By Alex P80 Parks

The Duck Down/BCC affiliated, Brooklyn emcee known for clever wordplay teams up with LA producer and DJ, Tone Spliff. Rustee Juxx provides a plethora of creative punchlines while Tone Spliff supplies plenty of booming drums and slick cuts on the 9 track project.

Ruste’s raspy delivery and street flow have been a staple in hip hop ever since Juxx was rockin Crown Heights over 20 years ago, catching the ear of the now late, great Sean Price. On the left coast, Tone Spliff continuously stays working with some of the game’s best lyricists, putting out some excellent beats and projects.

On the title track, Tone brings in a darker mood with murky loops straight out a murder scene. Big Twins comes through with one of the grimiest voices in the game, partnering with Juxx to deliver a lesson in gritty rhymes on “24K,” a highlight on the project. Tone chops light piano notes on “Take Precaution,” as Juxx gives plenty of warnings to prospective emcees and anyone in doubt. Tone provides crazy scratch hooks with some ill and notable lines on every joint. “For Every Shell” is another standout track featuring short chopped loops paired with heavy drums and open hi hats. Juxx comes correct with his energetic delivery.

Check out the video here:

“How Itz Done” feat King Magnetic and Ill Conscious sports a chopped doo wop vocal sample as the three emcees two-step over the bouncing beat. Tone brings the impending doom on “Sucka Free” as Juxx and UG (of Cella Dwellas) spit menacing lyrics. On “Style” feat Recognize Ali and Ren Thomas, Rec Ali starts off delivering the shots, followed by Ren and his vicious flow, with Ruste bodying the track and Tone wrapping it all up with cuts echoing into the distance.

A dope project pairing Ruste’s no nonsense bars with Tone Spliff’s sharp beats, always full of big drums. Ruste Juxx provides such venomous and spirited flows, one can essentially hear the spit dripping from the mic. Tone has scratch hooks for days, always getting the perfect line to cut up. The two make a logical pairing and create a dope project for any fans looking for no nonsense bar work over solid production with some ill scratches throughout.

Cop the album here:

http://tonespliff.bandcamp.com/album/magma-pre-order

By Alex P80 Parks

Scvtterbrvin focuses his visceral rhymes across a range of surreal, nervous and mind-warping soundscapes from some of the underground’s most active producers with his latest project, the 10 track The Acid Atheist. Currently residing on the East Coast, the San Diego-bred, former battle rapper stretches his syllables, using a delayed cadence. The project upholds much of the trippy aesthetics with dusty psychedelic samples and tense/anxious moods throughout. Scvtterbrvin’s content often pushes the shock value envelope but he does so without forcing it. On Acid Atheist, Scvtterbrvin often comes across as almost comically brooding, yet he seems to maintain a level of humility, staying grounded and avoiding boastful lines.

DRHH caught up with Scvtterbrvin to find out about his battling background and how the new album came together.

SCVTTERBRVIN: “I originally started battling just to put in work and pay my dues. I didn’t want to be one of them producers that just starts rapping out of nowhere and drops an album. I wanted to be on the frontline and draw blood. I got into a lot of random battles around Southern California. I Eventually ended up battling on GrindTime, the Red Bull EmSee competition and King of The Dot.”

DRHH: How is your approach to rhyming on an album different than battling?

SCVTTERBRVIN: “In rap battles I’m targeting one person and trying to show everybody I’m the better rapper. It’s a lot more ego tripping. When it comes to recording I try to still have the same energy but channel it to fighting a greater evil. It becomes more about destroying the status quo than another rapper.”

On the opener, “Born To Chill” Scvtter delivers measured rhymes over a daring strings and horns sample that echoes.  On “Rick Sanchez,” he spits over jazzy piano and flute loops courtesy of Infinity Gauntlet. On “Subliminal projection” feat Odessa Kane producer Evilldewer provides a juxtaposing beat that’s hopeful and light but still provides an edge as both emcees bring fiery verses.

DRHH: What was different for you about putting this project together?

SCVTTERBRVIN: “Going into this project I needed to drop a higher dosage of music for the people. I usually just put out EPs with 1 producer. This one is 10 songs with all different producers from different places. I wanted to mesh my style with producers I never worked with before. I feel like if you’ve never heard of me this is the perfect album to start with to see if you want to plug in to the RLK (Red Lotus Klan) matrix... When I first started trying to rap I was able to freestyle alright but I couldn’t understand how to write rhymes in a 16 bar format. One night I was on acid watching a Rakim interview. He was describing how he wrote his raps and after that I was locked in. I seen exactly what he was talking about and everything connected for me. Shoutout to the God, Rakim Allah.“

DRHH: How’d the title come about?

SCVTTERBRVIN: “Originally my rap name was “Scatter Brain The Acid Atheist”. I stopped using it after a while because promoters were scared to put my full name on the flyer. I decided to name this new album The Acid Atheist to remind people I’m still here. The rap game is full of nothing but cocaine and alcohol so I decided to bring LSD to the party.”

On the “Cutting Room Floor” producer JLVSN creates a jarring, anxiety-inducing beat, as if someone was laying on the horn in the car behind you. Producer Grimm Doza puts down some compressed drums with short chopped flutes on “Nolan Ryan vs Robin Ventura” as Scvtterbrvin snarls his way over the beat with creative metaphors and some clever wordplay. Check out “Gator Rogowski” produced by Won87 here:

Evilldewer provides a more cosmic beat on “Cloak and Dagger.” A standout joint, with the ghostly strings loops, “Luxury Ambulance;” Producer Ali Kharmicel conjures up film noir score bits with visions of Scvtterbrvin peering over his ouija board, as he respectfully borrows an infamous Guru line from “Soliloquy of Chaos” for the hook. Another standout track that fits in with the uncertain mood of the entire project,”Epilogue Editor;” Producer Wazasnics creates some tension with rising strings over crunchy drums, as Scvtterbrvin carefully places his metered bars. Check out “Loko Haram” feat Obnoxious produced by The Historian here:

On The Acid Atheist, Scvtterbrvin provides the hazy trails with plenty of moody avant garde beats to fuel the creative imagery and clever wordplay. Scvtterbrvin definitely delivers to the niche underground heads looking for sample-based beats and darker, psychedelic vibes.

Cop the album available here:

http://scvtterbrvin.bandcamp.com/album/the-acid-atheist-3

Delivering the first video from his upcoming LP, Lake Water, the Alabama emcee makes sure the water is murky, at best in “I’m So.” With a bouncing beat full of dusty loops from producer Ed Glorious, SeKwence and guest rhyme partner Lord Juco spit laid back verses packed with heart and creativity. The visuals display a montage of clips of the epic standoff scene from The Devil’s Rejects, which features the late Sid Haig in his glory.

Check the video exclusively here at DRHH:

This single will be available later this week. Get ready for Lake Water, coming Jan 27th, 2020 from SeKwence.

Delivering brand new visuals to accompany the Skulloton album release today, Oak and Insight combine forces on their latest single, “Dummy.” In the video, Oak is seen brushing off the annoying clowns that seem to hover and lurk from the studios to the bars and even at the shows. Oak breaks down the foolery of such dummies over a bouncing Insight beat with piano loops and chopped organs. On “Dummy” Oak Lonetree keeps it tongue and cheek overall but serves up some good advice and drops a few gems as well.

Peep the video here:

https://m.youtube.com/watch?v=N9H2k99tP5I&feature=youtu.be

And cop the brand new album, Skulloton, available today here:

https://music.apple.com/us/album/skulloton/1480893265

By Alex P80 Parks

NY Producer Bass Reevez brings out some of the underground’s best over his boom bap society beats with his latest compilation project “Tha Fisha Hrz.”

Nowaah The Flood sets it off with his slurry flow over a bubbling bassline and subtle effects looming in the background on “Liberate.” Heist Life comrade Ty Da Dale brings the vibes and Rome Streetz comes with his ever sharp and clever lines on “Drip Lounge.” Bass Reevez finds that classic combination of sinister/murky loops with perfect vintage drums. “Commisary Day” features Gym Star, delivering street rhymes over machine gun drum rolls and simple piano loops. On “97” AA Rashid drops his veteran wisdom over classic drums and an infamous xylophone loop.  Bub Rock brings his introspective lyrics on the somber sax-laced “24hrz.” The floating vocal loops of “Tubz & Vinegar” is perfect for Jamal Gasol‘s savvy hustler bars. $ Come $ Go shows off memorable verses from Estee Nack and Nowaah The Flood, with his second appearance on the project.

The EP maintains a gritty classic NY feel throughout the 7 tracks but Bass ensures it sounds clean and crisp at every note. Bass does retread a couple of notable loops but flips them different enough, appealing to the boom bap purists and elitists but also the younger ears. Reevez brought in the right cast of emcees on this one, calling on some of the most talented cats out right now. A solid and enjoyable project that delivers ominous loops, booming drums and focused lyrics.

Cop the album here:

http://bassreevez7154.bandcamp.com/album/tha-fisha-hrz

With “Kareem & Shaq,” The Detroit wordsmith drops this Foulmouth produced joint off his upcoming LP Gift Certificate, out on October 29th. Foulmouth lays dusty drums and bouncy chopped vocal loops as Ketch delivers plenty of references to the former outstanding Laker big men. Ketch has plenty of witty wordplay on this joint, as just a taste of the sharp lyrics and booming production found on his upcoming LP.

Check out the track here:

https://ketchp.bandcamp.com/track/ketch-p-kareem-shaq-prod-by-foul-mouth

Gift Certificate will be available on Oct 29th for free!

By Alex P80 Parks

Codenine and Loman, both from the North Shore of Massachusetts combine their talents on Sane No More, 11 tracks of Code’s razor rhymes over melodic samples, thumping drums and some subtle touches with slight nods to the instability associated with mental health and sanity.

DRHH caught up with Codenine to discuss the start of his collaboration with Loman and working with one producer.

Codenine: “I first used 3 of Loman’s joints back on Codex Leicester; Me & Billy just had a great sound together so we knew right then we had to do a full length project.. All the beats he sent for this project essentially already fit and had a vibe so i just took that direction and ran with it.”

DRHH: How is it working with a guy locally/was that important?

Code: “Not even so much “local” but just working with one producer for a project keeps that cohesiveness for me. Workin with Billy (Loman) is dope because he provides a canvas and gives me 100% artistic freedom to do what I feel the joint calls for.”

Loman lays a mix of textures, dusty samples and effects, plenty of well-dug loops and a even couple of frenetic beats for Code to lay his sharp lyrics across.

On the title track, Code bounces his rhymes with double entendres like: “Back in the trenches like Dylan Kliebold.” Loman provides a bluesy, laid-back canvas on “Vantablack” as Code sways through the smooth groove. On “Heir Macs,” Estee Nack provides his complex layered rhyme schemes over floating keyboard notes and rising strings. Code’s deliberate flow is evident here as he rhymes:

“Lit indigenous herbs, Villas wit buena vistas,

Aim wit an eye squinted like Tiny Lister,

Lane shift in Tahitian vanilla chaffon Fisker,

Crooked PD friskin a felon, fishin, gefilte ”

From one standout joint right into the next,”Blue Semibreve” with its haunting vocal loop, subtle flute notes and light percussion, Code vomits vivid imagery with lines like

“Dungeness Crab trapped, stench like durian acid,

black magic mask in foyers at the Radisson,

joyride in Patterson like midgets sit in passenger..”

Jamil Honesty spits venom and Bub Rock provides his smooth flow on “Milk Plus” over a jumbled jazzy organ. Daniel Son breezes through for a typically potent verse on “Opium Bazaar.” The rising LeftLane Didon comes through on “Bareface Bandolero.” The rumble of “Tabi boots” brings in the late 90’s/early 00’s vibe with synths and booming chopped drums to accompany the 2 guest lyricists Rim and Jay Royale. On the closer “Never Sane Ever“, Loman creates an anxious pulsating vibe, appropriately fitting the title and theme.

DRHH: The album art is pretty interesting and thought provoking..

Code: “The art I just wanted to be pretty abstract and eye-catching to convey the message of being insane or feeling like you feel out of sorts in your own head, nahmean.”

On Sane No More Code flexes his lyrical dexterity across a variety of finely crafted soundscapes courtesy of the ultra talented Loman. They capture some of the changing moods evoking a loss of sanity throughout the well-developed project.

Cop the album, available here:

http://tragicalliescodenine.bandcamp.com/album/sane-no-more

“Anything can happen in NY on any given day.”

Off the upcoming IceRocks X Madhattan project, Brown Water Bible dropping November 1st, Madhattan recruits BK’s Rome Streetz to assist on “Stop&Frisk.” The video, shot by Revenxnt, shows the emcees riding around in the paddy wagon like they just got picked up. They’re also seen stopping to politic in various spots, spitting gems about ducking the law and making it back after charges. Both emcees shine over this uncomplicated beat full of gentle harpsichord notes. Revenxnt again flexes his visual talents with tasteful edits and effects throughout.

Peep the video here:

https://www.youtube.com/watch?v=1lrOrT-o0ow&feature=youtu.be

Cop Brown Water Bible from Madhattan and IceRocks on November 1st.

By Alex P80 Parks

For the 3rd chapter in the Teller Bank$ X Blaq Knight saga, both underground artists return with their signature styles stamped on this 15-track LP. The Called And Chosen shows off Teller’s quick delivery and as master of the one-verse joints. Blaq’s penchant for balanced soundscapes comes through again, with soulful elements, chopped vocals and booming drums on just about every track. Sonically, Blaq’s beats are lighter, with a more upbeat vibe overall on The Called and Chosen.

Teller rises to the occasion, having quite a good time on the least dark of their collaborative projects. Storming in with chopped samples full of funky guitar loops, “The Call” brings the energy but with a less ominous mood to coincide with a Teller’s slightly softer tone. “The Devil” has Bank$ in a more mellow groove while “More Freestyle” finds Teller over a lighthearted sample, with vocal loops and funky percussion. On the eerie “UFOs”, a standout joint, Blaq brings back some of the threat with rising strings. Another highlight is the fast-paced r&b swing of “Due Guard“. Teller is focused as ever with lines like:

“Shit I did I hope they never tell my momma, n***a,

I’m tryna be a better father figure,

Three ho’s on my dick like I’m Father Christmas.”

On “Sumn I forgot,” Blaq lays a droning clarinet loop with a 70’s vocal loop as Bank$ delivers vivid similes and metaphors aplenty, providing plenty of imaginative opportunities. Blaq smoothes it out a bit on the mellow jazzy piano-laden “The Son of Man.” But that certainly doesn’t slow down Bank$’s flow, as he spits several gems like:

“I seen some of the worst places,

90 percent incarceration rate for the kids I used to play wit.”

Lines like these show Teller’s growth as a man and rhyme writer as he focuses on new perspectives, with some poignant and even some heart-wrenching lyrics without ever sounding like he’s reaching for attention or emotional dependence from his listeners. Instead, he offers insight into his world and what he sees with no compromises.

Teller continues to carry the weight on this project with only 2 features to assist in the lyrical onslaught. SeKwence brings his tenacity and hoarse southern flow on “The Mac.” This track provides some of the tension typically associated with Blaq’s beats, a welcome deviation on this album full of mostly brighter moments as Teller escapes from the darkness. Pro Zay brings his equally raspy vocals to “Softball“, full of chopped strings and bass. Bank$ spits lines like number zero dishes dimes on”Westbrook” which sports a light synth sample reminiscent of A Clockwork Orange, with a dystopian future almost at hand. Teller elevates the education on “Calculus” while Blaq maintains the mystique with compressed open hi-hats and a classical strings arrangement for the loop. “Semi-Auto“features booming drums and haunting chopped vocals with an intro that could serve as its own joint in and of itself.

A dope 3rd installment from Blaq and Bank$, the beats bring a more hopeful vibe than we’ve heard from the duo in previous works, but this one doesn’t lack any of the punch that both artists are known for, with plenty of sharp lyrics and slapping drums throughout.

Cop the album here:

https://tellerbanks.bandcamp.com/album/the-called-chosen

Oak Lonetree joins forces with veteran producer Insight The Truncator for the amped-up joint “In The Stash.” This brand new track is from Oak and Insight’s forthcoming album, Skulloton. “In The Stash” shows off Insight’s booming production with chopped piano loops, big drums and subtle effect. Oak’s rhymes are full of honesty, self-deprecation and just enough humor and braggadocio to keep it interesting while setting himself apart from the pack. Meeting one another in 2018 through mutual friend Yukonn MC, both Oak and Insight call New England home and have become established presences in the local music scene.

-Visuals courtesy of Cursed Out Pro

check out the track here:

https://open.spotify.com/track/3plhGS3wPQ0DImhJDJ9sgO?si=ZHbtgF3mS5OpvRwI_rYn3Q

https://music.apple.com/us/album/in-the-stash/1480902222?i=1480902223

Preorder the album here:

https://music.apple.com/us/album/skulloton/1480893265

And keep watch for Skulloton, available Oct 18th on all digital platforms with Physicals and merch available through Cursed Out Productions.