows away most of the competition from a host of much more established bands. From Where the Dark is Born is simply a truly amazing song in an amazing album. Definitely a band to watch out for. If they manage to keep the quality they have or become better they shall be a metal force to reckon with.

 

3. Therion - Gothic Kabbalah

 

Twenty years in the business, Therion went from death metal to something that can start to be described as gothic. It's not easy to put a nationality to this band, but the founding and only constant member is Swedish. Gothic Kabbalah is a double album that piles better and better songs one after the other. Son of the Staves of Time still manages to be the best in a hard-fought race.

 

2. Kamelot - Ghost Opera

 

A lot of very emotional songs on this album. The female guest singers deliver a great job, which is matched by the band's male singer's voice. The music is also quite up to par. Love You to the Death is the most powerful song emotionally that I have heard in years.

 

1. Epica - The Divine Conspiracy

 

Epica's gothic/death metal made a pretty easy choice for top album of this year. I wouldn't have thought that I'd be saying this, but the album manages to beat their previous two albums quite nicely. Very hard to choose a favourite song. Fools of Damnation would probably be the best by the width of half a rat's whisker.

[Appy]

*sneaks up on Patrick and whispers in his ear* Be? Un-Be and become Scarsick

[Patrick]

*sneaks up on Patrick and whispers in his ear* Be? Un-Be and become Scarsick

Erm...that's right...*wonders how he mixed that up*

[Wyvern]

Music-wise, my 2008 was dominated by Doomtree, Blu, and a rise in self-titled albums (perhaps groups are trying harder to get their names stuck in people’s heads?). The following is a list of my ten favorite records from last year, which occasionally changes around a bit but is more or less solid:

 

10) Longshot “Addicted” (EV)

 

Longshot’s new album is his first solo record since 2004’s excellent “Sacrifice,” and is also the first digital-only album to make it into one of my top ten listings. I was slightly skeptical when I first heard that Longshot’s new album was coming out digitally, particularly since the production line-up only featured one or two tracks from the Molemen who made his “Sacrifice” album so great. Fortunately, it turns out that Longshot is more than just a one-hit Molemen wonder, as his album “Addicted” has extra solid production and great MCing throughout its hour duration. On the album, Longshot takes the concept of addiction in people’s every day lives and applies it to a variety of subjects, speaking about his addiction to music but also about his loved ones addicted to drugs. He continues to stand out as a rapper with his deep voice and enunciation, and also continues to have an excellent ear for killer beats. It’s too bad that an album as good as “Addicted” can’t see a physical release… it would be worthy of every cent spent at the pressing plants. Damn good music.

 

9) Qwel & Kip Killagain “The New Wine” (Galapagos4)

 

While ultra-talented MC Qwel has yet to surpass the sheer brilliance of his 2005 album “Dark Day,” “The New Wine” is probably his second best record to date and is a refreshing new approach to his music given the murkiness of some of his other recent recordings. Qwel is as topical and poetric as ever, and focuses a great deal of his tracks on the examination of his faith (Christianity) while still leaving room for other interesting concepts like the gossip track “Bonita Bitrell.” Qwel’s flow continues to reach mindboggling heights here, with the best demonstrations of it being the title track and the twisting rhyme scheme of “Innuendo.” Kip Killagain, for his part, delivers a crisp set of boom bap beats with live instrumentation strung in, which provides a good backdrop for Qwel’s rapping. Adding some variety to the tempo and style of the beats is important for any Qwel full length, and Kip succeeds in doing so here. Great stuff.

 

Johnson & Jonson “Johnson & Jonson” (Tres)

 

One of the most talented new voices in hip hop is definitely an MC by the name of Blu, whose soulful voice and smooth flow bring a high standard of quality to every song he touches. The group Johnson & Jonson, comprised of Blu and Mainframe, demonstrates the more traditional hip hop side of Blu, with plenty of funky boom bap tracks and smooth California songs for those sunny boulevard drives. While the record is very traditional through and through, Blu boosts the quality of the product far above most rap records this year, vibing off of the record’s soulful and hard-hitting beats like a real hip hop natural. Mainframe, who helps Blu with the beats and raps, also holds his own, though the record is clearly a showcase of Blu’s talent. Blu’s immense talent. Check it out.

 

7) Cecil Otter “Rebel Yellow” (Doomtree)

 

Out of Doomtree’s many amazing releases this year, Cecil’s album is perhaps the most poetic and introspective of the bunch. His style of rapping is very distinctive and immediately recognizable, with his unique wordplay and confident delivery really singling him out in an ocean of modern rappers. The lyrics and music of “Rebel Yellow” evoke images of the old West, with lots of clever references to boxcar trails and traditional gun duels complimenting the dusty guitar and organ soundscapes. That’s not to say that Cecil’s subject matter is entirely stuck in the Western past – many of his tracks are highly personal, and based on loved ones or relationships passed. The way that Cecil Otter interweaves this personal subject matter with his Western imagery is quite original, and definitely a breath of fresh air. So “lock stock and two smoking earlobes,” and give this one a listen.

 

6) Heiruspecs “Heiruspecs” (Heiruspecs)

 

This album by the Minneapolis hip hop band Heiruspecs dropped right before the end of 2008, and was the biggest surprise of the year to me. Don’t get me wrong, the Heiruspecs have paid their dues over the years and have put out quality products before, but the cohesiveness and musicianship on this album makes it stand out as their best record to date in my eyes. The Heiruspecs are a live band comprised of Felix & Mu’adib on vocals, dVRG on keys, Peter Legget on drums, Twinkie Jingles on bass and Josh Peterson on guitar. They come together on this record with a very distinctive vibe that’s at times smooth and jazzy and at others hype and rock-oriented. I Self Devine and Dessa both deliver excellent guest verses on different tracks, and there are more than enough stand outs over the course of the album to qualify it as one of the better records of ’08. The only flaw with it is that it’s a little on the long side, clocking in at over 70 minutes in length… that and the lack of distribution, which boggles my mind when it’s a record this good. Such are the hazards of releasing your album independently. Excellent music, well worth checking out.

 

5) The Gigantics “Die Already” (Camobear)

 

Aesop Rock, Murs, Mr. Lif, Eligh, Solilloquists of Sound, Pigeon John, Swollen Members, Awol One, Josh Martinez, Sleep, Boom Bap Project, Qwel, P.O.S, 2Mex, LMNO, Vursatyl, Vitamin D, N8 the Gr8, Grayskul, Sandpeople, and pretty much every MC from Oldominion and Seattle. Make no mistake, this album by The Gigantics is a rare gem in indie rap… a compilation that brings together an enormous guest line-up of A-list underground MCs, but doesn’t let the overwhelming number of voices cloud its vision. The Gigantics production “team” is listed as five different producers, all of which are different monikers for MC/producer Onry Ozzbourn, who supplies the project with its musical backdrop and also raps on many of its tracks. Onry’s style of production is very minimalist, choppy and experimental, which offers an unusual and novel approach to a thoroughly guest-oriented album like this. Perhaps the most impressive part of “Die Already” is that each of the guest MCs brings their A-game, with verses worthy of some of their best work. The unified experimental sound of “Die Already” and its showcase of some of underground hip hop’s finest talents make it one of the clear highlights of 2008,

 

4) C.R.A.C “The Piece Talks” (Tres)

 

An acronym for “Collect Respect And a Check,” C.R.A.C is a collaborative effort between Blu (see the review for “Johnson & Jonson” above) and Ta’Raach, one of Detroit’s more interesting and experimental MCs and producers. Unlike Blu’s “Johnson & Jonson” record, the soundscape that Ta’Raach presents for “The Piece Talks” is thoroughly left-field and daring, with loads of novel approaches giving the record the feel of a free-flowing vibe session. “Buy Me Lunch” kicks things off with the two MCs shouting “Hey! It’s OK!” over an upbeat guitar track while Noni Limar sings about spiking punch in a charming voice. “CRAChouse” is a spoken word braggadocio track from Ta’Raach over an infectious keyboard beat, with a feel similar to something from an early Outkast record. Meanwhile, “Pop Dem Boys” is as good as straight-up battle rapping can get while “Hello?!?!” is the illest answering machine message I’ve heard in a long time. It’s hard to tell which of the MCs shines more over the course of the album, as Blu and Ta’Raach are both extremely skilled rappers with excellent voices… I think ultimately Ta’Raach’s production and original approach stand out the most, giving the record a very unique feel that’s bound to turn a lot of heads (and bound to turn off even more). An extremely original and high quality album from the aristoCRAC of America.

 

3) Mike Mictlan & Lazerbeak “Hand Over Fist” (Doomtree)

 

Now here’s a record that’ll blow your wig back and make your speakers tremble with power. “Hand Over Fist” is one of the strongest manifestations of Doomtree to date, and boy does it hit. HARD. If Cecil Otter’s album is the poetic and introspective side of Doomtree, then Mictlan & Lazerbeak’s opus is decidedly the “mosh the hell out of the venue and scream at the top of your lungs” side of the collective. And let’s just say that the group’s description of their tracks as “ultimate lava bangers” is, in fact, an understatement. Mike Mictlan a.k.a Bamf the Butcher handles the rapping side of things, with a booming voice, impeccable flow, and penchant for writing some very strong hooks. Mike also crafts his lyrics in an interesting way, and focuses a lot of his songs on the topics of struggle and perseverance, including the hardships of being Chicano on the standout track “LA Raiders Hat.” While Mike delivers a truly great performance, the real star of the show here is Lazerbeak, who establishes himself as the best producer in modern hip hop with this record. “Hand Over Fist” is hands down the best produced album of 2008 in my book, with the beats ranging from “incredible” to “phenomenal.” From the insane intro track to the epic closer, the beats on this album are enough to shake the strongest of club stereos and had me constantly slapping my forehead in amazement while dancing at the same time. This is the raucous hip hop your parents warned you about, the stuff that keeps your neighbors complaining in the middle of the night. Incredible beats, incredible rapping, incredible album!

 

2) Atmosphere “When Life Gives You Lemons, You Paint That Shit Gold” (Rhymesayers)

 

Back around 2001 or 2002, I was fairly young, experimenting with music, trying to discover what style really appealed to me. I had gotten off my kick of listening to Oasis, Smashing Pumpkins and Blink-182 (remember them?!), and was trying a couple of these rap records that were getting publicity. Eminem? Check. 2Pac? Check. Snoop Dogg? Check. And then, a friend of my parents informed me about some other artists to check for… Mos Def and Black Star were cool, Jedi Mind Tricks were damn nice. Rasco and Planet Asia were up my alley too. But it wasn’t until I asked for and received Atmosphere’s album “Lucy Ford” the Christmas of that year that my outlook on rap music changed entirely. Here was a rap record with someone rapping about simple yet profound things… everyday things that I could easily understand and relate to, yet things that made me think and that were done in a highly creative and musical manner. While I’d probably taken up collecting rap as a hobby before then, that was the point where I became obsessed with underground hip hop. I memorized every single lyric of “Lucy Ford” unintentionally, and deemed it one of my favorite records of all time. So, it’s a pleasure to say that after several years of disappointing follow-up albums, Atmosphere may have finally topped “Lucy Ford” with this new record. Granted, “When Life Gives You Lemons, You Paint That Shit Gold” doesn’t enchant me in the same way that “Lucy Ford” did… no record ever will. That was a special excitement specific to that time period in my life. But Slug and Ant, the MC and producer of Atmosphere, have grown older with this record, and their maturity really shines through. These songs are structured and highly musical, with some of Ant’s finest compositions creating an awesome musical landscape. Perhaps even more importantly, Slug is back to rapping about the things that made him so lovable in the first place: subjects that are easy to relate to but treated in an interesting way. “The Skinny” is a track that personifies cigarettes as a pimp, who keeps his customers coming back like whores and continuously mistreats them. “The Waitress” is the story of a waitress and a bum that keeps hanging outside of her café in the hopes of being near her, with a twist ending. Tom Waits beatboxes in the background of the track, adding another interesting musical element to it. “In Her Music Box” is a vision through the eyes of a baby girl sitting in the backseat of her musician daddy’s car, playing with her toys. A lot of the tracks on “When Life Gives You Lemons, You Paint That Shit Gold” deal with the theme of fatherhood, and the various ups and downs of being a father and raising children. Honestly, how many rap records can you say deal with that subject? It even comes packaged in a miniature hardback children’s book. Atmosphere’s new record is an outstanding achievement that will stand the test of time, and hopefully inspire new listeners in the same way that “Lucy Ford” inspired me.

 

1) Doomtree “Doomtree” (Doomtree)

 

“Doomtree, Doomtree, Doomtree!” That’s the chant that echoes through the opening jabs of Doomtree’s first official full length album as a collective, a record that thoroughly delivers on so many different levels. After countless years of blood, sweat and tears from the group’s 5 MCs and 4 producers, their labor of love is finally here, and the self-titled masterpiece lives up to the promise and high standard of quality that the various members have set for themselves. In 2007, when Doomtree released their “False Hopes” compilation, I reviewed it in my album of the year listing and gave a brief run down of how talented each of the folks in Doomtree is. Here’s a more thorough description for a more thorough record that tops my favorites of 2008:

 

The MCs:

 

P.O.S: An acronym for everything from Promise of Stress to Pissed Off Stef (Stephen being his real name), P.O.S’s unique approach to rapping evokes the image of someone who simply refuses to give in to the B.S and does their own thing, regardless of circumstance. His hoarse voice and uncompromising style are both rooted in his background as a punk rock singer/screamer for the band Building Better Bombs. Highlight verse on the self-titled album: probably the sure-fire crowd quaking track “Accident,” where P.O.S trades verses with Sims only to destroy the beat by flipping the rhythms of his verses near the end. See also: my review of P.O.S’s album “Audition,” one of my favorite albums from 2006.

 

Sims: Labeled the “working class poet” of the group in an interview with his fellow band members, Sims has some truly excellent rhyme schemes and lots of clever and personal lyicism that make his verses stand out. Like P.O.S, his voice is on the gruff side, but he uses it in a completely different way, with a smooth and sophisticated cadence that gives his rapping a kind of soulful edge. His album from a couple of years back, “Lights Out Paris”, showcased a lot of his skills as a solo artist and he shines just as brightly on this crew record. Highlight verse on the self-titled album: while the track “Pop Gun War” is certainly a contender, Sims’s second verse on the track “The Wren” really demonstrates the brilliant way he structures his lyrics and rhyme schemes, with him bringing a calm build-up followed by a storm of rapping. Dessa and Lazerbeak’s presence certainly don’t hurt the track either.

 

Cecil Otter: The calmest and most confident voice in the Doomtree collective, and also probably its most interesting lyricist, Cecil brings a good deal of balance to the group and definitely holds his own amongst his peers. I used to consider Cecil the weakest link in a collective with no truly weak links, but the more you listen to the man the more you realize what a truly unique rapper he is. Highlight verse on the self-titled album: I’d say its his spot on the track “Gameshow Host,” where he finishes the track off with a verse that outshines some impressive performances from Sims and Mike Mictlan. Cecil kicks it off with “25. Medium, well-rounded with a working man’s halo. I served 5 years in the circus, and now I’m ‘bout to land payroll. But some swear I’m hell-bound, along with the serpent and the rainbow. But I ain’t workin for no devil or searchin for no angel I’m just workin all the angles in this book of human languages.” And he takes it uphill from there. See also: my review of Cecil Otter’s album “Rebel Yellow,” earlier in this favorite album list.

 

Dessa: This gal is officially my rapper crush, and it’s based on far more than just her good looks. Dessa is an immensely talented MC, writer and singer who really broadens Doomtree’s sound and blesses everything she touches. From her superb smooth and sultry voice to her excellent lyrics and flow, I’d be hard-pressed to find anything not to love about her. She even put out a good book of poetry and prose this year. I hear she teaches a songwriting class at a music university in Minneapolis… makes me wanna go back to college and take advantage of office hours. ;-D Best female MC in my book, and probably (maybe) my favorite out of the Doomtree collective. Highlight verse on the self-titled album: you’re really gonna make me decide?! Every one of her spots on the album is amazing. I don’t know, I guess it’s probably a toss up between “Kid Gloves” (my favorite song of 08), “Dots & Dashes”, and “Sadie Hawkins.” And “Jaded.”

 

Mike Mictlan: The mic mauler Mictlan is, in some ways, the best MC in Doomtree as far as the technical side of rapping is concerned. His flow, cadence and energy are always impeccable when he’s on a track, and the deep boom of his voice is always easy to single out and nod your head to. He’s also probably the rowdiest of the Doomtree bunch, and delivers on extremely hype tracks and verses again and again while maintaining a high standard of quality. Highlight verse on the self-titled album: though he’s one of the main MCs on my favorite track “Kid Gloves,” I’m going to have to point out his solo track on the album, “Game Over,” which has one of the craziest sets of hooks I’ve heard on a rap track in ages and is guaranteed to kill in a live setting. See also: my review of Mike Mictlan & Lazerbeak’s album “Hand Over Fist,” earlier on this favorite album list.

 

The Producers:

 

Lazerbeak: Straight-up the most talented out of anyone in the Doomtree collective, Lazerbeak’s contributions to the self-titled album are nothing short of phenomenal. He produces a little over half of the tracks on the record, and never fails to deliver something edgy and original to each track he composes. In some ways, his style of beat-making reminds me of El-P back when he was making beats for Cannibal Ox, with an ear for turning jarring sounds into something musical and the skill to back it up. Highlight beat on the record: “Kid Gloves,” with its amazing horn sample and bass synth groove, stands out the most to me at the moment… one of the best rap tracks I’ve heard in a long time. “Accident” deserves an honorable mention though, just cus’ the groove of that beat is impossible to ignore live. See also: my review of Mike Mictlan & Lazerbeak’s album “Hand Over Fist,” earlier in this listing.

 

Paper Tiger: Big Papes has surprisingly few tracks on the self-titled album, delivering only 2 of its 20-some songs, but as usual he makes sure that his contributions get heard. Paper Tiger’s complex, layered instrumentals are easy attention-grabbers and work wonders as a backdrop for an MC to tear it up over. Highlight beat on the record: the track “Game Over,” where Paper Tiger fits his style perfectly to Mike Mictlan’s riot-inducing hook and continues to build on elements of the track over the course of its duration. By the time the super sped up piano sample kicks in in the end, you know that it’s “Game Over” indeed.

 

MK Larada: Larada’s beats are darker and in some ways more traditional sounding than Lazerbeak or Paper Tiger’s production, but they’re still grade-A soundscapes with plenty of interesting samples, change-ups, and a variety capable of fitting the range of Doomtree’s many voices. He produced a good portion of the excellent tracks on the album, plus handles all of Doomtree’s art direction (and is damn good at it to boot). Highlight beat on the record: “Dots and Dashes” with its catchy guitar strums and building organ stands out, as do “Jaded” and “Last Call” for their low key vibes.

 

Turbo Nemesis: Not a “producer” per say, but Turbo Nemesis is Doomtree’s resident turntablist and handles all of the scratching on their self-titled album. His turntable work is kept to a minimum and not at the forefront of the record, but is never the less quite impressive when it’s cleverly incorporated into the tracks. Highlight scratch moment: on the track “Gander Back,” Turbo Nemesis performs an impressive scratch routine over the sound of a knife being sharpened, adding another nice touch to the track.

 

Anyway, since this review is long-winded as is, I’ll just wrap it up by re-iterating my “album of the year” verdict. ;-) More info at www.doomtree.net.

 

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Honorable mentions (also great):

 

Bisc1 "When Electric Night Falls"

Josh Martinez "The World Famous Sex Buffet" (an awesome record marred by bad sound quality from a pressing error)

Danger Zone "Dangerous Styles"

Grieves "88 Keys and Counting"

Invincible "ShapeShifters"

Breez Evahflowin & Dirt E. Dutch "Troublemakers"

K-the-I??? "Yesterday, Today & Tomorrow"

Neon Neon "Stainless Style"

David Ramos "This Up Here"

"Obsession" compilation on Bully Records

 

I'd be interested to hear what some of your favorite albums of 2008 were. Don't hesitate to share by posting in this thread!

[Wyvern]

One of these days, I'm gonna have to get around to writing a favorite albums of 2009 list like I've done for the last couple of years, but for the time being I wanted to resurrect this thread to touch upon a 2010 album that has been absolutely blowing my mind recently: Dessa's "A Badly Broken Code."

 

 

This album is probably my favorite piece of music in the last couple of years, and deserves some special attention in my opinion. It is not only the most intimate and cohesive album ever arranged by a female MC, but also an inspirational piece of art that has touched me in a number of ways. The album was long-anticipated on my part, as Dessa's talents clearly shined through on her debut EP and in her contributions to a number of Doomtree's songs, but it still boggles my mind just how amazing her full length really is now that it's finally here. Every single one of the fifteen tracks on this album is a stand-out, and I've been listening to it damn near obsessively for the last week or so with no sign of tiring of it yet. Dessa carries her excellent voice and superb lyrics through a seamless combination of rapping, singing, and spoken word that gives the album a very unique and original feel. And the beats are banging. Here are a few media goodies to feed people's interests:

 

"Matches to Paper Dolls":

 

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"Go Home":

 

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I personally cannot recommend "A Badly Broken Code" highly enough. If you like what you hear, this record was put out independently without much distribution outside of Minneapolis, which makes it extra important to support it! And if you'd prefer to see Dessa live to decide whether you want to pick up the CD there, she's currently on a nation-wide US tour with P.O.S, the dates and venues of which are available at http://www.doomtree.net

 

Thanks for listening, haven't been this enthusiastic about a record in a while! Wyvern out.