by Alex P80 Parks

Underground hip hop is flourishing worldwide. Collaborations from across the globe have become commonplace. To think that a producer from England would create beats for an American emcee isn’t strange or unlikely anymore. With Martyr Musik, Baltimore, Maryland’s Jamil Honesty and Birmingham, UK’s Hobgoblin provide another great example of these types of successful global collaborations.

Originally from Staten Island, NY, Jamil proudly represents Shaolin in spirit, and Baltimore in the physical state. His straightforward delivery and depth of lyricism is notable and on display for this project.

Deeply Rooted reached out to HobGoblin and Jamil about Martyr Musik and how they came to collaborate.

HobGoblin: “We first linked on SoundCloud through a group called CCP (Cloud City Project) and decided to work together. Then we put out that ‘Marines‘ joint, and it came out so dope that we kept working after that. Jamil came up with the idea of doing an EP.”

On the title track, “Martyr Musik” Jamil rhymes over a booming track with punchy snares and a chopped vocal sample. Appropriate that the title track is a standout banger on this project.

On the second verse Jamil spits:

“In all white, walking the streets of Egypt and Sodom,

teaching the sheep, seeking impeachment.

The presidents throne is just a replica of Rome.”

Jamil on the concept behind Martyr Musik:

“The artwork and title is inspired by my spiritual beliefs … Martyr Musik is kinda like the background music or theme music behind everything that is happening to the minorities in this country being martyred everyday; similar to how the prophets were killed. The self-titled track kind of touches on where I’m going with that.”

“Blockah” feat J Scienide The victorious horns are chopped for a triumphant mood where Jamil and J Scienide take turns laying down some serious bars.

Check the track here:

https://soundcloud.com/macabeats-entertainment/jamil-honesty-x-j-scienide-x-hobgoblin-blocka-dirty

“Salvation” feat Ace Cannons. HobGoblin flips a series of guitar samples, with a tragic tone from Ace Cannons on the hook.

Check the track here:

https://soundcloud.com/hobgoblinbeats/jamil-honesty-x-ace-cannons-salvation-prod-hobgoblin

“What U need” feat DJ Grazzhoppa Reminiscent of some pure break beats, this is a refreshing series of loops full of fuzzy guitars, horns and a funky vocal sample. The full sound and great tempo are plenty to carry the track without laying additional drums. This is a great example of well-placed chopped loops, layered precisely. Jamil rhymes with purpose:

“Ayo, I do this for the culture,

Mowing over theses vultures like I’m supposed to.

Go head get a close-up,

Post up, Mob style, la cosa nostra

Bow tie with the loafers

Gold fronts with the low cut

Type flow, son it’s ice cold..”

DJ Grazzhoppa provides some serious cuts as well on this track, making it even more of a standout heater.

“I Am” Over a soulful vocal sample and sustained strings, Jamil brings his trademark sincerity on this joint, revealing insight and personal traits that separate him from the next man.

“Scribez” feat Jay Royale showcases the Baltimore emcees spitting hard over crackling drums and poignant string loops.

Check the track here:

https://soundcloud.com/black-fist-radio-promo/jamil-honesty-x-hobgoblin-scribez-feat-jay-royale-dj-grazzhoppa

“Tapestry” feat Rome Streetz and CodeNine is easily another standout track, features Jamil holding his own with two of the elite lyricists in the game. HobGoblin delivers the dusty old Italian vocal sample to perfection, balanced with a delicate bassline. All 3 emcees bring well-crafted verses here.

The chemistry on this project is apparent. Hobgoblin and Jamil naturally blend as if they’re neighbors who build on the regular, creating these vintage sounding joints in their basements. It’s evident that the album shows a high degree of craftsmanship, with a level of quality in the rhymes, production and mixing.

HobGoblin on the process: “It took over 6 months to complete, a lot of beats and rhymes binned.. we wanted the bar to be high and to really solidify a name for ourselves with this project. We’ve been very meticulous, from the beats, to the rhymes, to the artwork and the promo.”

Jamil: “With Martyr Musik, it’s deep.. There are hints of my spiritual beliefs there, and with the whole biblical theme in some of the song titles… I was specific about the cover art as well. I didn’t want any words to obscure the classical artwork… Bringing the art of the Byzantine era with the raw hiphop, to me, it’s similar to how the Wu brought martial arts into hip hop.”

The overall sound of Martyr Musik fits very well in the landscape of this current revival in underground HipHop. The album puts the solid skills of HobGoblin and Jamil Honesty on display as they both bring their A-game on Martyr Musik.

cop the album on 12/4 available at jamilhonesty.com and here:

https://jamilhonesty.bandcamp.com/

The first single off the upcoming album, RockSeason pairs Bub with NY producer The Artivist. The track sports a robust loop with guitars, strings and drums. The Artivist selects a rhythmic loop with decent tempo for Bub to spill out his lyrics onto.

Bub rhymes:

“I wish you health and wealth,

A hundred years of success.

Even if you wish me the opposite

Under ya breath, Poppin shit.

Pillow talkin with devious women,

Let’s not..

Same exact sheets i fucked on

She slept in the wet spot

Get ya spot wet…”

Check the track here:

https://soundcloud.com/kingbubrock/bub-rock-rockseason-freestyle-prod-by-artivist

Bub brings his witty rhymes, both visceral and intelligent on joints like this. This freestyle is like a warm-up to the album, RockSeason coming soon.

by Alex P80 Parks

The New England spitter and producer link up for a memorable album full of nostalgia and fly rhymes on Auerbach’s Garden.

Lynn, Mass emcee, CodeNine has had a prolific 2018, releasing several quality projects with high praise from fans while garnering critical acclaim. This album features some of the game’s current top talents in SmooVth and Sully Nomad along with local homies and frequent collaborators SPNDA and the ever-grinding Estee Nack.

Grubby Pawz is multifaceted producer and studio engineer. Perhaps I may be biased though, having witnessed on different occasions not only watching him perform beat sets for audiences, but creating such strong soundscapes in his beats and also mixing and mastering his own work and tracks for his peers, friends and contemporaries.

On “Audemar Vision” doo wop vocal loops with subtle drums set the vintage tone here. This vocal sample has so much heart, it plays as a third artist on the track. Grubby always has the knack for digging for the poignant vocal samples full of emotion.

Code spits with the ill references:

“OG said I’m bringin back that essence, Pappy Mason fury.

Prolly shoulda just been a safety for the buckeyes.

Footwear had em bug-eyed, look like the plug died

Slug fly, how they grew wings.

Let the bud fry.

They thought CodeNine was a crew,

Found out be one guy.”

Grubby Pawz lays a funky bass loop and synth effects on “Plata” as Code slides smoothly through this track.

“Milk & Honey (Franklin Forts)” feat. SmooVth sports wind instruments, a vocal sample and a throwback feel while floating through the air. SmooVth stops by for his unmatched flow and cadence.

“KV62″ feat Estee Nack a repetitive piano/synth loop and bassline sets the tone here. Code’s tragic ally, Nack slides through here to drop a dope verse.

“Loomis Getaway” feat SullyNomad fluttering flutes create the high anxiety of the heist for Code and SullyNomad to glee the scene with. Code delivers his spittery while SullyNomad jumps in to lay his hazy flow full of unique references and wordplay.

“Tommy Jean Jacket” is certainly a standout track on this album. A psychedelic wavy atmosphere, a sultry female vocal sample and a bouncing beat create the perfect track for Code to just float on.

Check the visuals for this exceptional joint:

https://youtu.be/P61ZN2c3kSk

“St. Ides Ceremonies” mixes an orchestral sample with a funky groove on this laid-back beat. Code paints his regal rhymes all over this track with lines like:

“Tryna see how far this lobby go before I’m outta smoke.

Bayside varsity jacket party crashing,

Shorty passin out petty pussy like they was Arby’s rations

12 hour smokin session like beef brisket

Knock the jockey off ya polo horse;

Freedom for Seabiscuit.”

“Reggie Mural with Rose” feat. SPNDA Both emcees are in top form here. SPNDA delivers his lyrics deliberately and in typical commanding fashion. Grubby puts down bouncing choir-like vocal loops on this cut.

“The Larry O’Brien” The closer of the album is fittingly celebratory in tone. Grubby plucks a quirky synth guitar riff which tumbles across the track as Code bounces his flow over the beat.

This latest endeavor from CodeNine keeps him in the conversation as one of the elite emcees in this current renaissance. His creative references appeal to those looking for more substance than the typical superficial rap lines.

Grubby’s beats show a delicate balance of minimalist production while maintaining a polished, well-mixed sound, without the beats ever sounding too cluttered or over-produced. Grubby Pawz seems to be in peak form on this album, shelling out his finest loops, crafted and built around Code’s lavish and vivid imagery.

Auerbach’s Garden plays out well conceptually too, with the cover art, audio clips and titles all revolving around Boston Celtics’ legends. An excellent offering from 2 of the Bay State’s finest hip hop artists. Both Grubby Pawz and CodeNine serve heads a complete and well-crafted album.

Cop the album here:

http://cityyardmusic.bandcamp.com/album/auerbachs-garden

Check the June 2018 review of CodeNine and Paranom’s MillionDollarMink here:

https://deeplyrootedhiphop.com/2018/06/16/review-codenine-and-paranom-milliondollarmink/

Cocareef drops the third single “Coke Beams” ft. Ambishouz from his forthcoming Diaz Brothers album with producer Onaje Jordan. Onaje Lays a repetitive vocal loop, funky bass line and crisp drums on the beat.

Cocareef’s daughter Amaya Whitehall aka Ambishouz provides the hook on the track. The 17yr–old Senior from Orange, NJ is also signed to Cocareef records. Cocareef explains how she came to bless the track:

“While listening to the track I was thinking how her voice sounds just like the sound on the beat, so I had her sing “Fall In Love” over the sound and you can‘t tell who is who haha... In the very beginning of the track I have her saying “Far From Over” like 3 times haha… it‘s a cool track to me and I love the Hook!”

Check out the new joint here:

https://www.youtube.com/watch?v=_H9TfW1u5f8

The Queens, Lo-life emcee links up with Toronto producer The Kurse for their second project, Spicaso Dos. The album showcases both Eff Yoo’s lyrical skills and The Kurse’s ability to sample from any genre and pull together unique and enjoyable beats.

On the opener “Saturday Night Special,” with his semi-monotone flow Eff spits:

“My entire.. repertoire is fuckin fire,

Fire rings, I only walk-in when the choir sings.

Wrote this whole rhyme on an accidental whim,

in a leather-bound book made of pterodactyl wings.

Fresher than I ever been,

ya head’ll spin like the exorcist

my shit is sick, my pen is penicillin…”

Check out “Saturn’s Rings” Feat Recognize Ali cuts by DJ TMB here:

https://soundcloud.com/effyoo/saturns-rings-feat-recognize-ali

Even though the posse cuts and features are all dope and bring some serious talent together, it’s the solo joints “Saturday Night Special (Dos)” and “Spic Rude” where Eff really shines. He uses his wordplay and effortless flow to ride the thumping beats that The Kurse lays. Both tracks have clean, well-mixed production from The Kurse, giving a rich and full sound to each joint.

On “Saks Fifth Avenue“, Eff recruits fellow Queens emcee and rising talent Fastlife over a futuristic banger from The Kurse.

“Seppuku in B Minor” feat GS Advance, Aye Wun and Spit Gemz. The track shows The Kurse chopping a Japanese vocal sample, synths and booming bass. A dope posse cut from the ‘Broken Home’ emcees.

Check the track here:

https://soundcloud.com/effyoo/seppuku-in-b-minor-feat-gs-advance-aye-wun-spit-gemz

“Sounds like Fun (Tons of Fun with Buns and Guns)” closes out the EP in 80’s fashion as The Kurse lays an elegant r&b loop with a funky bassline and a sax as Eff goes triple-time, tiptoeing on the beat.

Eff Yoo delivers many comic punchlines and hilarious metaphors, never taking himself too seriously. He balances the wittiness with a “smack the shit outta ya” kind of attitude. Spicaso Dos is a well-produced album full of trunk-rattling beats and memorable lines from one of Queens finest emcees and one of the more versatile underground producers in The Kurse.

cop the album available here:

https://store.cdbaby.com/cd/effyoo2

And on iTunes:

https://itunes.apple.com/us/album/spicaso-deluxe/1444546302

Long Island’s Spoda aka Mr.Dopeflow brings a rough and rugged flow over Wavy Da Ghawd production on “Homicide.” Wavy lays down some loops with funky guitars, blaring horns and thunderous beats on this joint. Spoda spits with a confident voice and an energetic delivery.

“I lock shit down like a officer

Bub told me use your voice as an instrument so my life is the orchestra

The shit was never orchestrated…”

Watch for Mr.Dopeflow and his commanding mic presence as an emcee to look out for.

Check the track here:

https://t.co/sG3J7M8brD

By Alex P80 Parks

Brooklyn emcee and Team Fame Gvng CEO, K.Burns brings us on yet another journey in 2018. This time around, Burnie teams up with UK producer NCL-TM to deliver Pyrex Vision. Watch the bubbling liquids on the stovetop as K.Burns brings us straight from the kitchen through all the spots.

K.Burns has had quite a year. Since dropping his Kilo Dreams EP with The Historian back in January, he’s dropped 7 tapes (6 solo and 1 collab) and guest appeared on a number of tracks and projects of his peers and contemporaries.

NCL-TM has had a prolific production year himself, working with many talented emcees and also dropping several beat tapes independently. The creative mastermind has even crafted some dope cover art for several albums. TM goes the low-fidelity route on this project, full of dusty samples and mostly light percussion, though he selects definitive loops that give the overall soundscape a feel all its own.

K.Burns bounces his flow over what sounds like a pungi (snake-charmer flute), subtle snare and booming bass on the opener, “Nitro.” Burnie coaxes his lyrics to slither on demand similar to that of an expert snake charmer.

“Way I was raised you buy that strap, fuck bodies on the gun.

The objective no gettin caught, Move like bodies on the gun.

When I squeeze it, nobody seen, everybody gotta run.

Shots, duck, couldn’t tell if it was a ladder or a drum.

Where I’m from we don’t look for handouts, nobody gettin none.

If you want it, you better go out marine and get some.”

Burnie is the type of emcee who initially could be overlooked as a style-over-substance type of emcee, though that would be selling his talent far too short. His voice control and passion in his vocals is such a strength that it often overshadows his lyrical ability upon a casual listen. But upon further analysis K.Burns delivers plenty of memorable bars, clever punchlines and double entendres to satisfy even the most critical fans of lyrical HipHop.

On “Pyrex Vision” over a muted hi-hat and melodic harpsichord loop, Burnie creeps his way into the kitchen to show you how he breaks it down and chefs it up.

He drops witty lines like :

“On my 99th Spliff, this a real Kush diet

Fiends geekin of the jink like they name Len Bias.”

“Paper Chase” feat Bub Rock shows both emcees floating over a somber yet hopeful jazz loop. Both emcees shown some depth in their lyrics here.

Burnie: “Big bro had a scheme,

No time for the digi scales, we gon triple the beams.

Pyrex with the vision, you know kilo the dreams.

Big bank take lil bank and ayything in between.

Gotta get to the cream, Vee parked outside..”

Bub: “Get it, got it, good,

Tryna get it till I got it good.

No talk, I slide like i should thru rival hoods.

I was 17 when I left, filled the duffle up.

Round trip takin 5-hour ride on the megabus.”

The track finishes with a gorgeous sample of a melancholy trumpet as it echoes trough the empty NY streets late at night.

On “Nancy Reagan” feat Estee Nack Nack and Burnie trade verses over a tense loop with dusty lo-fi drums. NCL-TM creates a perfectly anxious mood on this joint with the unsettling background sound resonating through the track. Estee Nack delivers his usual complex rhyme schemes and potent flow on this joint.

Burnie has really expanded his lyrical skills as well as his beat selection from his earlier pre-2018 work to Kilo Dreams, to this project. Pyrex Vision certainly displays a level of maturity and the sensibilities of an established emcee in the game, who understands where they really shine on specific beats, which guest spots fit perfectly, and what fans really want to hear in the current landscape of underground HipHop.

Uncle Burnie and NCL-TM make an excellent pairing on this project, combining minimalist production and straightforward Brooklyn raps. With features like Estee Nack and Bub Rock, Burnie chose some excellent assistance on this EP. K.Burns is wrapping up 2018 in a nice little bundle, straight from the Pyrex on the stove and into the ears of hip hop fans.

K.Burns is posting up, looking to continue serving heads straight from the kitchen right into 2019. This is definitely an enjoyable EP from an artist that continues to elevate his craft.

Available at:

https://kburns.bandcamp.com

Physicals available at:

https://gourmetdeluxxx.bandcamp.com/

by Alex P80 Parks

It’s relatively well-known in hip hop that Detroit has an established underground scene that has continued to blossom over the last several years. While a few artists have maintained a presence, some artists in that community are fully entrenched in this current booming renaissance, providing consistent, high quality hip hop. One of these Motor City artists is lyricist Aztek the Barfly. On Line King, Aztek’s 3rd solo album, he gets a full batch of Foul Mouth production to spit his brand of high-energy, witty, punchline raps over.

Foul Mouth is definitely one producer that carries the torch, representing Detroit hip hop well with his booming bass, nostalgic soul samples and perfectly laid beats and percussion. On this project, Foul Mouth brings the heat. No soft or sleeply library loops here. Together with Aztek the Barfly, the duo pack the firepower on Line King to catch the attention of even the most hard-to-please hip hop heads.

Aztek the Barfly’s lyrics are brimming with comedic punchlines and clever wordplay throughout the album. With Foul Mouth’s banging drums, there’s not really a quiet moment on the album.

Foul Mouth speeds up a chopped, old vocal sample on “Alpha (The Beginning)” With its crisp drums and percussive nature, it’s a hypnotic, yet focused beat for the Barfly to welcome listeners to his new album.

On “270” Foulmouth lays a Bond007-like groove with a bellowing vocal sample on the chorus. The slick feel and swagger of Aztek’s flows are a perfect match on this standout joint.

Aztek rhymes:

“I’m an admiral movin through the slums,

Give me drums,

I make magical music for the bums.

stand back boy, my stamina stupid

Speak in tongues, whoever made me put this flammable fluid in my lungs.”

Foul Mouth himself even jumps on the track, supplying the rhymes on the hook.

Check out the track here:

https://aztekthebarfly.bandcamp.com/track/270-feat-foulmouth

“Fair Warning” feat Jake Knew and Kid Vishis show all 3 emcees spitting over an alarming, repetitive sample that ensures wack rappers have been adequately forewarned.

The bluesy “Ricky Pierce” shows Foul Mouth layering sped-up chopped vocal samples and pounding drums. Aztek delivers lines like:

“Word to nine eight,

This is my Moment of Truth.

It’s the Imperial, Soul Survivor zone in the booth.”

Show Aztek pay homage to the legends, while lines like:

“I’m a broken condom,

In other words I’m what math teachers got in they head..

I’m a fuckin problem.” Are great examples of his humorous punchlines.

“93 Jerry Ball” feat J-Classic, Bang Belushi, and Kid Vishis is a flurry of rolling drums, and chopped vocals. Every emcee comes correct here on this posse cut, running through the competition just like Jerry Ball, the former Lions defensive tackle.

“Nightmare Trucks” shows a hyper Aztek spit his visceral lyrics full of wild references over murky resonating bell sounds. On “The Overture” feat Aaron Taylor and King Gordy, Foul Mouth puts down a drunken, strung-out solo trumpet as the emcees show their wild personae and crazy bars.

Check it out here:

https://aztekthebarfly.bandcamp.com/track/the-overture-feat-king-gordy-and-aaron-taylor

“Good To Be Home” is another one of the standout tracks. The tone is reminiscent and nostalgic without sacrificing the hard edge of the beats that ground the rest of the album.

Aztek spits:

“Flow so agile,

Gold handle on it, Who want it?

Verse flip like a soul sample

My motto: no hassle.

My vibe: Macho man, Mano y Mano.”

“Bang and the Barfly“ The Barfly exchanges verses with Bang Belushi over a sawing vocal sample, guitars and a crescendo of Digi-effects. “Blackout” feat Hatch and Fatt Father is a thumper full of crisp drums and booming bass for all three emcees to bring their hardest verses over.

Check it out here:

https://aztekthebarfly.bandcamp.com/track/blackout-feat-hatch-and-fatt-father

“Middle Finger Music” feat Aaron Taylor is the MFM anthem, pronouncing they just don’t give a fuck. Foul Mouth goes big on the sound here, with synths, organs and slapping drums. The album closes with “The Line King,” sporting a crazy guitar riff, a vocal snippet with industrial sounding drums. Aztek going out in a frenzy of rhymes.

The album features robust production from Foul Mouth and quotable one-off rhymes from Aztek the Barfly in every verse. Foul Mouth is known for laying some of the best drums and percussion on his tracks. They’re always mixed flawlessly, whether the cuts have intended grainy/dusty loops or not. Aztek comes ferociously delivering bar after bar of quality lyrics. The duo have an undeniable chemistry, heightened by their allegiance in repping Detroit to the fullest.

On Line King, both Aztek and Foul Mouth bring their A-game. Both cats represent Motown well and connect seamlessly on this album, full of hype, banging beats and plenty of comical quotables.

Dropping on Black Friday 2018, Pre-order the Line King here:

https://aztekthebarfly.bandcamp.com

By Alex P80 Parks

While guest features frequently dominate many artists’ albums, true posse cuts with several artists aren’t as common today as they were 15+ years ago. Widowmaker and Trevor Lang sought to change that by bringing together sharp verses from 4 of today’s biggest emcees on one track.

Portland’s Guttah Greybeard and Grant Burgess make up the production duo known as Widowmaker. Deeply Rooted caught up with Guttah to find out how they put these cats together on a track like this.

Guttah Greybeard: “We had the verses from Conway and West for awhile and weren’t sure what was the best way to use them… We were already working with Trevor Lang at the time and he knew we had them and he had wanted to work with us to release something special with those verses. He was the one that really brought everything together. We made the beats and bought the verses from Conway and West, but it was Trevor who really made it all happen.. As for the other emcees, we had been listening to Sauce’s first album and wanted to get him on the track. Trevor is Sauce’s guy so that was no thing there. We had been listening to Al Divino’s shit for a while and wanted to get him the track as well. We saw something special in those guys and obviously wanted to get them on the track. Trevor came up with the title and did all the art, of course. He’s definitely the man in terms of being able to do all that along with the amazing physicals he puts out.”

The title, “Lamy,” refers to the iconic and ever-eccentric French fashion designer, Michele Lamy. In the album artwork, Trevor used photos of Lamy to create an accompanying visual, in which her typical portrayal as witch-like feels almost imminently threatening, as if we are all cursed upon seeing and hearing this joint.

The imminent threat comes not only from the visuals and the beat but also courtesy of the cast of emcees, using their own established styles to get their point(s) across.

Conway The Machine uses his blunt and direct style to flat out, tell it how it is with simply effective rhymes like “I got killers, you got shooters.”

Sauce Heist convinces listeners with his edgy street style, using crazy lines like “ragamuffin, don’t get ya muffin ragged for nuffin.”

Al Divino bullies up the track, leaving the mic dented and bent up with the alliterative lines straight out the gate: “yo, yo… yo.. Henny Handle, Hatori Hanzo, Vanna White On the Van Goh.”

Westside Gunn uses his charismatic flow to persuade even the most stubborn of disbelievers. His verse starts in typical FlyGod fashion with “Ayo, I used to have to take the shank to the shower. The more powder ya sell, the more power.”

Widowmaker lays a menacing piano loop, with dusty drums and thunderous bass on this joint. “Lamy” definitely ends up being one of the hardest cuts of the year, with this cast of elite emcees over a banging beat from Widowmaker. DJ Oz-Roc of Portland’s On One Posse laid the serious scratches heard on the track.

The second single on the limited 7″ Vinyl pairs Widowmaker with Sunz of Man co-founder and Wu-Tang affiliate, Heaven Razah on “Stay Awake.” Heaven Razah struts over the snares and kicks and delivers his commanding rhymes. The piano loop delivers a matter of fact, courtroom vibe for Razah Rubies to lay down his sage advice.

Razah rhymes:

“Cuz I ain’t all caught up in fame.

It’s more deeper than a stage name.

What’s a gun if there’s no aim?

A ricochet to a child’s brain.

We barely make it to the 12th grade

But we can tell you bout this 12 gauge.”

This track is the first off the Heaven Razah X Widowmaker project, coming in the near future.

Both “Lamy” and “Stay Awake” bring some serious talent over hard-hitting, sinister beats.

The super-limited edition vinyls drop Black Friday 2018 at:

https://iamtrevorlang.bandcamp.com

Just in time for the wintry weather up in the northeast, Deuce Hennessy connects with KillyShoot over Onaje Jordan production to deliver “Wolves.” Onaje lays a bleak, harsh soundscape with hard guitar riffs, echoes of howling wolves surrounding the monotone flow of Deuce, while KillyShoot smacks ya face up with his grimy rhymes.

Check out the track here:

https://soundcloud.com/zemene-mesafint/wolves