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REVIEWS

MELTDOWN

Straight outta Glasgow??.......not exactly a hiphop mecca one would have thought, but BELLES IN MONICA present a compelling case for why it perhaps should be. This three-piece offer up some distinctive hiphop with plenty of substance. Some interesting lyrics jump out from rapper Kruze's motor mouth flow "people who wanna be all things to all men end up depressed/and that suits me just fine cos their arguments have and always will be a complete waste of time"...it could almost be a manifesto for the group as a whole. DJ Dema is anything but predictable as he deploys a dizzying array of scratches and samples that see foreboding horror movie strings set against a variety of dark, grainy textures. Exciting and gritty, BELLES IN MONICA are impossible to ignore.

RAVE MAGAZINE (Australia..single of the week 27/5/03)

SMOKE FILLED ROOMS/THAT ALL U GOT?

"Every time BIM drop something you get the sense that theyve actually walked it all the way down from Glasgow and dropped it into your hands. Long awaited and always worth waiting for, "Smoke Filled Rooms" is probably the most fully-realised track theyve ever made. An eerie, digi ground slab of scarifying nu skool, voices smoked into dustblown decay, the beats and fabulously compulsive synth-stabs coming over as terrifyingly clean next to the lyrical loucheness, like finding yourself in the most bespoke club in town and still acting like a tatty sky high hooligan. Great stuff. On the flip, "That All U Got" is ultra reverbed mean assed funk quite unlike anything you've heard from Scotland since Blue Nile or Average White Band, Krash Slaughta dropping a typically demented remix of controlled chaos and steadily building doom. Triffic stuff. Belles are one of the UK's most unfairly neglected yet richly rewarding talents" DJ "SUREPLAYER"

"Glasgow's cloak & dagger klik continue to shift in shadow, "Smoke Filled Rooms" scuttling through the fumes with Swizz-ish keyboard taps and Kruze's ever present sneaking under surveillance. The slow ticking tempo of "Timebomb" and "That All U Got?" harking back to Public Enemy's "Black Steel" with a Krash Slaughta funk up, means the Belles boys' return will keep heads ringing." UPDATE

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READERS' MIXTAPES & CD REVIEWS

ILL SEER

PHOSPHATIDLSERINE

review by KONY (UE)

From the Canadian underground and part of the UK's Delegates of Culture, taking the name of the album from a biomolecule which is made naturally by the brain which among other things boosts memory, Ill Seer calls on the services of various producers over which he pours out his deep thoughts in a style which sits closest to the spoken word/poetic style.

For those familiar with the Toronto underground scene you will know that they are known for a very specialist sound-deep lyrical content and experimental beats. Here, Ill Seer is consistent in terms of his subject matter musings, introspective certainly but passionately delevered. An album such as this acts often more as a cathartic experience for the author than one aimed at reaching out for common ground via shared experiences, however the artist is giving an honest insight into the world as he sees it, his hopes and aspirations dashed and fulfilled, his views on hiphop and his place within it, and as such there is a serious overtone that means this is not an album designed to entertain overtly in the sense of a pop music album.

That said, the variety in producers bring a hook into the hiphop world less experimental than expected but very dynamic, with some fine productions throughout. Delegates of Culture members bring some rich flavas and cuts thanks to Beel 109, S Class, Toeman, Skuff, Chris Groove, Inja and Axwax on tracks Introaduction, Livin Godly, Truthless, March 30th 2000, and the excellently powerful Numblock. The style is hiphop beats with a polish of electronica and cute loops with more than a smattering of excellent cutting skillz. Creaturebox's Savilion pulls his weight on The Gauntlet with some lo-fi beats which end with some real jungle juice that is very pleasant on the senses. The UK tongues of Inja on Introaduction and Skuff on Numblock are very impressive and work very well as a contrast to Seer's powerful bawlin poetic prose. The middle section of the album acvts as the heart pumpin the strongest tracks. From the Timbuktu produced My Proposal, Hoodee's F8, Dorc's LieBull and DJ Move's superb Sometimes Somebody, there are true hiphop beats with a little different twist aplenty here. Never short of a welcome hookline, the beats may be mid to down tempo, and slightly dark in nature to match the lyricist's mood, but quality nonetheless.

Main highlights of the album for yours truly would be Dorc's musically exquisiye Theory Vs Practice and the aforementioned Sometimes Somebody and Numblock, though the album does go out in a trail of bombastic glory on the Mole produced Triumphant. However, through the deep musings and musical intricacies, such creativity as is so often the case with Canadian underground hiphop, does turn up the odd gem. In this case it's A Call From God produced by Vangel.

The story is an old guy from the USA's deep south receives a phone call from the Almighty, questioning his loyalty, his attendance at the local church, fun n games at the local church and his own daily actions. Explaining that he's been busy with work, tax returns and various other day to day matters he promises to up his game to He who must be obeyed. It's actually very amusing and acts as a nice safety valve in what is a relatively intense piece of work.

The album does act as a terrific showcase to a collection of very talented producers unstained by the jewelled finger of jiggy bling, and for a poet of intensity and honesty consumed by the need for others to think in a time of media driven banality. nice for your home stereo.

www.illseer.com www.propheticpoetic.com www.delegatesofculture.com

VARIOUS

BEAT TROTTERZ EP

review by SURFACE (UE)

Put together by Librestyle, a collective of djs, mcs, writers and graf artists from Paris, they have put together an EP which represents global underground hiphop, basically a mini mixtape on vinyl with tracks contributed by artists from France, Russia, USA, Japan, Denmark, Spain and Canada.

Although far from commonplace, afew organizations have put together international mixtapes in this specific kind of format, ie donated original tracks, and it does act as a timely reminder that hiphop has reached all corners of the globe. First up are our hosts Les Taupes with "Anti Bling". France of course has a very healthy hiphop scene and French artists are supported generally by a number of government initiatives. They also benefit from their Cultural Minister passing a law that around a third of all artists played on French radio must perform in the French language. It was actually a reaction to the growing amount of "franglais" being spoken, mainly due to American cultural influences, and was part of a wider programme. This track is a slow well programmed affair, with a sparse backing driven by a heavy electronica bass, many film samples and nice cutz. The MCs have a dark menacing tone which fits with the sound and it's possible to imagine this track being used in a French film for some reason I havent been able to work out yet. The French language is just one of those things that sound good with poetic licence and always works well at a sonic level, and Alain Vega's Suicide still has an obvios influence on European music to this day, whether kids are aware of it or not.

Next up is Hasan Salaam on New Jersey's Sin Messiah label. On the track It's Devious, Hasan tries to condense "a lot of things going on in the world today", by which he refers to a lot of things going on in the USA, from the grind to make money, to the Twin Towers, FBI & CIA lies, drug trafficking, injustice, war, a really broad swipe over a standard head noddin beat with obligatory speeded up vocal loop. Very decent flow skillz, and spoken from the heart. Skeletal Decibel, a sub dicision of Canada's Delegates of Culture, bring on some good ol' Canadian indie hiphop sounds. A crackin uptempo beat with nice electronic effects, really tight quick witted tongue twistin lyrics as deep as the Pacific, anumber of MCs share between 8, 12 and 16 bars, crammed into around 3 minutes. Like a hit n run that leaves the listener entirely satisfied. when the Canadians are top of their game, like this track Awkward Puns, they really do produce some of the most interesting hiphop you can find anywhere. Not too abstract so as to be marginalized, but different enough to be truly refreshing.

Japan's T-Bone Steak provides a one minute wonder instrumental to see out the A side in a nice jazzy fashion.

Four very different takes on hiphop from a beats perspective and in lyrical flows. So what of the B side-and the warmth of vinyl serves this well. kickin off is Spain's Rapsus'klei & Hazke with Rap Sioux who are out of the well known Lam Records stables. And like French, when the Spanish rhymes are ridin round a hot beat, there's few things nicer. And that's the case here. well produced head noddin beat with choice brass spats flyin around and a healthy dose of cuttin and metronomic flow skillz spittin with passion, it's a guaranteed floor filler. An absolutely bangin track...muy grande. All of which leaves Denmark's Bluntedbuggz a lot to follow with their track Official Statement. Slightly slower, but a dub/head noddin beat which hits all the right spots. This crew are the only ones who dont spit in their own language, but they still perform it well, a kind of House of Pain vibe goin on and holds its own well. Russia's Kasta then follows up with the bugged out Revnost, the unmistakeable sound of the Russian language bringing its own qualities to the table, and very different from all that's gone before.

All in all a very well chosen selection from Librestyle which acts as a small finger on the pulse of global underground hiphop, but which represents it well and works on many different levels. there should be something for just about everyone, and well worth checkin it out.

http://librestyle.free.fr

GENESIS ELIJAH

SO HIPHOP

review by DI GIORGIO (UE)

A track that's all over the UK's U-Channel video show, Genesis elijah takes out his frustrations on the growing mainstream influences on new artists, that the artists puttin forward the image of bling, guns, lifestyles that they arent actually livin are those gettin the shine and those gettin the record company dime. That the lyrical skillz of some of these artists arent the most important thing providing they carry the image that fits with the media requirements. X factor hiphop, and those representin to the truest form are still workin in the trenches.

See, there is a movement, both in the UK and worldwide, where hiphop artists are fightin against the mainstream. Not that it's because it's in principle against success and the money it generates, but that what's being promoted as hiphop is an image which looks attractive to a singles buying market which is very young and very impressionable. Elijah's powerful & skillful delivery makes the point even stronger as this has been going on for a while, but it's the fresh approach that stands out. Lines like "You cant even grasp what this art is about, you aint a part of the movement, youre like a cancer and Im carvin you out". "Everythin is urban, apparantly the title black music just wasnt workin, not commercial enough record execs were gettin nervous, so welcome to our version of the circus"

Over a simple headnodding beat with a twist of reggae riddim thanks to the nice piano loop. The vibe continues on the remix where featured guest MC Dubbledge picks up the totch with more astute observations. It does seem to be a recent infiltration into UK hiphop, and it's not exactly clear where it's come from, a debate fopr others to discuss. But at times like these, records such as this are important to keep matters in check. THE MOVEMENT, a Ninth Letta Remix is an elecronic dub background for Elijah to invite the world to join his movement which is ant bling, and guns, anti bullshit mainstream image hiphop.

DREAMS, a soulful slow burner produced by DJ Excalibah, is a really well thought out track. Starts off with Elijah in easy laid back mode, settin out what his dreams were, then halfway thru goes into double time mode showcasin some fantastic skillz. And that's what stands this artist out. He has torn into the MCs who arent representin, who have modest skillz but gettin the shine, but then showcases his own ability which proves he got the calibre to make the observation and carry weight, so his point is justified. The accappellas are worth listenin to alone without the beats! Check it out on The Movement. Check out the record.

www.genesiselijah.com and www.brokensouls.com

THA BLUE HERB

THE WAY HOPE GOES

review by SURFACE (UE)

At long last, a record from Japan to review. Japan has a very good enthusiastic homegrown scene, keen on the 4 elements and the traditions, so it was a real treat to get an offering from one of the most highly rated local artists.

The way Hope Goes is a 3 track single from this duo, MC Ill-Bosstino and Producer O.N.O. They come from Sapporo in Japan, and the professionalism of what they do is immense. From the presentation of their product which is distributed by CISCO, theyve even had their lyrics translated into English on the cd insert. From the title track The Way Hope Goes, here's a translated excerpt:

Because the DIS game isnt me/I wont show up and it wont happen again/Farewell to those little cliques/and to the MCs who disrespect challenges/Farewell to the money and sex addicts/our vision of hiphop is different it's true/It's only Tha Blue Herb/such neglect made us grow/they made us break our balls/we believed in nothing but actual performance/we came close to breaking up/down and out/we kept going through the downpours/without an umbrella/just remember how we did it

Musically it's very much in the electronica sphere. Comparisons to perhaps Portishead, FSOL with a vocal style not far from Tricky, the second track Pusher on the Street is an extended largely instrumental track. Dark electronica with pain fuelled vocal strains, it's deeply atmospheric, probably reflecting the nature of the subject matter. Final track Chie No wa (The Prajna Puzzle Ring) is more electronica, superbly produced it has to be said, with the vocals just part of the landscape.

Get the impression that Tha Blue Herb are quite "deep" in terms of what motivates them and their music. This isnt hiphop that would be recognized generally, but top drawer electronica with absolutely brilliant major league production, and a pseudo spoken word vocal delivery from Ill-Bosstino, although he is capable of more as is witnessed in the lead track. But, nevertheless, an interesting listen, one to fill the pipe to, and it's hard to be anything other than highly impressed by the overall package from what is a self financed independent label-it appears like a major.

Also check out their DVD film THE WAY HOPE GOES which again has been presented in a top of the line fashion. The guys are playin to MASSIVE crowds, and were Japan League Finalists. They are fiercely proud of their Sapporo roots as opposed to comin from Tokyo, and definitely worth checkin out what's goin on.

http://blueherb.go.to

MR CRF (THE PEDIGREE CHUMPS)

OLDFOOLS OLDSKOOL

review by INI (UE)

Taken from the 8 track EP "Egg, Chips & a Pint of Mild", Manchester's Pedigree Chumps release this single which is dedicated to the old school state of mind. Previously reviewed by yours truly on this site, this coincides with the Celebration of HipHop Weekend, the lead up to which was the rerun of the Hiphop Yeras as Channel 4 looked to re-educate the masses as to how it all began. Preceding the main feature were a series of programmes, also reruns, looking at among other things, Porn & Hiphop, the mainstay for the current mainstream. While it's understandable why the 2 largest selling genres in music & film should collaborate together, the resulting bile & garbage does make you wonder how many corporate whores, male & female, hiphop can continue to support. Jacki O and Snoop Dogg should be taken outside and burned at the fuckin stake, and an orderly queue formed behind them carrying their piece of pointed wood.

Which is why in the midst of this tv untimely reminder of where it all went wrong, it's so nice to get some Chumps blastin out at us, as at the very least, a placebo. On this release is an exclusive from Chumps MC Mr CRF, an excellent UK re-work of Kool Keith's "I Dont Believe You". Take your pick from "You think youre 50 Cent/Eminem/Billy Ocean...You play dominoes/you got 6b kids/your mum's a crack whore/you cash big cheques/you ride shotgun/you got a big house/youre from Scarborough/you like Status Quo/Youre watchin TVX/You watch Emmerdale and many many more

Specifically in a UK context highly amusing. Theyre a very refreshing straight hiphop crew who know their history and cant be doin with the b/s at a time a lotta b/s is creepin in over here. Worth supportin

www.cbmag.co.uk

VARIOUS

THE DEPARTURE LOUNGE

review by KONY (UE)

A preview of things to come from the classy Midlands label, Dealmaker Records, this is a small pre-taster of the full album The Departure Lounge. Dealmaker will be known to you for the progressive cerebral hiphop of their artist Non Thespian, however this eclectic mix of tracks shows that the label are perhaps ready to progress into new areas.

The sampler cd has a summery downbeat feel, tracks to fall apart in your backyard to on a hot breezy day, and incredibly the UK has had many of them this summer. The Public Service Announcement's gentle swingbeat loose jazz, "turning ganja into wax" sets the mood to be followed by C.O.L.D. with their track Frankincense, Gold & Muir (sic). Stripped down rimshot beat, verbals that are a mish mash of rap, poetry and spoken word, the vocals stay as easy as the backing track without any need for overprojection.

Youkai Spectre and Lorna Harris bring on some sweet soul on All Because over a similarly stripped down beat, laced by nice Rhodes chords. A sound similar to Young Disciples after a cup of Horlicks, but the vocals are honey coated and on the money. Again with such a stripped down track, there is no need for major projection comin from the pit of the stomach, so the vocals are easily under control and relaxed. Then Non_thespian jump on board with Lazily She Slept, a soulful beat, again deliberately stripped down, with some gentle cuts. Non-Thespian's vocals always got good flow and tone, and there is a feeling that they are gettin ready to really launch into one, but realise that the beat's mellow and just hold back the reins enough so that there's still a vibrancy without gettin too full on for the beat. The cuttin's very nice, as is the track.

Be Water My Friend by The Sicarios is a beat boxin battle with a soul jazz riff, delicate cuttin movin things along like the heartbeat. The beatboxing, trumpet line and cuttin are very nicely put together, again with the overall feel of summer days, though things threaten to get thunderous near the end. Sophie Johnson Hill's Life Has Taken Its Toll is a straight indie track in the vein of Sophie Ellis-Bextor in her pre-handbag dance shit days. Her voice is excellent for the genre, indie-leftfield. The choice of musical parts being played from soft chords on piano, pads to gouda shows a lot of class in musicianship.

Pictures On My Wall is a rrrreally cool instrumental from Full Fat, again using fine piano and sax loops, smooth pads, delicate beat, percussive cuttin. It's nice to hear cuttin throughout this cd being used so intelligently, and also such an emphasis put on creating an overall vibe and theme, using hooky melodic samples with stripped down kits. Ganja on wax no doubt. It's the kind of thing you'll hear on Radio 1 at about 1 in the morning weekdays, Peterson etc

The UK has produced this kind of jazzy leftfield sound for years, and Dealmaker deserve props for finding artists particularly goos at it and also for not being afraid to spread its own wings. If you own a coffee table, dont buy this album and ruin it for the rest of us. Peace in the valley

www.dealmakerrecords.com

LAYLA

HERETIK

review by SURFACE (UE)

An artist from the extensive Obese Records roster in Australia, female emcee Layla drops some cerebral rhymes from Down Under for 2005 on this 17 tracker produced in association with Dazastah.

COmin in after the cutz fest of the intro ARTiculated, In Between the Lines, featuring the clean as a whistle singin tones of Porsah Laine, Layla instantly brings on some real attitude and flow skillz around a nononsense beat, touchin on her evolution from straight battle verses and distance from the accepted style of many female emcees. MAVERICK, head noddin with violin samples, a very UK sound with a very Ozzy take, again Layla stamping her individuality, and individual authority that she aint gonna play along with what the hiphop world might expect from a female emcee, though that would be in the blinged-out sex sells at all costs hiphop underworld.

Sugar Trails has Layla swappin lines with Dazastah over a beat that's loose & jazzy, while The Fuss about Sluts takes a swipe at other female artists blatantly using their bodies partially hidden in scantily clad attire to sell records. It's the old story that sex sells, and that the talent is secondary in the cases where there IS any talent. Her dig at fellow Ozzie Kylie is class while her props for Erikah Badu plants the flag in definite territory. Multiple Choice features labelmates Downsyde and Drapht, a very nice vocal marriage, theme being misinformation via the multimedia, with the public trying to live their lives as portrayed by the stylists, tv producers, advertisers and politicians. This is another track that uses a lot of excellent cuttin and film samples which adds to the all round entertainment. So props to Dazastah and Armee for some quality cuts.

Layla is motivated by the original ethic of hiphop for an MC, a mouthpiece for the politically motivated with metaphorical skillz to highlight and reflect to the public the key current issues of the day. Obviously hiphop which has been derailed from this track-in itself dummed down-will come in for a bit of a spankin. But especially in the perceived world currently of females in hiphop, more so the mainstream but sadly not exclusively as everyone jumps everyone else's train, artists such as Layla are clearly in need of making a stand, in no small measure from a position of frustration. As a result, this is an emcee who comes over as she is, intense with a healthy grip on reality. Her delivery is tight enough without ever trying to showcase on a technical level, the subject matter superceding esthetics, with the acceptable exception on Matador Crushers where the mic gets cooked with the help of Ciecmate, Newsense and Knowledge.

Unmotivated Numbrained Imbecile, and what a title, has a refreshing attitude from this young woman of giving herself a kick in the ass, gettin motivated, bettering herself through education rather than relying on state subsidies for a wasted life. Fatal Pressures addresses the pressure brought upon a young guy gettin hooked on Class A from those who should have been there to support, not help destroy. Layla shows she has a real flair for storytelling on this dark and sad tale. the production throughout is atmospheric and reflects the intensity of the MC, solid kit loops, great cuts, choice samples taken from a variety of musical styles which makes it an interesting listen. Reminiscent ins ome ways of UK hiphop from just a small while back but with its own identity, and the focus being on the MC's message. Certainly a different world from the accepted mainstream and those wanting to jump ship onto SS Commercial, so there's a plus right there! In an overseas context, other than obvious homes in the UK, it's perhaps in a similar spirit to some of the scenes in Canada, US West Coast (San Fran), artists such as Exile & Lowkey in Rhode Island and the student underground hiphop scene in the US generally. But the sentiment will be felt much further afield as the times they are a changing.

Backin On Out is a bizarre and funny escape about a visit Layla made out to "the sticks" from the city over a slapstick music hall beat, and shows she's not short of the famous Ozzie sense of humour. Layla's a very honest down to earth MC, honest about her own imperfections giving her license to launch some well observed stinging attacks on a host of subject matter. The feeling would be that she's set off down the road and she's going to have more & more lock into what she's all about. She's got a lot to be proud of in this album, and with a little help, a lot to look forward to. Oh, and unless this Scottish summer heat is affecting me, I dont recall her sayin "BITCH" once. others take note....

www.obeserecords.com

HILLTOP HOODS

THE CALLING

review by INI (UE)

We've heard about the growing hiphop scene in Australia for some time now, especially the support homegrown artists have generated as well as the support being generated for UK artists touring there. We found that Obese Records were one of the larger labels with a number of familiar names, one of the best known being Hilltop Hoods, and so we got this offering from 2003 sent through. A very professional package from their manager & photographer PJ, there is also some superb cover artwork from John Engelhardt.

Anyway, this 3 strong crew from Southern Australia are MCs Suffa and Pressure and DJ Debris and have been payin their dues since the early 90s. Releasing a number of records since 97, playing at a number of festivals & receiving a number of awards, the pedigree's high on paper, but what about the record itself...

Produced mainly by Suffa at Suffering City Productions, things kick off very fucking nicely thankyou very much on Testimonial Year, a very jazzy beat with a cool mellow piano hook line. The guys are celebrating at that point their 10th anniversary as a crew, what theyve come thru, learned, and an appreciation of the support theyve received, with a nice introduction to DJ Debris' choice cuttin skillz. The Calling follows with a similar vibe, the piano hook being replaced by a smooth guitar hook with samert flute & harpsichord lines. Suffa & Pressure explaining their calling to hiphop. Dumb Enough? challenges other MCs over a solid beat, cool funk brass & string samples, Suffa & Pressure switchin sides every couple of bars with production remaining solid and clear. The flows are tight, the vocal tones complementing each other. Pressure's thick Oz twang cuts thru the speakers as he does on his solo track, the percussive Illusionary Lines. Suffa's smoother tone still packs a punch and acts as a nice counter effect, both MCs sharing equal billing.

Tomorrow Will Do has both MCs on mic duties..."Life is a road full of turn offs, short sprints and long runs, we'll deal with it as it comes, if I lose my way I'll follow you cos today's a yesterday, I guess tomorrow will do" precedes Debris' production of Laying Blame, a trad feel based round a double bass hookline underneath a funked up kit hook, sweet organ lines and fan-bloody-tastic cuttin from the man himself. "Ignorance is bliss and youre a happy motherfucker" snorts Suffa on his beatbox skit, ably assisted by Simplex on Simmy and the Gravyspitter. Suffa's back on production duties on The Nosebleed Section, a track based around a hooked sample who's name escapes me (really annoyingly! lol) like a 60s folk track "I looked around at the faces i know, I fell in love with the people in the front row"..someone out there will know what it is, answers on a postcard! It's bangin away again enhanced with the great cuttin from Debris.

Debris handles production on Down for the Cause, handing cuttin duties over to DJ Bonez, Suffa & Pressure inviting guest MC Hyjack to spit some very tasty rhymes. Both Bonez & Hyjack sit very nicely into the sound with a slightly different take. Again a double bass booms through, a jazzy funked up kit battering along acting as the foundation for other nice samples to be placed over. Pressure is again on his own on Mic Felon and he's on fire. Suffa's production has by now got a trademark in its style as has Debris' cuttin skillz which takes all its influences from the very best back in the day. Walk On takes on the subject matter of Australia's support of the conflicts in the Middle East and their policy on refugees. There is generally a feeling in Australia, as in the UK, that there are serious question marks over their government's seemingly no questions asked support of the current US administration, and this track reflects that and Australia's nucleur testing programme.

The Certificate, produced by Dazastah is a big posse track with guests Certified Wise, the mic gettin thrown around every few bars, and its nice bizniz indeed. Many skilled MCs ridin around a simple, but well programmed beat with good variation and some great cuts from DJs Reflux, Snair & Dyems. Workin the Mic is headnoddin away while Suffa & Pressure, now fully warmed up put in a rare display of verbal trickery with Debris gettin in on the act with quality, Suffa producing the drops in the track for these skillz to be maximised, and nice film sample from Denzil Washington in Training Day.

The instrumental Outgoing sees the tight workin relationship between Suffa & Debris in full effect with the former's love of cool jazzy piano hooks evident and Debris' love of cuttin the shit out a record very welcome. Devil's Advocate sample from Pacino introduces final track The Sentinal, about them tearin it down at the club, The Sentinal, which isnt hard to imagine. Theyre a tight production team giving it plenty here with a definite approach, similar to a lot of UK hiphop which in itself leans more towards the traditional qualities of hiphop. The skillz of the MC spittin rhymes with substance, the recognition of the contribution of djs with real cuttin skillz, and trax based on real instrument hook lines and real kit loops, funked up & cut to bits.

It's understandable why DJs such as the UK's Mr Thing has toured extensively over in Oz, but what's strange is why guys such as Hilltop Hoods arent even more of a hiphop household name over here than they already are. The similarities in approach are there for all to see. However, it's also a style appreciated throughout Europe and obviously by those with their heads still screwed on in the States. So for Australia, with artists like this, time to STAND UP!

Check obeserecords.com

THE KID

SIGN OF THE AGES

review by DI GIORGIO (UE)

Having moved from his home town of New Orleans to Philly, MC and producer The Kid has now emerged to be what could be an important voice in hiphop. Occasionally you get given music to review which you hope will make you really sit up, that emerges from the same old same old of copycat artists lookin to sit tight with the current mainstream, little of which is memorable 5 minutes after a first listen.

The Kid, in this respect, is a Godsend. The album Sign of the Ages is split in two. The first half is dedicated to the reality of Kid's life on the street, the second half dedicated to the original soul of hiphop while destroying all that is wrong with it in 2005. He is also owner of Fifthplane Productions who look to "preserve and spread the true nature of hiphop music and culture throughout and abroad to those uneducated about the art form".

This locks into a growing feeling on the underground internationally, but it takes knowledge and skill to put this across without giving the impression of carrying a biased grudge which unfortunately leads to true sentiment being written off. This album is true, from a heart which loves the origins of hiphop but which is almost broken from the road it has taken. Demonstrating how hiphop can be used to tell the true story, to decipher local and global events, to educate, to inspire and offer hope in a real sense and to entertain, Sign of the Ages packs a punch from the outset.

With his piercing voice which cuts through everything, there are a selection of tracks in the best tradition of storytellin. TIME'S UP addresses an amending of values post 9/11, the meltdown of the far right capitalist society and hatred of other countries by the USA's current administration, while not addressing the USA's population living below the poverty line (currently 10%). BELIEFS continues on a similar theme from within the USA today, governed by neo-conservative Christian fundamentalists, looking at the Iraq war when there was no clear link to Bin Laden, possible conspiracies of lab-generated diseases and religion, Kid's belief being that God is an energy within which can be reached via meditation, and therefore questioning organised religion. It's a question of how people reached their beliefs in whatever, through dogma and propaganda. As he says "You are what you eat, if you swallow a lie you live a lie". Hiphop itself is then put in the spotlight in terms of how it's portrayed today.

FALLACY & TRAGEDY is a positive message how music has helped KID get through the difficulties in life from a background of poverty, violence and drugs, a theme continued in SHIT IS REAL. A nice twist to this comes later in CURSE TO A BLESSTA where he explains how he had felt cursed to be born into this life, but came to realise that effectively "shit happens" for all, and in that sense shares in the reality with humanity. So rather than turnin beligerent, turns to music and meditation for contentment, in the knowledge that he hasnt necessarily been picked upon. A very refreshing view. Earlier his storytelling on the harrowing TRAGEDY about the murder of a daughter and mother and the seeking of vengence is high calibre. GETTIN HIGH meanwhile revisits the therapy of the meditative state as escapism from the hate, and FUCKIN MCs acts as a doorway to the "Back 9" of this album, destroyin fake pimp MCs, the conveyor belt of very ordinary corporate copycat artists who are motivated solely by the money.

Into the "celebration of hiphop section", TAKE IT IN STRIVE is light and summery, flute samples and staccato strings, ribboned analogue, shakers, claps "Hiphop used to be my girl but now she's turned into a slut/Doin everythin and anythin just to make a quick buck". Amen. REMINISCE with its cool trumpet line and breathy chords calls up the 80s. With a kinda nu jack swing thing goin on it's a celebration of past styles, general life at the time before the corporate meltdown set in, and the sound does trigger off the memories for those who can remember. HIPHOP LOVE SONG is a track dedicated to hiphop with the sample of "Memories (of the way we were)" over a classic old skool beat. Specifically to the days of Sugarhill, graf taggin, breakin, "when hiphop used to be about peace". MTV and Clear Channels' current flavours of the month are torn apart with a barrage of clever observations. MOMS & POPS is an obvious tribute over a huge slice of sampled soul over slow phat beats and pulls on the heart strings. After a Buddhist slice of hiphop on MEDITATION BREAK (yeah!), HIPHOP CLASS is an education on what hiphop originally stood for, hiphop from the heart incorporating integrity and versatility. "I promise never to be a perpetratin MC that has no skillz to lend to this industry". This is a crie de coeur for hiphop to return to what it was supposed to be in its motivation but still allow for an organic progress and for the artform to evolve.

His production harks back to the day of excellent samples complimenting solid beats on all the tracks, only sounding dated when deliberately meant to be for effect on, for example, REMINISCE, but good music never dates. It would be good next time around if he were to get some quality skratch djs and beatboxers on, just to let the new generation hear what the hell they are. There are people in the world who think Crunk is hiphop, the be all and end all. That's where we're at people.....

An important album at just the right time and may whatever God he looks to for solace, bless him.

email the man direct kwesimm@yahoo.com

SIMBA

7 TRACK SAMPLER

review by KONY (UE)

18 year old Simba, originally from Zimbabwe has moved to Edinburgh and hooked up with locals EDINBURGH COLLECTIVE, and an interesting team they make.

Simba has already performed with UK "names" Shortee Blitz and Klashnekoff, so this is a showcase of what's goin on. Simba has a good flow, and on the first track GIVE IT BACK, he's smooth, showin a lot of skill in technical ability. Simba has quite a light mood, rappin with a smile and the track finishes with a humourous take off of an African computing student. This is followed by a track where Simba has a pop at his critics like water off a duck's back. Still wearing a smile, while "Im Hungry" is self explanatory in terms of his desire for success in the emcee game. A track where he's ably assisted by a member of the Edinburgh Collective crew on the mic.

The production is well done and surprisingly clean cut. It actually has quite a commercial vibe about it, like the kind of sounds put together by a generally experienced producer in various forms of music. This kind of style reflects his personable character. The next track tears into false beefs in hiphop, and he does have a good way of kinda takin the piss out of these guilty of such fun n games. Short & sweet before movin on to a crunksville production, again very well put together. WHO ARE YOU aagain tears into the hiphop of the large hound and much of the false posturing that goes on. Simba is really stating his position within hiphop, which is one of entertainer without baggage or industry politics, but a recognition of the good hiphop can do.

The mood switches on NEVER TOO EASY addressing the tragedy of class A addiction, spoken from personal loss in a very forthright rhymes style which shows an awareness of real issues which the 18 year old handles with a nice freshness. THIS IS WAR is a bragadacchio of his emcee stature and the emergence of EDINBURGH COLLECTIVE (well why not, every other sunuvabitch includes at least one) and again SIMBA is joined by emcees from EC who are also not short of lyrical technical skillz.

Overall impression, a lot of pluses all round at what's an early stage for this emcee and crew. Will be good to watch their development and where they fit in to a market such as the UK's, but expect to hear the name again.

www.edinburgh-collective.co.uk

FUGAZI RUM

BLACK & SUSPICIOUS

review by SURFACE (UE)

From Cambridge in England, Fugazi Rum bring on some hot cerebral hiphop on wax.

PIZZ draws on a nice jazz kit loop with menacing staccato string, dischordant brass stabs and filmic piano hits, the 3 emcees take it in turns to spit some full on rhymes with a really refreshing rawness and energy. The kind of energy that really fills a track, delivery and aggression. A vibe from the halcyon days of hiphop but now in the endangered species category.

HOLLOCAUSTE follows on with a beligerent gambit to hiphop today. Fugazi Rum comparing themselves to the world's "most wanted" operating at underground level and wallowing in their no-holds-barred approach, though this doesnt wander into tired gangsta rhetoric. BACK STABBER, with it's well produced electro funk beat skippin along, has Mosman tearin it down with a fine freeform style that has an originality of its own. SAMESTREETS REVISITED AGAIN showcases Mosman's unique verbal assault, loose with busy backin, over a well produced freeform beat that is very fresh and distinct.

DEALERS STEALERS is a real departure with its southern blues beat. The line "I look inconspicuous but there's more to me than you might think" probably summing up Fugazi Rum as a crew. A new fresh approach in the UK, although this is thankfully to be expected these datys as more & more crews spread their wings and experiment away from the trad UK "by the numbers" which has served well but time to move on the radio rights methinks. Interestin times indeed with crews like Fugazi Rum around, the kind that'll shake the shit out ya a lil bit. No bad thing.

www.fugazirum.co.uk

DJ PARA

FELT TIP

review by INI (UE)

Part of the Creative Control Music Network and coming straight outta Swindon in England's south west, DJ Para has been on the UK hiphop dj scene for a number of years, playin out to some major crowds and producing a number of cds. Really, Para is a disciple of the breakbeat cut n paste school, feelgood hiphop which incorporates the old soul and funk classics from back in the day, and solders on some heavy modern sounds.

The south west of England has traditionally produced a number of breakbeat skools, and Para is in among the best. We've picked his Felt Tip cd for review, but any number of his catalogue available from www.djpara.com would be recommended. This cd merges the different groove based sounds to produce a meltin pot that at times sounds like FSOL, Portishead (from just up the road), old classic hiphop and old classic acid jazz.

Duality kicks things off on a Ferrari ride of an acid jazz-esque beat with heavy electronic beat, hooked up brass line and is reminiscent of Jadell's work from his Ultimate Dilemma days. Short & sweet and leads into the soulful montage of Kicks & Snares 1 which is exactly that. Merging a number of classic hiphop drum beats seemlessly over which we get pictures of soul, funk, classic vocal & guitar patterns, some choice cuttin which meanders but joins back to the beginning to keep the vibe, so that the "samkpler let loose" effect is kept in check. In one track we got some bangin hiphop which searches down the back alleys to rest for a minute in a bit of a chillout, but only for a breather before Para ups the ante with a cool cut sequence that leads back into a big crashing drum loop with a jazz flava, before lettin the listener back down nice and easy. A real exercise in the breakbeat discipline and pulled off to perfection over around 11 minutes.

Licorice Pizza Party is off kilter dirty bass driving along a rhodes piano stab loop, underneath which jerky drum loops are swapped around at pace for just over two minutes before a cut-fest introduces Kicks &V Snares Part 2. As with its cousin Part 1, there's an old soulful classic hiphop vibe gettin thrown around like Sol Campbell at a Spurs function. Developing the hooks as the kits get chopped like Gordon Ramsay after a visit from the Inland Revenue, the rarer, more unusual samples get an airing, moving away from the hiphop vibe into electronica. Throughout, nice filtering of sounds keep the sounds interesting and fresh. Eventually we are led back to the soulful sounds to a fade out where Parapsychology takes a Middle Eastern bellydance and injects it with some 4 star for a full on percussive attack to the senses, eases back to the original beat and draws the listener into a trance like a cobra, a very authentic effect and brilliantly done. The listener is still dazed as some soulful light funk penetrates the senses with a gradual build up in Kicks & Snares Part 3, mid tempo beats, cut together neater than a Dapper Don's best silk. Some really good soulful music loops gets the groove on for club floor fillers. Para has gone all out hiphop on this track top satisfy the heads needin matters to be resolved at a gentler pace. A real montage of sounds which gives credit to the painstaking search Para undertakes to make these tracks gel together.

And siddlydeewop, Individual Insight kicks off with some speed jazz, mmmmm, nyshe!! Sounds like a track that could be used on an old 70s Public Broadcast Announcement about the dangers of leaving the gas cooker on then going out for a couple of hours (the real danger being allowing mornons like that to own property, but, well....)

All packed in to just under 50 minutes, a classic cut n paste cd for pre and post club, summer drives, cafes and bars, you know the deal. DJ Para got loadsa shit like this and should be movin big units to the key markets as described above. Cool, daddio.

www.djpara.com

LOST PROJECT

NEXT LEVEL CONCEPTS

review by SURFACE (UE)

From England's east Midlands, Lost Project are producer Frenic and MCs Killa and Poorly Fluent at the core with further contributions from EJC and S O Mac. This ep is a first release to introduce this crew to the hiphop world and the tracks were mixed down by Dwyz over at Dealmaker Records (and of Non-Thespian).

Theyve already appeared live with UK heavyweights Jehst and Phi Life Cypher as well as the Beatnuts and Afrika Bambaata, and this is now how things go on record. Dealmaker are a label worth watching out for in the UK, fiercely independent with a definite plan for the future, they work with artists with a similar view to bring a hunger, attitude and welcome integrity and honesty to the table. Y bueno, la musica......

Skippin along at a nice tight pace with a monastic sample, Frenic supplies a simple backdrop for Killa and Poorly Fluent to kick off some skillz on Mutual Feelings, tellin their story of appearin on mixtapes and showcasin their motivated rhymes as a wake up call. The MCs got a chemistry and a mutual respect and understanding that comes through clearly. The theme continues on a nice funked-up vibe on Matador Quartet, Frentic also supplyin some nice chopped up middle eastern string and vocal samples, with some very choice cuttin addin to the flava.

The Rap Game Remix is a big track, analogue hook bassline with a hard hittin cut up kit loop....."Cos your phoneys, only fillin out clubs with your croneys who only go cos they know this guy Tony" spits Killa. This is a real banger of a track, as Killa and PF tear apart both the beat and the bullshit in rap music. The flows are superb delivered with venom: "And this is for the jokers who jest that theyre blessed with the skills to hold a man's breath, youre kiddin yourself youre kiddin your wealth, and like me you aint got your shit on the shelf". They demolish a lot of the false claimants in rap music with real class, and this should be a single in its own right.

Call for the Bloodshed is another lively paced clean authentic traditional piece of programming from Frentic where the MCs vent their ire as a cathartic experience for all concerned. NERO kicks off with a hilarious cut up George Bush sample, at least we ASSUME it was cut up!! A head noddin beat acts as the background for what is probably the most impressive track in terms of technical ability as a flow performance from the MCs. On point and tighter than Anne Robinson's facelift, again a track offers a new view of what this crew can deliver, although the intense All About the God also provides ample evidence that the MCs when fully warmed up have serious ability and use that well through being motivated by the panorama of life's realities. In many ways Lost Project are steeped in the very best traditions of UK HIPHOP. Technically excellent flows based on reality with a clever and humourous turn of phrase, with a sound beatmaster in the background providing no nonsense backdrops.

They tick all the right boxes to make an initial impact, but more importantly show enough to suggest theyll develop and move their sound on to something really new and fresh which will put their heads above the parapet. Definitely catch these boys early

www.dealmakerrecords.com

MY MANS N THEM

THE MUSEUM OF SCIENCE

review by DI GIORGIO (UE)

My Mans N Them are the Yukonn MC and Oak Lonetree from Boston. You may well have picked up on Yukonn's previous work on countless collabs with the massive fam taking in the whole 8th & Dawson, Coast to Coast Clothing, KBH and LAR Clothing peeps out on the west coast, working with members of Halfway House EMcees, Discreet Merchants, Blown Celebs etc, as well as the east coast's Up Above Records and in this case Record Company Records.

This particular metamorphisis is a collab between two solo artists working with various producers, but mainly Egadz and Jeep Jack. However, as usual, there are a number of familiar names making guest appearances in what must be one of the largest pan-American families in the hiphop world. Kicking off with the grandiosely orchestrated Grandizer over a driving mid tempo straight kit programme, the two emcees work well off each other with a great vocal tone & presence on the mic. "So next time we flex rhymes wear your hard hat cos the heart's where the heart's at, dont disregard that" over some silky guitar work by L Contra and tight production from Egadz. Egadz brings on another nice jazzy live loop with plucked string and piano, a feel that compliments Yukonn & Oak's freeform rap style very well in The Anthem.

Jeep Jack joins in on Anatomy III with a stripped down electronic piece of programming with analogue madness provided by L Contra, here Zaire Black gettin in on the mic action for a peculiar but cheeky little number. Egadz returns tooled up with some electrics for a natural follow on in Beers for Breakfast. "Every day gets hectic when it's beers for breakfast", no doubt, and a nice homage skit in honour of a favourite passtime. Back to familiar sounds for Egadz on Hard Times In The City, got an authentic smoky back room blues/latin flava with cool piano hook, sampled blues singer and C Da Editor adds a nice contrast, over the slow poundin beat.

Frank White samples the shit out Muddy Waters, cuts up some funk and pastes together some tasty hiphop for a short interlude on a Blues Break, before Jeep Jack's very tasty production on Cant Look Back, a real hipswayer with nice flute and vocal samples gettin funky "Lips burn, kids learn from the facts, records turn, rotation of the wax, yearn to earn some respect and relax, you gotta keep it movin and we cant look back". Jeep Jack's production is clever, dynamic, droppin & buildin with some nice cuts, and Yukonn and Oak as is always the case, bounce around with good variety and always bang on the beat. Y debuts his production ably assistted again with dirty analogue synth from L Contra. A filtered bass drum and percussion kit loop brings a new flava to the setlist, almost an 80s electronica feel and labelmate Warlock decides to get in on some rhyme action. Similarly, new name Jungle Josh then brings some very contemporary production sounds, a real departure for the overall sound, on the club crew banger Cmon Get Down. Yukonn & Oak being joined by their homies Paulie Nugent, Swiss Precise, and Compound, and it;s a tight joint, definitely one for the floor.

Timber Jack then brings some Middle eastern sounds for MMNT to freestyle over on Side A Side B, and their flows ride around like a bellydancer in a backstreet Cairo cafe. Egadz returns for unfinished business on Grandizer II, a hi tempo filmic soundtrack that brings some urgency out of the emcees, which as always they handle easily, bouncin off each other like a couple of card mechanics. Sit tight for the extra bonus track which sounds like a Discreet Merchants production, straight kit, great sampled hook line, it's classic DM, and the mic is truly blessed by Swiss Precise, Paulie Nugent, LMNO and Oak. A tasty licquer after the main meal.

There are a lot of good tracks with just enough variety without losing the thread, and also probably the right length, The Museum of Science should sit easily in the collections of those who like their hiphop to get back to the relevant stuff and tick the right boxes.

www.recordcompanyrecords.com

PEDIGREE CHUMPS

EGG, CHIPS & A PINT OF MILD EP

review by INI (UE)

Out on Manchester's Tonedef Recordings, Pedigree Chumps are MC/Producer/Radio DJ/Magazine owner...breath...Mtr CRF, MC/Producer Noz and "turntable mouth jockey" Pressure.

Three guys who have been into hiphop since the late 80s and like to celebrate the fun that hiphop can be. Namechecking Ultramagnetic MCs, Ruthless Rap Assassins, Hijack, EPMD & PE, among others as their influences, theyre basically a bunch of rascals who are good at producing, good at rapping, and like a laugh....and Im lovin it! It's like a hiphop version of Viz magazine from a bunch of lads who know how to put a good sound together. Even their choice of samples is on the money for this.

First up, The 4 Fuckups driven along by a Turkish sounding sampled loop (well it might be Turkish) and a steady boomin kit, has the 4 desperados describing themselves as 4 Mancunians on the raz, into their hiphop and bringin some quality old-skool influenced sounds to the table. Right away though, you can hear they got skills to deliver and have a bit of a go if the rest think they can handle it. Old Skool Old Fools again sets the stall out early, namecheckin all the rap stalwarts from the late 80s, unashamedly declaring that the Chumps are "takin it back to the old skool, on protools" and relishing every minute of their timewarp existence, and who can blame them. DJ Pressure desrves some props for his fine cuttin. No contemporary gimmicks or bullshit, but as they say "them were the days".

Like a Middle Eastern Chas & Dave piece of slapstick (if you can imagine such a thing!) the Vindaloo charged Got the Trots kicks in. Now, if you need me to get graphic, then you aint lived my friend! The VERY AUTHENTIC beatboxing turns the Pampers baby over and cleans up at the end in fine style. A spaghetti western Morricone style sample introduces Bar Brawl, again humerous with the obvious comparison between the heat of a New Mexican desert and an evening of "exchanged views" after many amber refreshments in rainswept Manchester. The cuttin at the end is brilliant and choice of sample "cos Im a moneydealer and a hardhitter" is called IRONY, so boys, youre Donald Ducked if you try & take this overseas!!!!

The sensitive and "from the heart & soul" Wife Swap sees the lads wear their hearts on their sleeve, the pain of broken relationships, the hardships of the gritty urban streets and, eh, yeah the fuck it is! Hilarious!! You've got to hear this track, but think of the state of some of the women you've seen on them late night shows....

Blue skies, nothing but blue skies....ahhh, a nice backing for Trollop Tales. Ah dear me, ha ha. The guys really do have a skill for tellin a tale, absolute quality. They should get a tv series, they really should. The huge irony is that there are artists in this world who using different slang would write something like this to a jiggy beat and become big hitters, but that's how fucked up hiphop is these days. My absolute favourite, perhaps of all time, is the final track Fat Cunt. Rollin about folks, rollin about!!! Every DJ in every bar and club should be given this record and just wait for him/her to walk in. Fellas, youve got to get this to Jamie Oliver for his fuckin school dinners project. Sorry, but the lyrical comtent of this track needed sayin!!! Honestly, if you do nothin else, get a copy of this track SOMEHOW.

Thanks lads, you brightened up a dull, rainy day.

www.cbmag.co.uk

JAMES DAYTONA

SAMPLER

review by DI GIORGIO (UE)

Taken from his album My Dreams of London, a three track sampler from Indianapolis artist James Daytona.

Hollerin and bawlin in the crunked up Looking Stupid, JD dont go lookin for the drama, but he "aint afraid of the drama". Good production that sits tight in the genre, with the blazin synth lines bumpin and clappin and clippin on the 808 hats, the flows are tight enough but resist the temptation to trip the tongue at any point. Whereas, I Like The way comes out the traps with a nice soulful vibe, cool hookline and one dedicated and for the ladies. Again production's tight and JD got a singin voice that's sufficient to also hold a hook line comfortably and adds a lot to the joint. A rap song but one where the flows get more of the treatment than its predecessor, the easy mid tempo beats matched by a similar easy delivery.

Past Present & Future is r&b with the fine female backin vocals and on the case production, strings, synth, acoustic guitar and intricate kit programming, triangles, shakers and rim abound. JD makes a decent fist of rhyming over the beat with the familiar narration style rappin prevelant over such tracks. the guest emcee on this track sounds more at home with the style.

Based on this, JD is about gettin the contemporary production & crossover sounds. It sounds like many records youll hear daytime on the main stations, it's a case of whether going head to head with mainstream artists will prove to be the launchpad or leave him sittin at a tricky crossroads.

www.jamesdaytona.com

MISTER JAES

DRIVER

review by SURFACE (UE)

Out on the busy London imprint Cafe Recordings, producer Mister Jaes has concocted a little 12" release for the floor.

On the A-Side is Driver, a high tempo mover flavoured with a hint of acid jazz beat & horns, set off by some nice cuts to warm things up. MCs P.A.C. & Dandy flip about 8 bar turns and compliment each others' flows nicely, P.A.C. being tight and easy at pace, with Dandy bringin some Jamaican spice so you know wha' gwan. Just a track to showcase some impressive rhyme skills, bouncin off each other without losin the plot over a beat designed to get a crowd movin.

DO YOU KNOW is a different affair. Straight head noddin kit, though again the introductory cuts are most welcome. A crew joint passin the mic back & forward through lyricists P.A.C., Valu, Geniedon. Antidote, Creamo and Dandy. All emcees have distinctive sounds and styles which makes this particularly interesting, rather than six similar soundin emcees goin through the motions cos it beats standin outside in the rain for a laugh. The cut up brass sample played throughout is designed as a hook, and is a little distracting, the emcees deliveries being quality enough to stand on somethin stripped down, but that's just whether youre into the tune or not. The important thing is that these hiphop emcees in London sound fresh and means you'll watch out for them on future projects, and hopefully together on future projects, as they really do have the makings of a quality crew there which the UK could do with.

Things could get very tasty on Cafe Recordings

www.caferecordings.co.uk

JESTO

IL MIO PRIMO E ULTIMO DISCO

review by DI GIORGIO (UE)

Out on Rome's La Grande Onda label, young MC Jesto in conjunction with producer Hyst releases what translates as "My First and Last Record". Sparkin off with an acid-jazz onslaught in Ultimo Notizie which appears to be addressing the tv reporting of recent troubles with mentions of Iraq, Guantanamo, IRA etc, this moves into the body-poppin electro sound of "Il Mio Primo Disco" (my first record)

In Riot, a huge slab of funk with a kind of "Groove is in the Heart" type beat, screaming horns and soul vocals suggests that this duo like to get their thang on, with a very uplifting, lively production approach from Hyst. Ecchenonlosai is a laid back piece of Mexicana and although my Italian aint up to scratch, I get the impression that Jesto likes to inject humour into his rhymes, puttin a bit of fun back into hiphop. L'oroscopo (The Horoscope) skips along like a garage track with a sample, albeit speeded up, of Duke Ellington's THE MOOCHE. It's got again a light, tongue-in-cheek feel, even from the very expressive delivery of Jesto which is uncomplicated but compliments the beats. Via di qua sounds like it's been lifted from an early 70s detective film, driving along at pace and at this point, even though the lyrics are printed on the sleeve, I wish I could speak Italian sufficiently to fully appreciate Jesto's humour, as it's probably the case that the mixture of feel-good beats and lyrical content are the big selling points.

While it feels that the guys dont take themselves too seriously, they still ensure that the production is tight, that there's a real vocal performance rather than just a recital of rhymes. Canzone D'Amore (Love Songs) got a nice slow phat funk beat, cool hook lines, one for swingin in the hammock and kickin back, very authentic and again a pointer that Hyst is influenced by the classic halcyon days of soul and funk and is happy to bring it to the table, as it's feelgood sounds for Jesto to paint his sunny pictures. Even the cd cover got Jesto caught in a UFO beam, although it's not clear if he's being beamed up or down! A lot of slapstick knockabout skits DURING tracks, he's probably Italy's lighter version of Canada's the Wackos without being cringeworthy. Quella Notte has a modern r&b production, Spanish castanets n all, and maintains Hyst's props as a talented desk doctor, continuing the shift in direction in the dancehall/soca influenced Vieni Con Me (Come with me) and this variety of musical styles throughout the album definitely moves it from being one-dimensional. The mix of bar-brawl piano, drum rolls, acoustic guitar and phat kit showcases Hyst's range of imagination and technique in Ma Che Ne Sanno.

Fuoco Su Roma is one of the more obvious hiphop tracks, with classic old kit boom bappin away, similar to Discreet Merchants, and both Jesto and Hyst deliver some real blindin skills on the mic, and perhaps the album could do with one or two more tracks like this to bind it together a little better as this picks the second half up a little. It is followed by penultimate track Non S'E Ancora Visto featuring Saga and Hyst, and again it's a bangin hiphop track both musically & lyrically, and worth stayin the course for, a harder edge and something the guys should pursue a little more. The final exit of Continua like her intro sister contains nice cuts and identifiable hiphop beats, so guys, keep a bit of variety but centre the future around the real hiphop bangers like at the beginning and end of this album.

www.lagrandeonda.com

KIMILLION

FUCK WHAT YOU HEARD (MIXTAPE)

review by KONY (UE)

Florida's hottest underground female emcee grings some ultra heat to the mixtape circuit with her Fuck What You Heard showcase, hosted by TVT's Pitbull. Right from the off in Learn Bout Me, an introduction inviting you to get with the real Kimillion, ask around the block you'll get the 411, then blastin out in the rockin Hurricane featuring Mickey Rallens, then after a quick towel-down in the corner, back out into the ring to spar with 21 Reese in Bounce Wit Me.

The 808 kicks in further down than Florida Keys in the tongue trippin Here I Iz where Kimillion is more finely tuned than a Swiss clock. It's pure showcasin, tearin apart other females and smashin haters' faces like Raging Bull in the electronic deep south dancehall tinged Fuck What U Heard. The multi layered vocal production is the real deal over a bangin selection of beats, Kimillion's sparked up on a cocktail of caffeine and gasoline and the tracks just light the touch paper. Hot Box's latino flava'd production of City to City lets her display some choice singin talent as well as lettin her swing her raps around like J-Lo with a hula-hoop. The multi-cultural environment of Florida has obviously had a beneficial effect on her, exposed to a wide array of musical influences so handlin any beat comes as second nature. She's obviously driven to spit rhymes, like she got a lot of motivation and this acts as the safety valve.

She attacks beats like those hurricanes blastin through the southern states, and while the motivation is often self-concentric or hostiloe, it's still interesting as there's an insight into what makes someone give such a powerful delivery. Not an MC who likes rappin, but an MC who HAS to rap. With endorsements from Universal's Grandaddy Souf and Bloodraw, and Def Jam's Tripple J among many others trippin over themselves to associate themselves with this talent early, the question is why the fuck a sizeable label hasnt come in already to team her up with whaatever producers she likes. Is she too controversial. Well, define controversial. M I Twice's excellent production of Blue Light featuring 21 Reese and Triple J has been described as controversial, but the mix of Florida & the Caribbean fails to shock a grown adult's mind except that of a padre....unless America really IS gettin hyper religious these days out on their moral crusades, I dunno....

That K Shit is a good example of a general point about this mixtape. Great beat, well produced multi layered hook vocal lines with well placed backin vocals. It's full up to the brim squeezin every inch out yer speakers. Mainstream quality in line with what should be a mainstream artist. Kimillion's main strength is her excellent delivery, knowledge of how to enhance her raps through production techniques, multiple vocal hooklines, a good line in turn of phrase, variety in choice of beats and motivation. Personally I'd like to hear her address broader issues, but what the hell, whatever makes your world go round. Hey DJ is a stand out in the latter half of the tape, especially good for the clubs incorporating all of the above, and a stand-out on this tape is sayin somethin, although Im feelin the heavily compressed headnod short & sweet treat This and That. Hot Box deserves mention again with some tricky science programmin in Time and Place. Pit Bull's links move things along well and is a rock solid piece of backup when Kimillion looks over her shoulder. Also props to DJ Mixette for a seemless mix throughout.

It will be interesting to hear her album Fever with the selection of original beats, and it should help to push harder at a few doors with the extra "originality" element. There's obviously a strong South bias musically, and this should at least get her established in that area, building on the massive groundwork already done, launchin her higher than Cape Canaveral.

No Shit!

www.roughworldrecords.com

SEMANTIX THA SORCERA

CLOAK

review by INI (UE)

From the same GNOSTIX camp as Reggiimental (reviewed on this site last year) from the UK's Midlands, out on Splattahouse Productions comes Semantix tha Sorcera's album Cloak. A grim reaper sleeve design and a Hammer House of Horror sampled intro suggests this wont be no partytime. Who Did It? comes in with a nice jangly guitar loop over boom-a-bap as Semantix introduces himself in distinct UK Midlands tongues.

Irreversible is on a similar tip, with Semantix joined on sparrin business with Bigga from Gnostix, sittin well in the familiar sound of trad UK hiphop. the Last Grenadier uses the metaphor of war/battlin where Splattahouse's Illuzivshadow and Reggiimental from Gnostix make it a three pronged attack on those not ready to do battle with them. At this point it's worth mentioning that Semantix writes & produces all tracks on the album. To this point, the beats are tight, nothin too complicated, straight b-b with some nice sampled loops-trad UK. On the mic, Semantix flows easily, never missin a beat, as indeed do all the guest MCs. Talk is a really interesting track. A cool beat with nice sampled soul vocals and 70s analogue synth. The beats often sound similar to PhiLife's Millenium Metaphors for those needin a comparison. Talk is about just that-a lot of talk/debate about hiphop and life in general. As he says "the world aint perfect" but shit happens, everyone's in the same boat and sometimes you just gotta get on with it. Even in hiphop, as he says "the only ice I got is the cubes in my freezer", and it's a refreshin, straight talkin about a few realities a number of people could do with hearin these days!!!

Nine Schools showcases the entire Splattahouse MC crew over another straight head nodder and again highlights that there's a lot of burgeoning talent in the Midlands, an area of the UK which has always had a healthy scene, but which seems to be coming to the boil recently as a real alternative to the south east. Divine Politix, featuring Lokjaw, is a bit of a departure with a jazzier beat, pacy with a Bacharach type piano loop, skips along nicely and suits the loose & easy delivery of the Sorcerer and his guest. Hook Hand featuring Joe Gutta and Lokjaw got a big beat with a definite bravado, again showcasing some underground UK chatter from the Splattahouse angle. The theme of showcasing Splattahouse and Gnostix as battlin MCs taking all comers and using the album to shine a light on the fam in today's UK hiphop is continued in Dead of Night (which includes a really cool Music of the Andes sample) . Rounding up this 50 minute offering is Cannonball War Dance, a patchwork of very choice samples, cut up and programmed with grand effect, enhanced by the talents of Semantix, Joe Gutta, Agent Ryall and Lokjaw, and really bangs out yer bins. Very tasty, with a shadowy hunched Hammer figure leading us away in the outtro, but just then a bonus track kicks up a fuss, heavily compressed, again it's a strong beat, great string samples and Semantix really spits hard over it. Seems the guys have left the strongest for the end, and also answers the question going through my mind during the album which was how would STS sound over some different flavas??? And as suspected, the result was worth waiting for.

Cloak has a production formula of straight beats, a few unusual sa,ples which keeps it interesting and a number of (usually speeded up) vocal samples, and as an intro to the UK scene, acts as a decent gambit. Though lyrically the whole fam take on the UK in a stand off, the sound itself will sit well and be generally accepted by the usual suspects. However, the latter part of the album shows another side suggesting these guys have many new tricks up their sleeve for the future now that some solid groundwork has been done...as you'd expect from a sorcerer!

It's a cliche to say so, but Semantix, Splattahouse & Gnostix really are "ones to watch"

www.splattahouseproductionz.cjb.net & www.gnostix.co.uk

RORSCACH

FRANKENSTEIN RHYME

review by DI GIORGIO (UE)

Bauhaus stated that "Bela Lugosi's Dead"-dont be so sure. For Rorschach (pronounced Rorshak) from Athens in Georgia takes the classic 60s B Movie as inspiration, obviously a side effect of growing up in the backwoods of South Carolina. Although he doesnt want to be labelled in with the Horrorcore genre, the opener Spine Tingling has the crashing guitars lending itself to the style. However, Robot Monster has an electronica vibe, with phased effects. Aboard the Space Station is the next track and has something moving towards a hiphop track with a boom bap kit and bass loop. Lyrically, Rorschach strays from several paths. Releasing his ire on the world with multi-horror metaphors, it can be hard to follow exactly where he's going, although there is enough there to at least get a handle on the fact that he views the future of several subjects in one light, usually destruction.

Smooth Flow is musically light & jazzy, almost easy listening. Again on this track, his delivery strays just as his mind flicks from one thought to another. It's like a mix of spoken word, Gil Scott Heron and the Beastie Boys. There are many film samples scattered throughout, and combined with the experimental electronic sounds, if this is an attempt to make a statement that an artist is different, then that's the case. As in the track Ape X, there are stops, starts, never a real flow, but he seems to be portraying what he's into musically, personally and lyrically, like he'd have felt very satisfied getting all of this out of his system with tantalising little clues as to what this is all about, to see if we're "intelligent" enough to "get it"

He does actually hit a bit of flow form on the subtely titled Bash Yer Brains and in fact in all tracks there are always signs there that if he disciplined his craft a bit, he's got the skillz and motivation to be a worthwhile emcee. He's imaginative no doubt, and has various musical influences which he dicides to throw together on one album, much of it experimental electronica. The instrumental Event Horizon is a catchy wee piece of electronica, it has to be said. There's a kaleidoscope of emotions goin on in his head, often frustration and anger, and he metamorphisizes into horror characters to deal with the perputrators. There is an element of deliberate shock/horror in a track like In the Eyes of the Jackal. He flips from one target to another, all fairly justifiably as it goes, like he's flippin a coin. It's penned up rage all comin out en masse without shape or form, which in itself resembles the format of the horror flick, and it then provides a logic to the guy's mindset.

While it's not entirely my thang, although there are qualities there of interest, what's really interesting, or at least apparant is that this is a crie de coeur by and for all of those who feel theyre on the outside lookin in. The album is in the main unleashed chaos, and while initially it's hard to imagine an audience for this, the REAL shock & horror is the fact that there probably are a substantial number of alienated souls who will relate to at very least, the motivation behind this. This motivation is expressed in various ways by various artists, Rorschach being an extreme. But nevertheless, the media-forced perception of style, the "right" way to be, the "right" things to aspire to and the presentation of information resulting in an unwittingly coerced society, brings with it the antithesis of non-belonging. So before everyone writes off the "freaks", it's the mainstream who are creating the monsters, and suddenly Frankenstein Rhyme makes a lot of sense. Worth buying for the Outro which is easily the funniest Ive heard as outros go.

www.ecruins.com

GEOMETRIK

UPON A MIDNIGHT STONE

review by INI (UE)

There's something about the far north east of the USA. Maybe it's the close proximity to Canada, but that dont work cos places like Chicago disprove the theory Im formulating in my head. Hmmm....what I mean is the kind of hiphop you get from the underground scenes there from places like Massachusetts & Toronto. It tends to draw heavily on two main things. Deep, cerebral subject matter and very "organic" beats, looped live drums, live instrument samples with a mix of the electronic. Some call it "experimental" but it's more like a number of individuals with deep, intense abstract takes on everyday life being given the chance to open a very fucked up Pandora's Box. Geometrik's been reviewed on this site before which I had a quick peep at. Certainly the name remains true. The delivery is metronomic, coloured by an old skool approach, yet quick fire, spittin out words like bullets but leaving a very slight aftertaste of the spoken word. But for artists like Geometrik, it's more important to deliver a social commentary on subjects they feel passionately about, and in today's world, you can't help feel there is a movement towards this, particularly in the student market, and apologies if that seems an obvious thing to say, but it's probably true. But the world of hiphop is big enough & increasingly ugly enough to have room for multi styles. You can have a main course with all the right nutrients & vitamins with health & environmental considerations....then follow it up with a Mega Death by Chocolate extravagence that is just pure pleasure. Keeps life interesting!!

What Geometrik does is like the main meal on a day you decide to try something different. You're apprehensive about coming away from what you know, but you know it's good for you to check it out at least time to time. He's written and produced everything and the variety in instruments used, arrangements and styles in itself indicates a real musical talent. There are all manner of means of woodwind, brass, keys and percussion, while the "real" drums & bass used throughout give it a live band feel, even though it's all programmed. He also employs the cutting and sample seeking skills of Massachusetts' DJ B-Precise in all but one of the tracks where DJ Andis brings on his own flavas. Without trying to pigeon-hole but more for the readers' benefit, musically it becomes a hybrid of Beck & FSOL with a smattering of international ethnicity and a traditional "indie" mentality. There's no obvious nods to the traditional roots of hiphop (soul, funk, R&B etc) and certainly none to contemporary sounding hiphop. But that's not a first, and is still interesting. Not that it's tailored for it, but there are no obviously commercial/radio friendly tracks which cry out to be a single, with the exception of Gravity which is basically a song, with beautiful rhodes piano, a really well crafted song which has the crossover for some shine, ironically more so on traditional indie radio than hiphop. The same would apply for clubs, and it would seem that Geometrik's success will rely on word of mouth within a particular scene, established already regionally in certain areas of the US & Canada.

That said, the final instrumental track The Last Vestige with the already well used chime sequence from A Few Dollars More/A Fistful of Dollars (never can remember which is which!) is very like Portishead, and as many of us know, it is infectious.

The subject matter as stated earlier is left field cerebral, questioning destiny, propoganda, the real/unreal, religion, the forces behind what make up the society we have. In what is unquestionably the communications age with the internet and multi channel television, it is hardly surprising that artists are addressing the information being provided, by what means, and who owns those means. Reality shows are replacing fact based documentaries as the mainstay of public consumption, and the film Network predicted this 30 years ago. What is thought of as a given, such as religion, is now being seriously questioned, especially with the super power being run by Christian fanatics basing policy on their unprovable beliefs. The track White the Blueprints with its military samples is an excellent swipe at America flexing her muscles both at home and abroad. Excellent because it is done by an American and not by someone from the outside looking for any excuse. Live in Mano also deserves mention on this site for its mention of Loch Ness, albeit a metaphorical one!

If youre a music fan, and like more than just a 3 minute quickie behind MTV's V.I.P.'s -ONLY garage, then there's a lot here that will entertain at various levels. If you think soap operas offer interesting social commentary & find Big Brother "fascinating".....pass on this one.....

up soon www.geometrik.net

HALFWAY HOUSE EMCEES

45 DEGREE

review by SOURCE (UE)

This track's been doin the rounds now for some time. Having appeared on various mixtapes finally it's produced on 12" vinyl with on the flip the previously unknown BARS, acting as a pre cursor for the soon to be released LP Shit on a Shingle

With the ever reliable steady boom bap production from LA's Discreet Merchants, Halfway House Emcees represents just one incarnation of many emcees who work together and release through Eighth & Dawson Records. To say they are all part of an extensive fam would be an understatement, with Community Service, Blown Celebs, members of Ugly Duckling just being the tip of the iceberg. One of the main driving forces behind all this is Cali's graffiti artist, clothes designer, producer and emcee Swiss Precise who will often appear on most of the various projects, not forgetting his design of the UNDERGROUND CARTEL logo and he will appear on a future Underground Cartel record. The thing with these guys is that their product is always well put together, and thought out, from the sleeve design to album samplers to flyers.

The rhymes are often well cerebral as you'd expect from a group of guys associated with the Anti Bling Bling organization. The cuts from DJ Dubs One adds the icing on the cake in the chorus line "Legendary array/Y'all know the name/the very fabulous Halfway House" As is often the case with Discreet Merchants productions, simplicity is the key. Steady beat, nice hookline throughout, some choice cuts, oil up them necks all you head nodders. BARS got a nice loose funky feel, not straying too far from the production ideas, but with some heavy sub bass, cool funk brass lines and cuts. Swiss comes up with some real smooth raps on the track mixing some good humour in the chorus fronm drinking in bars, getting barred from bars, ending up behind bars and then "gettin hit on the head with a bar" Good track for the floor this, and still has that slightly rough round the edges sound acting as an antithesis to the overpolished popcorn. US featuring Monster Ganjah uses a lot of soul samples like a montage in keeping with the theme of the roots of hiphop and how the torch is being passed on to the new cats, or US. Because of the namechecks there's a lot of cuttin up beats from 70s and 80s artists, so its got a feel of the tribute to the music that kicked off hiphop. They pull this off as the rhyme styles sound contemporary enough so as not to date the track, and in itself showcases progression with a respectful nod to the past. For those familiar with this fam's work, this wont disappoint. For those who like their hiphop with trad values, this is for you.

www.eighthanddawson.com

PLAYGYRL SLIM

WHO AM I

review by INI (UE)

Coming fast out the blocks for 2005, from Stockton CA is female hustler emcee Playgyrl Slim with her self financed 20 track LP "Who Am I". This 23 year old started rappin age 9 and was one half of rap duo R.F.P. With 2 movies in the pipeline, a single release due in February, and a tour of Alabama, Miami and Georgia planned in February and March, she's faster at the bell than Frazier.

Production and sleeve design guru Dejon Underdue of Hallway Studios has stamped his authority all over this product, but not as much as the attitude Playgyrl brings to the music. Dont Step to Us warms things up nicely, with nice guest sung vocals and rhymes from Hallways' Dee HWP & Critical' G-Man. Playgyrl's voice cuts thru like a knife thru butter and convinces from the off, this is for real. The next track Turn Nem Thangz is another banger, Underdue's production being top drawer west coast programmin and again enhanced with the guest vox from Dee HWP. There's a line in PIMPN where she says "You think Im playin with you? I gotta get that money quick....so let me be your boss and keep on doin what I do", a 21st Century Ma Baker in control of her "staff"-yeah, you know. Playgyrl's rhyme skillz are all there. Often easy, almost laid back but to the point, then tongue trippin on Do You Want Me where she's sparrin with High Performance's Dison Jae Heat.

A little later in What Would You Do, Playgyrl flexes her 6 foot frame on enemies, whoever and wherever, with impressive backup from J Catt and Dee HWP. "if my whole crew wanted you dead nigga enough said/so long, goodbye, nigga fuck you" Switchin the flava with Lady J, Playgyrl goes clubbin in Night Life taking her pick and settin the scene as Queen B. It's a Wrap gives young teen cats Troublesome the chance to showcase their skillz which are impressive and PG has form on encouraging young talent to come through. She's doin what she gotta do to put the $sss in the pocket, to get product out, to keep the power in her own hands and use the position of strength to make things happen. Get It Get It is like an instruction manual for any man who earned the right, and again it's all about empowerment, PG being in total control. That's right, when you cut thru to the chase, this is 21st Century feminism in an age and country where the $ = freedom. And it's coming from someone who knows, not someone puttin a few rhymes togetha cos they saw a story on MTV. So sure, there's imagery commonplace to the televisual experience of mainstream hiphop. The cd cover might have some runnin for cover cos of the way she presents herself, but in this case, it's not the manipulated, but the manipulator based on turning the game on its head

In a track like Tina, it's all about a female having self worth & dignity. Teenage pregnancy, abandonment enhanced by the pathos of Underdue's production. In Yo Bro, she tackles the scenario of wantin to be with her boyfriend's brother, how she wished she could have met him first and the moral dilemna of what happens next. Tricky!! But again handled well. It's an audio book of short stories from the street with a bangin soundtrack, an in your face autobiography from someone who knows where she's been, where she is now, and where she wants to be, and more importantly, someone who knows how to get there, by any means necessary. But also someone who's empathetic to others in tracks like Keep Yo Head Up

Both Playgyrl and DeJon Underdue are gonna blow up, whether individually or as what seems to be a really tight team, mainly cos the quality of the end product matches the talk. Everything's there, go check it.

www.cdbaby.com/playgyrl and www.playgyrlslim.net

PRIMO & SQUARTA

BOMBOCLAT

review by SURFACE (UE)

Out on Rome's prolific Antibemusic label, Bomboclat is a 15 track album from hiphop duo, producer Squarta and MC Primo. A biography was provided by the label, however it's in Italian, so there's little I can take from that, Not that it's important. The music's the important thing, as the rhymes are of course in Italian, but as has been said by other reviewers on this site, there is still much that can be appreciated from overseas sounds.

The intro is a short track in its own right. With a bouncing double bass led boom bap beat, Squarta shows instantly that he's an emcee to be reckoned with, riding round the beat in fine style with some fine cuttin skillz from Gengis. However, if the listener thought this was gonna be straight trad hiphop, second track Mamma Mia will dispel this impression. This is very contemporary programmed business with kit cut up in a handclap pattern, programmed keys, and here Primo is joined on the mic by Grandi Numeri. A club vibe, noticeable for using the same "wailing cat" string lines used on one of Britney's recent offerings. Here, Squarto decides to help out on the vocals. Primo has a husky vocal that swamps over a track, and stamps an authority in the stereo spread. Sambrava Un Gioco is a mid tempo "on the one" slab of funk. Amir & Grandi Numeri take turns on the rhymes, leaving Primo to take a chanted type chorus. Nice acoustic guitar work from Grandmaster Fab adds a classy overall polish. Gangsta, co produced by Squarta & Yoshi is taking on the big American dawgz in a sound sense. And while it has to be said that as with all the tracks, it's extremely well produced, it seems to be aimed deliberately at contemporary floors, which you either feel or you dont.

Back on form with Solo La Mia Guerra, it's a ballsy number, led by cool electric guitar playing from Alessandro Cavallo, where MCs Primo & Danno Jake La Motta hit some fine rhyming form, well assisted by cuttin from Squarta. It has to be said that the quality of the production is matched by the quality of the MCs, who definitely have unique styles and skillz, complimenting each other well. Baby Metal has a similar funk feel as Sembrava un Gioco, with again nice use of electric guitar, this time provided by Lollo The King.

Non Mentirmi Mai is very clever and highlights the level of talent here. Building round an old soul female sample, they keep an authentic feel with piano and hammond organ licks played by Paolo Iannattone and Squarta, providing a late 60s/70s sound, pushhing forward with a modern kit sound. It's a relaxed tempo, and draws on the vocal talents of Primo, Grandi Numeri & Tormento. It's loose, easy and meanders like Balloo the Bear falling apart in his backyard!. Quality. Ciao Frate gets back to basics over a simple beat, with nice soulful guitar and brass programmes from Squarto. Tormento's soulful voice as with previous tracks adds an excellent and beautiful new dimension to the duo's production. Pure soul with an authentic percussive feel to boot. Notto Al Nitro is a crackin upbeat number, again showing the group's influences from the Soul of the Sixties, and even drawing a pseudo lead line from Cream's Sunshine of Your Love. By this time the guys are cookin with gas, and the authentic kit adds a lot to the sound. Clappin & finger clickin back to the "noughties" is Milano Roma. Great piano, string and brass loops paint the backdrop for Primo, Gue Pequeno and Jake la Furia to lay down some serious rhymes. Some very welcome cuts from Squarta gets the big head noddin vote. Current flavours of the month, handclaps & speeded up vocal samples abound on Cor Veleno without getting too slavish to the production styles of others who prioritize cleverness over quality and soul. Nice track

Latino piano, percussion and organ drive Attento, a track where primo is joined by labelmate Turi. Another example of the many strings Squarta has to his bow, allowing for his obvious love of the handclap and fingerclick. Fisse Bastarde is driven along by dirty clav/organ and analogue synth, with again really well programmed percussion over what is basically a straight 4/4. Il Mastno Del Gregge has that contemporary r&b feel again with Squarta's choice of instrumentation, handclap, very well played acoustic guitar and string loops.

In conclusion, Primo has real tight rhyme skills as have their choice of compadres. Squarta is not only an excellent producer-the production being top of the line-but he's clearly a brilliant musician, and it's this quality that is the ace in the pack-allowing them to be contemporary but also different from the norm. All in all, very very impressive

check corveleno.com and antibemusic.it

NON THESPIAN

THE ART OF CONFLICT

review by DI GIORGIO (UE)

Non Thespian have been spending 2004 creating a bit of noize about the place, not just in their hometown Nottingham. In recent times theyve supported GZA & Master Killah and played alongside the likes of Kid Koala, RJD2 and Ugly Duckling. Word gets around, so we were keen to hear what it's all about

Non Thespian are producers Dwyzak the Elevator and DJ Johnny Crump, while on the mic duties are MC Duke01 and MC Lethargy. Out on Dealmaker Records, this is a 4 track offering with an accompanying press release describing it as "the essence of hiphop's third decade-the digital age of binary b-boys"

First up is Sanity's Requiem. Within seconds of the track beginning, the production hits you right away. It's big. Big synth-scapes, wailing vocal samples all being dragged along by a repetitive drum machine pattern, dark and interspersed with film samples. If youve ever seen the film "The Body" (unlikely!) it's got that title music feel, but a direct reference point more familiar to you would be Future Sound of London, and it's a very convincing reproduction. But it's a serious sounding piece of work, like it's done in Dolby surround. The rappers come in and their flows are good, no doubt. The subject matter's deep, abstract, cerebral. The title throws clues that this is a track based on the realities of life bearing pressure upon the mind and soul, and the ability to overcome and reach a new level of understanding.

"I speak of sanity as if it's in my clutch/Reoccurring nightmares that are real to the touch/Many voices echo of souls once tortured/Holding me in account for many have been slaughtered" Yeah, that's right, another regular, run of the mill party track!!

But for real, this is in kind of Massive Attck and/or Tricky territory with a new, harder hiphop rhymin twist.

Humans of a Lesser God comes in with a rap poetry accapella wrapped in astrological terminology. The backing music-scape is again FSOL-esque. The human condition, and the actions taken by mankind being influenced by a variety of belief structures, whether mainstream religion or obscure creeds, provides the subject matter. Again though, it's a follow on of the theme of the mental condition. This track introduces some nice cuttin skills from Johnny Crump and leads seemlessly into Bitter Harvest, which appears to take on issues such as racism from a leftfield stance. Again, when in full flow, MC Duke01 really rips the mic apart, and has a similar tone & style to Phi Life's Si Philli. Not that Lethargy is any kind of slouch, but there are two distinct styles coming through, and it's a nice match. In fact, Non-Thespian came into existence by two crews gettin together, and this is a real melting pot of different influences. there are flavas of hiphop rap, and rap poetry, deck cuttin skills and soundscape production. Like FSOL meets Tricky and Si Philli on the way to the DMC finals. So there are some UK roots to this, but it has moved on again.

The CD doesnt sound like 4 tracks, more like a twenty minute first movement of a symphony, diverse enough to hold the attention. A very healthy representative of the growing diversity of UK hiphop. "Binary b-boys". I'll need to remember that one!

www.dealmakerrecords.com

AGA

FASTER STRONGER

review by INI (UE)

So this is how they do the hipho