Producer Free Mind blesses us with his Freedom of Expression beat tape today. The beats are minimalist and adequately thump, typically with a soul loop to provide some heart.

The LA- based producer describes this project as “very raw and straight to the point. No over-thinking or over-producing. Not too much going on. Just something an emcee could jump on and pour their heart out.”

Free Mind has recently amplified his growing presence in HipHop with an outstanding placement on Westside Gunn’s newest release Hitler Wears Hermès 6 producing the track “My 1st Drako” feat. Nick Grant. Check the track here:

https://itunes.apple.com/us/album/my-1st-drako-feat-nick-grant/1441064514?i=1441064529

He’s also since then, dropped the ill single “Bandana P” with the ever-prolific Recognize Ali. Check the track here:

https://soundcloud.com/recognize-ali-1/bandana-p-prod-by-free-mind-cuts-by-tone-spliff

And a single with on-the-rise Worcester emcee KillyShoot “Shine A Light.” Check it:

https://soundcloud.com/killyshoot/shine-a-light-prod-by-free-mind

And earlier this year dropped the EP Soul Glow with Supreme Cerebral. Peep it here:

https://bugzynino17.bandcamp.com/album/soul-glow

On Freedom Of Expression the standout tracks for this writer are the soul vocal-laced “Story to tell” with its string arrangement; “Nostalgia” with its chopped vocals and guitar and string loops and the purity of the vocal sample from “Walk Away,” which pulls the listener right in to feel the inherent heartache in the vocals.

Check out the beat tape on his bandcamp page and watch for Free Mind as he continues to elevate his beats and works with some top-tier talent in hip hop:

https://freemindsoul7.bandcamp.com/releases

Rome Streetz delivers the cinematic visuals to accompany his Farma-produced joint “Tax Free” from his critically acclaimed Street Farmacy album. Rome is seen watching it go down, and working all the angles as he wanders the dark NY streets in this new video.

Check out the video here:

https://youtu.be/M6EYPN87sw0

Peep the full review of Street Farmacy here:

https://deeplyrootedhiphop.com/2018/08/28/rome-streetz-x-farma-street-farmacy/

by Alex P80 Parks

Jay Royale pulls the DeLorean out of the garage for this retro-sonic journey of razor-edged rhymes and thumping beats. Heavily inspired by the early-mid 90’s street rap in New York, Jay Royale pays appropriate homage with this project. The east Baltimore emcee delivers his debut LP, The Ivory Stoop, full of crafty lyrics over purely minimalist production.

Jay Royale has popped up on a few projects and collabs with some of the finest emcees in the underground including his own single “Dinner Plates” featuring Milano Constantine which dropped a few weeks back.

For his debut album, Royale selected strictly stripped-down beats with dusty, minimal loops. The beats maintain the feel of the peak-era sound from the early/mid 90’s originating from NYC.

DRHH: I hear the heavy 2nd golden era influence in your sound and beat selections

JR: I love the “golden era” sound; the lyricism, wordplay, metaphors and all! A lot of people think I’m from New York just because of how I rhyme… For this project, my debut LP, I wanted to keep it as Baltimore as I could… I have projects floating around on SoundCloud, Spinrilla, Bandcamp & Datpiff; they aren’t professionally mixed and mastered but the bars are dope.

“The intro” prod by Beppo. Jay Royale sets the stage with some quick bars welcoming cats to The Ivory Stoop.

Jay Royale looks at this project as not just a sequence of dope tracks, but as a narrative journey. This idea encourages significant replays, to value the album as more than just a passive experience.

JR: “This album isnt just a series of songs. Aside from the symbolism of the title, The Ivory Stoop is a story of a have-not boy who matures into a man. He’s a gifted and talented kid, who wants to go to school, but he sees the flash and the money and is enticed by that.”

DRHH: What’s the idea/concept behind the title The Ivory Stoop?

JR: In Baltimore, in the early days in HipHop, the value of the Stoop meant something. It was a place of positive activity. Even before hip hop, in the city, with all the brick row houses, people would take pride in the presentation of their Stoop. The front steps or Stoop were made of marble and people would carefully wash the Stoop like once a week. I made a parallel of that idea to the progression of HipHop. Early on, it was clean, there was a message. Then down the line it became the hustle spot. And then it became the trap. It went from being cleaned once a week to this dirty, run-down, ‘I don’t give a fuck about it’ type of feel. It’s like they don’t care anymore. So I felt there was a parallel symbolism between the care and presentation of the Stoop with the quality and content of HipHop.”

This visual aesthetic of those same stoops are evident on the front cover of The Ivory Stoop where people are seen washing the marble steps. This is in stark contrast to the back of the album where the facade and the steps are boarded-up, dilapidated and run-down; not taken care of.

The slightly jazzy vibe and strong drums on “Halfmoon Caesars” prod by Mute Won carry the listeners into yesterday. The sharp cuts of Ghostface’s peak-era voice by DJ Grazzhopper give the track a street edge and throwback feel.

“The Ode (to the bubblegum sole)” feat Bossman Da God prod by Illmeasured is a doo wop nostalgic vibe as the young man in the story lives a simpler existence yet begins to see all the trappings of the material goods as appealing and alluring.

Royale spits the first verse:

“As a youth on the Stoop

It was perpendicular to the drug distributors

Young and oblivious to life and the strife ahead of us

Graffiti Krylon

Stocking caps, wit mom’s nylons

Older cats often scrapped and clapped firearms.”

“The Aspiration” feat Lonnie Moore prod by August Flight Gordon. The strings and subtle effects coupled with resonating dusty drums create a euphoric and throwback feel to the track. Here Jay talks of his potential as an intelligent youth yet he yearns to become something different. Lonnie Moore drops his fiery booming lyrics alongside Jay Royale’s reminiscing and vivid imagery.

“Vintage Garments” prod by JSoul with cuts by DJ Grazzhopper. With its repetitive piano and drums simply laid down, the track plays out like a vintage Mobb Deep or preemo beat. The cuts by Grazzhopper featuring quotables from Nas just solidifies the extensive tributes to that era. This is a standout track on an album of hard-hitting beats and no nonsense rhymes. Jay describes the track in the stage of the story where the main character “starts looking fly as shit.”

“The Transaction” prod by Ray Sosa. This is where the narrative takes the main character deep into the life he is now intrinsically tied to. The track sports a repetitive piano loop and punchy drums. Jay Describes the reality of that lifestyle, resigned to constantly watching ya back and ducking the cops.

Jay spits:

“Be tryna tell n***as it’s our year.

Move like a Saudi without fear

Jay Royale, I’m Muhammad Ali in Zaire.

Boom bye yeah,

Got the pack and my crew got paid.

Off the boost like some new Kanye’s.”

“Armeteo” feat Ill Conscious prod by Ray Sosa cuts by DJ Grazzhopper. The strings and horns accompany the Spanish vocal sample for an experience like an old film. Just like several other tracks on Ivory Stoop, the scratch hooks are again executed to perfection here.

Check the track out here:

https://soundcloud.com/user-192591621/jay-royale-armeteo-feat-ill-conscious-x-dj-grazzhoppa-prod-by-ray-sosa

“The Iron” feat Benny The Butcher prod by Ray Sosa, cuts by DJ Grazzhopper. This joint is another standout banger, with Benny supplying his usual perfected rhyme scheme and seamless flow to match any beat. Both emcees bring their serious bars over tension-laden strings and plinking piano loops.

“America’s Nightmare” feat Ill Conscious prod by Finn. This track shows the main character exist amid a world full of anxiety and negativity. Finn lays a deep bass groove and thump adding subtle effects.

Ill Conscious drops an intense verse:

“The illest,

Sun I’m still on that philosophic shit.

Blood spilling like ‘Kill the Irishman,’

A slug will chill up in ya lung,

Milli pop on you Milinokases.

Coach ya rastas, I’m really Popovich.”

“Malcolm Little” prod by Mika Dough cuts by DJ TMB the narrative continues as the now grown man fears for his life and existence similar to the likes of Malcolm Little (X). The track features layered guitar loops and booming bass with snappy drums.

DRHH: You definitely brought the heavyweight features for the album with Benny and Conway. How did that come about?

JR: “We were big fans of the Griselda camp since they hit the scene and when they came to Bmore we just showed love man and the rest is history.”

DRHH: Obviously you brought on some local talent too, featuring Ill Conscious on a few joints.

JR: “As far as my Baltimore family goes, niggaz is beasts on the mic! I knew who I needed to hit up to make shit a fire project.”

“Walk Wit A Gun” feat Conway the machine and Ill Conscious prod by Ray Sosa. Royale tells us here how the main character is “entrenched in the lifestyle where he has no choice but to carry the heat.” The beat bangs and sounds like it could’ve been a Biggie joint, circa 95. Conway comes with his usual braggadocio and seems to be enjoying himself as he breaks down all the wack emcees to crumbs. Jay goes toe to toe with some ill rhymes himself:

“Could slide a rook and put ya king in check,

Told ya checker from the jump but you was thinking chess

Tell n***as throw on they thinking caps

Everybody say they built for Cubans till the links connect.”

“The Arithmetic” prod by Ray Sosa is a somber solo jazz trumpet/coronet joint over pianos and drums. Here Jay Royale breaks down the pragmatics of the life and hustle that the main character now embodies.

Jay Royale reps Baltimore well on this album but wants to expand his reach with his music and his messages.

JR: I love Baltimore but I want to continue to reach out across the world and appeal to all types of people with different backgrounds.

Jay Royale delivers an excellent and impressive debut LP, worthy of a veteran in the game. He crafts songs with meaning and creates a binding story throughout the album. He weaves the tales of the streets into his clever lyrics across thumping beats with minimal production. Keep watch for Jay Royale as he makes his mark for Baltimore and in all of hip hop.

Cop the album here:

https://iamtrevorlang.bandcamp.com/album/the-ivory-stoop

WeBeDigi connects with fellow Cali emcee Qu3st on “Bastardz,” produced by VDon.

VDon creates a lush soundscape with guitar, string and piano loops full of psychedelic effects and ample booming drums for Digi and Qu3st to spit some grimy bars over. WeBeDigi bounces on the beat, delivering his boastful swagger while Qu3st brings the hype flow and creative wordplay.

Digi rhymes:

“You see sun, it’s that playoff rappin

Hip hop is in me,

boy, I never took a day off rapinn”

Check this one out, you’re gonna want more out of these Cali rap cats.

https://www.youtube.com/watch?v=M-eFNldW1RM&feature=share

And on SoundCloud:

https://t.co/vB7rxkaRde

by Alex P80 Parks

Mr. 31, Jamal Gasol delivers yet another project for 2018. Featuring production from the legendary VDon with Eto producing one joint, this 4-track EP (with a bonus track for the physicals) drops on October 31. Fitting for a Halloween release, the soundscapes VDon creates are eerie, sinister, and supernatural but remain vibrant and pulsating.

VDon has a penchant for crafting layered moody beats full of pain and heart all wrapped together. A VDon beat will always rattle the speakers in your whip. A pairing between the slick and booming lyrics of Jamal Gasol and the deep layered beats of VDon was always going to prove successful. Add Eto to half the joints and they become instant bangers.

“It’s a dirty game” feat Eto has Jamal and Eto spitting bars of pushing dope and navigating the streets. VDon lays a beat with a repetitive choral vocal sample. The sounds pull the listeners up to the heavens while the rhymes from Jamal and Eto stay grounded in the harsh realities of Earth. It’s not the typical trite retelling of drugs though, both of these elite emcees craft songs full of creative metaphors, unique references and deliver it all with flows like no other rappers out there.

“Only God Knows” a chanting vocal sample echoes on repeat in the background while drums skitter and tap with ample bass and thump. Jamal rhymes:

“Off rip

When something feel funny, I pay attention to Shit

See who pleading the fifth

Nervous grip in my hip

I make the OG’s wanna relapse

The glock heavy with a kickback

Shit get shattered up like ya screen cracked

Work swirling in the jar, Creamy like Similac.”

“Statistic” feat Eto shows Jamal delivering the confident rhymes while Eto spits the hook. Eto shows off his production skills on this joint and goes baroque with a synth harpsichord sound and sufficient boom to back it.

Jamal stays focused on “Eyes on the prize” VDon lays a murky guitar riff over chopped vocal samples, with wobbly echoes of wind in the distance. A bleak soundscape is perfect for the Diadora Don to break down how to remain fixated on your business

“Fast money kept me in and out the streets

But I ain’t buying weight no more, I’m buying beats.

Y’all don’t wanna eat, ya moves are jive weak.

I stand tall and get it on my own two feet.

Ain’t nuthin sweet, The kids playing wit heat.

My lil bro caught one to the back on Christmas Eve.

Still tryna find out what I should do first: cop another pound or blow money on a verse.”

Bonus track on Physicals: “Take it there” feat Eto brings the street tales again here with Jamal flowing in top form. VDon keeps the ghostly vibe going with synth strings and some digi- effects. The drums bang and thump hard, as expected.

Eto on the hook:

“Started in the streets, we gon end it there,

Them n***as asleep, man I been aware..

Don’t make me kill somebody,..

Ima kill somebody…

Them n***as asleep, man I been aware

Started in the streets, we gon end it there,

Don’t make me kill somebody..

We gon kill somebody.”

Jamal Gasol has been consistently dropping well-executed projects all year. Eto has been killing every verse and guest spot, keeping heads waiting for his next move. Together both of these upstate NY emcees bring the firepower. Jamal Gasol has shown that he can hold his own on multiple projects this year. He certainly doesn’t need VDon or Eto, but it sure adds to the potency of this project.

VDon is constantly blurring the lines of modern HipHop influences with the traditional sample-based sounds that has found a healthy resurgence as part of a renaissance in that particular vein. He’s one of only a handful of producers that is capable of such feats, and does so without alienating fans. He can appeal to the likes of newer heads while maintains a hard sound on his beats, where the older heads can still appreciate it.

This EP is a strong project full of clever and well-thought bars from Jamal Gasol over tight beats. VDon delivers the thunder and Jamal Gasol brings the lightning. It may be A Dirty Game, but Jamal Gasol is staying clean and sharp.

Check out some snippets:

https://soundcloud.com/jamal-gasol/sets/its-a-dirty-game-ep-snippets

Physicals are available for purchase on October 31st at http://JamalGasol.com, while the digital release comes on Black Friday.

Cocareef connects with Worcester, Mass emcee KillyShoot over Onaje Jordan production. This is the second single from the upcoming project The Diaz Brothers. Cocareef brings his energetic, wildin’ persona which contrasts well with KillyShoot’s deadpan, almost monotone delivery. Onaje goes minimal on the beat with piano loops laid over crisp drums and hi hats. Both emcees give you the details of the plug, the outlet and all the necessary connections for success and survival out in the streets.

Check the track here:

https://www.youtube.com/watch?v=sMPbpXNE8F4&feature=youtu.be

Cocareef and Onaje Jordan present The Diaz Brothers coming soon..

by Alex P80 Parks

When Bub and I connected earlier this year, I was a fan of his singles and Freestyles I had seen posted on YouTube. He also had a couple videos floating around as well at the time. Since that time I’ve featured/reviewed some tracks and reviewed his last project, XV. I’ve watched as more HipHop fans took notice of the immense talent that Bub has to offer.

This latest project is no exception. With an appeal to all types of listeners, Rocktober delivers a ride with Bub as he shows off the versatility and adaptability he offers as an emcee.

“XV” This track, produced by The Historian really flexes Bub’s skill in adapting his flow to a variety of loops and tempos. He slows it down a bit on this darker track, rhyming: 

“Who gossip bout the who, what, wheres

I don’t do the boot-cut. 

Let the light blue cuff sit on the nubuck condtructs, what”

 The Historian creates a slightly murky vibe on “XV”, like the score from an 8o’s TV murder mystery flick. These are the type of beats that really suit Bub and allow him to flex and capture the darker vibe.

“Money” produced by Wavy Da Ghawd shows Bub spitting on a classic sample, chopped slightly different.

Check the track out here:

https://youtu.be/Q521NHI02uI

“WWYD” produced by NCL-Tim shows Bub ruminating about the big life decisions, slightly harmonizing over a somber saxophone sample.

“Beauty Scars” producer Nicky Yates puts down vocal samples layered over a soul loop for Bub to talk his confident Shit.

“The Rock” producer Don Carrera flips a familiar sample, but does so in a slower tempo and adds a vocal sample to give some depth to the track. This tracks shows Bub reaching out to the women with a vibe to groove out to.

“Miracle Water” produced by The Standouts (Adot McCray and Cdot Hall) the duo who produced his XV EP released back in June. A powerful vocal sample with plenty of soul supported by faint strings in the background.

Also produced by the Standouts, “Perceptions” sports a synth-heavy resonating sample while Bub drops plenty of jewels.

Check the track out here:

https://youtu.be/QSABPLX-PFA

*Visuals for “Perceptions” coming soon, shot by Movie Mula

Rounding out the standout productions on this album, “Luther” brings an 80’s style sample. After the sample built for a few bars, I had hoped the beat would kick in on this track, but that didn’t deter Bub from going in, regardless.

The visceral “Freestyle 29” produced by Wavy Da Ghawd is a standout track. Featuring a hard beat, with thumping bass and crisp drums, Bub blacks out on this joint.

NCL-Tim drops more heat on this album, “Another Lap” feat Jordan Bratton. The tracks sports a somber, jazzy sax sample which plays well with the hook sung by the talented Jordan, a Broadway star who also hails from Bub’s neighborhood.

Bub closes out he album with “Younger Self,” the third Wavy Da Ghawd produced track on Rocktober. The track displays Bub’s ability to show introspective reflection about his own life and his growth. He rhymes:

“Fuckin wit bitches that don’t even like rap,

Only wine, sherbet my nightcaps never similar, hoes feelin us,

Been like that, Built for it

How you think you gon’ win like that?

Talk to them like that.

Kick fly raps, Kung fu flicks, Steamed cuisine, fettuccine.”

Rocktober is another solid album from the Long Island emcee, crafting songs over a variety of beats and textures while not cluttering his album with features. Bub lets his own talent shine on the verses. Bub Rock continues to rise in prominence and gain a steady following of devoted fans.

Cop Rocktober on Bub Rock’s bandcamp page here:

http://bubbarock.bandcamp.com/album/rocktober

Stay tuned for his next project, the highly anticipated Flypolar, produced entirely by The Historian.

By Alex P80 Parks

If you know Cousin Feo or follow him on social media, you know that he frequently gets into in-game commentary and will easily converse with any “real football” fan. Cousin Feo’s affinity for soccer is also evident in his lyrics, song titles and album artwork. The L.A. emcee brings that passion and competitive fire to his own projects as well. After dropping the critically-praised A little Caviar back in March, Cousin Feo returns with another helping of fine cuisine, this time serving up some Creme Fraiche for hip hop heads.

The French Connection

Collaborating with French producer Keor Meteor proved successful on A Little Caviar, which Keor entirely produced. With Creme Fraiche, Keor again supplies the heat on all the tracks. His beats always have well chopped samples and balanced drums to match the vibe and feel. And just like A Little Caviar, this project also gets a major boost from the serious scratches and cuts from DJ Dubplates.

Feo recruits some of the best emcees out right now to assist on this project. No posse cuts, but excellent collaborations on every track. With Keor’s energetic and booming beats as the foundation for Feo’s bouncing cadence and hard flow, they set the stage for all the emcees to shine. Fellow Cali emcee WeBeDigi jumps in on 3 tracks, with their chemistry apparent, working to excellent effect on each track.

I had to inquire about the French soccer theme on both A Little Caviar and Creme Fraiche.

DHH: Why is the French National Team a recurring theme as opposed to other countries/leagues?

Feo: The French theme and connection is definitely cause of Keor. He’s a fan just like me, so it all made sense between us… Each track is named after a famous French footballer. I tried to style the joints to their style of play and reputations on the the field.”

DRHH: Was it you or Keor who got all the football clips?

Feo: “I spent hours on YouTube and football related series & dvds that I have to hunt for everything you hear being scratched along with the audio clips at the end/beginning of tracks.”

DHH: How long have you been a football connoisseur/ expert?

Feo: I’ve been around the sport since a kid. My Uncle played professionally in Guatemala, had an older cousin who played/won at every level minus the pros & they both groomed me to the sport.

Cousin Feo’s triumphant entrance comes with “Deschamps.” Ready to conquer the scene over Keor’s tightly chopped strings samples alonside a funky guitar riff, Feo goes in solo on the track:

“This is revolutionary like a panther on the steps

In front of cameras and the press

So quit acting all depressed

wanna gamble with ya life, then put ya swagger up for bet.”

“Trezeguet” ft. Sleep Sinatra & Napoleon Da Legend

Keor lays a hard and dark beat on this track. Both Sleep and Napoleon drop insane verses but Feo holds his own with the elite, spitting:

“Fell asleep in the whip and now I’m street dreamin

I need cream n’ to breathin’, I keep fiendin.

My team schemin’ with deep reasons and weed steamin

I seen demons and street heathens with heat creepin..”

A dark and brooding track for the three emcees to shine brightly. A standout track on an album full of excellent cuts.

“Patrick Vieira” ft. Supreme Cerebral Keor creates some tension with a string loop, a minimal beat and plenty of booming bass. Supreme Cerebral comes hard as usual, never delivering a wack bar.

Cousin Feo hits the second with:

“Off top, I need the blackest Carrera,

So I can move through these streets like I’m Patrick Vieira.

“Pires” ft. WeBeDigi Keor lays another beat with some strings, vocal samples and subtle horns to perfection here. WeBeDigi brings a smooth flow and swagger and kills his verse right after Feo. A standout track and a banger from a couple of dope emerging emcees from the west coast.

WeBeDigi comes with a top guest verse here:

“I pinch a gram o dust, that make ya flinch and grab ya nuts

Mention us and you gon see these henchmen saddle up

I’m just babbling some rapper stuff

I’m in the lavish tux out here with my mans we tryna grab some bucks

Hands been up for Michael Brown yellin ‘fuck the system’

Yo these eyes seen too much homie so fuck tradition.”

“Justo Fontaine/Ginola” ft. WeBeDigi

Keor kicks a funky 70’s groove for the 2 emcees to float on and deliver some dope scenarios.

“Marius Trésor” ft. Eto & SmooVth

Keor creates a great mood here, The threatening tone building tension up to a mellow jazzy organ release. Perfect for Eto and SmooVth to join Feo on some night maneuvers, stalking through the streets.

Check the track on SoundCloud here:

https://soundcloud.com/cousinfeo/marius-tresor-feat-eto-smoovth

“Kopa” ft. WeBeDigi & Daniel Son Keor lays subtle drums with a short guitar loop for all three emcees to strut on. This the perfect beat for Daniel to show his flow and measured cadence.

https://soundcloud.com/cousinfeo/kopa-feat-webedigi-daniel-son

Keor Meteor really provides a canvas of varying tempos and textures on his beats which create an energetic and moody journey for Cousin Feo to bring his listeners on through his rhymes. Clean, melodic, rhythmic and booming, yet unique enough to separate from the pack. No drumless loops either, just hip hop bangers on this album.

Cousin Feo brings his confident bars and excellent ear for beats on this, his second project this year. Working with all the elite emcees on this album heightens the visibility and brings some firepower for sure. However, Feo doesn’t rely on them to hold him up. Not only does he hold his own with the elite, but he seems to get these collaborations to perfection. His choice of tracks from Keor Meteor fit well with the intended vibe, the emcees he works with and the theme of each French players’ style. A unique concept and executed to perfection, Creme Fraiche is one of the more unique and engaging projects in 2018 without straying to far from what the underground listeners are craving. Keep checking for Cousin Feo as he’s making his mark in hip hop this year with another standout project.

Check out Creme Fraiche here:

https://cousinfeo.bandcamp.com

NJ Emcee Cocareef and Chicago producer Onaje Jordan team up for their highly anticipated project titled The Diaz Brothers. The lead single, “Bar Brawl” features the ever-consistent upstate NY emcee, Jamal Gasol. Onaje flips a soul loop with some vocal chops and a blues guitar for Jamal to deliver his commanding yet smooth rhymes, while Cocareef comes in with some hype energy to smash the track. Watch for the The Diaz Brothers, dropping next month.

Check the track on YouTube:

https://www.youtube.com/watch?v=-Wbl2hn3JAk

By Alex P80 Parks

The rap game’s Billy Hoyle is back with Budget Cuts 2, SeKwence’s third album of 2018. Don’t be fooled by his Phish Phan country boy look, SeKwence spits serious bars with his raspy flow over some moody beats, continually creating some unique HipHop. The entire project is produced by Killer Kane which, overall, gives the album a cohesive feel.

Killer Kane has been busy himself this year, not only working with SeKwence, but collaborating with fellow Souless emcee Barry Marrow on his well-received project Kill Barry 2 and also on his own beat tape Forest for the Trees. This go around Kane creates an atmosphere, never too dark and bleak, yet dusty and foggy nonetheless.

With This Shit is Fucked, SeKwence went the route of varied production and a few features to bring listeners on a wild ride. With BC2, The alabaster Alabaman emcee brings you into his world, his own headspace. A place where you feel the tone and the murky vibe as you swim through the clouds. Overall, Killer Kane creates the psychedelic melancholy vibe well on this project.

“Chopping Block” Kane creates an almost island feel on this one with gentle strings and bouncy snares. SeK seems to just slip away and float over this euphoric track.

The jazzy feel of “All Talk” is slightly more dramatic in tone while maintaining the overall muddiness of the album. Kane adds some skittered drums to modernize what otherwise plays like a vintage mid 90’s beat.

SeKwence spits:

“I’m still the same from elementary

But these days I’m dodging penitentiaries and whiskey in my kidneys

I’m too blunt to even fake friendly

The maverick stop and shoot just like I’m Michael Finley

Yeah 92, that’s been some years ago

I’m 26, I found a place for all the fear to go.”

It’s lyrics like these that show SeKwence’s ability to weave the personal/ vulnerable content with the creative similes and metaphors and not sound trite or cliched.

With its dusty drums, Bread Truck feat. Krow” is a solid display from Krow and SeK, with each laying down some sharp rhymes. “Black Lungs” is a somber and hazy track where SeKwence rhymes of the inner turmoil, yet does so in such a pragmatic approach. On “Still Broke” SeKwence bounces his rhymes over a chopped piano sample and stuttering drums.

On “Drown” the sample ebbs and flows, sawing back and forth as SeK loses oxygen amidst a big cloud in the back of the whip.

Check “92 Rainman” on SoundCloud here:

https://soundcloud.com/sekwence/92rainman-prod-killerkane

As an artist, SeKwence continues to push his pen and create deeper content. He cites his demanding work schedule as a huge motivator and the need for a creative outlet.

SeK: “I feel like when I’m working over 60 hrs a week(at my day job) and I’m exhausted that’s when I make my best work and write my best. When I feel like I have to really push myself. Whether it’s an escape or it’s something to balance out the crazy hours at work, I need it and I find that’s when I’m at my best, especially when I have less time.”

The standout and most personal track of the album is the closer, “Resurrection.” SeKwence himself describes the track as “one of the most introspective songs of mine ever, if not the most.. just the whole stay true to your own path and never let ’em play you type shit.” Kane creates a similar feel to chopping black with a slightly more melodic sample. The mood is nostalgic but downtempo.

Even while making his mark with his distinctive sound, SeKwence doesnt cater to HipHop fans and he doesn’t try to appeal to listeners outside of his lane. The focus of his lyrics are often to escape the everyday. Maybe that’s what listeners are drawn to with SeKwence. At times he allows himself to open up about his personal stories and give you more insight into what he’s really made of. Often it’s the content of substance abuse/reliance, yet delivered in a sobering and unembellished manner creating a paradox. These lyrical moments shape the depth of artists and the complexity of their character.

One thing is evident, SeKwence is poised and primed to continue to carve out his spot, his own space with his niche brand of unique escapism HipHop for fans to float away with.

check the album here:

https://soundcloud.com/sekwence/sets/budget-cuts-2

And on iTunes here:

https://itunes.apple.com/us/album/budget-cuts-2/1439495043