By Alex P80 Parks

I wanted to showcase one artist on the scene who is helping push the culture forward, this time in a visual way. It’s become increasingly important in this era of hip hop. We’re amidst a renaissance; not only with the music itself, but with this growing movement to better promote, preserve and protect true hip hop.

New Jersey’s own cover-art master, Trevor Lang has been extremely busy with several projects this year alongside some of underground hip hop’s biggest talents. I caught up with the “Esoteric Art Dealer” with some questions about becoming one of the more sought-after graphic artists in the hip hop community.

DRHH: Did you go to school for visual arts?

TL: I studied Fine Art in high school, and took AP studio art but that’s about all my formal training as far as art goes. I taught myself Photoshop and all that.

DRHH: You do cover art and layouts for albums but what else?

TL: Literally anything- you name it, I try to believe I can design or make it. A lot of people ask me for cartoons these days with the popularity of B’nards work, but honestly thats not my specialty. I’m not an illustrator really so I try to stray away from those type of jobs.

DRHH: Any experience in music/audio?

TL: I graduated from the Institute of Audio Research and studied audio production and recording. I have a pretty legit home studio with tons of classic vintage gear (ASR 10, S950, 3 MPCs, etc). I recently mixed and mastered a few songs for Ty Da Dale. I do a little bit of rapping also. I DJ a few gigs a year too. I’ve been working on a project but that will all be unveiled in due time…

DRHH: You’ve got your own BandCamp page, and you promote these artists you are connected with. How did those relationships come about?

TL: I started just as a fan really. I’ve been interested in being in the hip-hop scene since I first started listening to it in the mid to late 90s in one way or another- DJing, rapping. I’ve always been into art, and a few years ago I started sending cover art through IG to some of my favorite artists. I did a few (pieces) for this amazing reggae artist KG. Those were some of my first. When WSG and Conway came on the scene with their heavy emphasis on the art aspect, I got inspired. I kept submitting art until one day Conway told me to call him and said they were using my art for Reject On Steroids. That really got people to first notice me. After that I continued reaching out to artists I like and it just evolved eventually into what I’m doing now. I work very hard on fostering relationships.

DRHH: How did you merge your worlds of visual design and hip hop?

TL: I think music and art are really the same so I don’t feel like we really forced anything together. I buy alot of music and I take notice of all the little details. You can tell right away when someone is really passionate about their product. When someone gets my stuff in the mail, I want someone to feel like they really got a piece of art, not just an album. I will only work with artists who I can tell take their craft very seriously. We’re in a renaissance right now In hip-hop and I just want to contribute.

DRHH: You seem to have your hands in lots of dope projects at the moment; From the whole Heist family to Knowledge the Pirate and every artist in between.. You seem to be be name right now with all the emcees and producers wanting your work- What’s that been like over the last few months?

TL: It’s been alot of work. I have a full time job that I am at nearly 60 hours per week already and I give full attention to that. Then I come home and work on this stuff for a few hours. Social life is non existent, but the work has paid off. I’ve collaborated with tons of artists I hold in high regard and some big names have started to notice what I’m doing- these are very exciting times for me.

DRHH: As you’ve been so busy, have you had to turn down projects due to time constraints?

TL: I try to say yes to every opportunity I can get, but with that said, I don’t do this for the money. So if I’m not feeling the music, I will be honest and I won’t even take the job. I’ve been pretty lucky and everyone who has approached me has been dope so far, for the most part.

DRHH: Do you feel that criticism about creating artwork is as simple as using photos and adding a filter- is that fair sometimes? With that, many musical artists are doing their own visual art and layout- can that potentially compromise their quality by showcasing a product missing some artistic integrity?

TL: Art is anything and everything… some of my best covers took 30 mins to do, and other I think suck I worked on for days. You can’t force art, it just happens. With technology these days some people think it’s “cheating” or some shit, but that’s the wrong attitude. Do whatever works for you. Westside Gunn can afford famous artists to do his cover (which is dope AF) but that doesn’t mean the photo you took on your iPhone then added a filter to for your cover is wack… it’s all about presentation…

DRHH: Plans going forward?

TL: There is alot of them… I have alot of projects on deck. Going to be announcing alot of stuff very soon. The rest of this year is going to be exciting. We are organizing some shows and events. I am also going to step into the CD world and bring some exciting innovations. I can’t talk about it yet but watch my next move… we’re making history on alot of levels…

DRHH: Ever think about starting your own record label?

TL: I already am a business owner for my full time job, but as far as a record label, I don’t like the concept. I partner with artists. I cover my costs and the artist keeps the money. I’ve seen too many artists get raped by the industry. We’re reinventing the whole game and doing it all independently. If we keep pushing the culture and concentrate on making the best product on the market, then the money will come. That goes the same in any business.

DRHH: Can you share an early memory of being inspired by Hip Hop.

TL: When I was real young my parents both worked full time and we had a nanny watching me, my brother and sister. She was from the caribbean and came to the US for work but was really into hip-hop. If you remember back in the days they had music these music subscription clubs where you when you would subscribe and get like 10 CDs for a dollar or something. Under her influence I remember 3 of the CDs being 2Pac All Eyez on Me, The Makaveli album, and Fugees The Score. I think Coolio and Bone Thugs might have been in there too, but its was those three CDs that really blew my mind. 2Pac had recently been killed so even though I was still super young (around 11 or 12 at the time) I knew hip-hop was something special. I really started getting into it after that. In my eyes 2Pac is on a entire different echelon then ANY other rapper, so i think his work being some of the first I was exposed to really helped make a big impact on me.

DRHH: We talked about hip hop- Do you have any visual artists as inspirations?

TL: Of course I really like what Kaws is doing, especially with the large scale installations. And who can ignore Banksy? I really like Sue Tsai’s work. Mark Chronic is doing some cool stuff too. As far as more classic stuff I was always into Norman Rockwell, I really like the emotion he captured in his work. One of my favorite pieces though is “Girl Before A Mirror” by Picasso. Although I have a long long long way to go, I like to aspire to be someone more like DaVinci, who truly was much more then just an artist, but a revolutionary and visionary.

DRHH: Any artists you’d really want to work with that you haven’t thus far?

TL: Ive reached out to most of the artists I really want to work with and have submitted art to most of them already, only time will tell if any of them actually get used. I’ve done covers for Conway and Benny. Would be nice to do something for WSG. I recently spoke to Daniel Son and Smoovth about doing art for them, I’m a big fan of what they are doing also. Have a few projects I should be announcing soon with some big names attached though.

DRHH: anything else you want to share with fans about you and your art?

TL: Honestly I have gotten so much positive feedback and made so many amazing connections through this culture, that I dont feel there are alot of misconceptions about me (at least I hope there arent!) I think some people might look at some of my releases (like Ty Da Dale Tokyo Drip and the $77 price tag for a cassette) and think I am some kind of vulture or that I am just looking to make a quick buck. But I believe that the people who matter see the value in a rare piece of art. With that being said, my product is not for everybody, nor is it intended to be so. I really got inspired by that super secret Wu-Tang album with only one copy. Everything about that release blew my mind. The artwork, the secret recording techniques, the artwork and packaging. I think alot of people thought it was just Silvaringz looking for a come-up, but I saw the genius and long term impact that album will have. Despite all the controversy, RZA is truly the greatest visionary of hip-hop in my eyes, and I prescribe to much of his philosophy. In the end I’m just here to bring you some of the best and realest hip-hop and present it in the glory it truly deserves. This shit is not a gimmick. It’s life.

DRHH: What can you tell the fans that you have coming soon?

TL: I have a 7″ single produced by Widowmaker with WSG x Conway x Sauce Heist and Al.Divino dropping soon that is nutty. SageInfinite “Sleeper Cell” physicals, a bunch of Sauce Heist projects. And a bunch of stuff I cant talk about yet but I can promise they will be special! I’ve barely gotten started…

By Alex P80 Parks

I’d met Grubby Pawz back when he killed his set for Nightworks Ep 4. I met SPNDA at Nightworks Ep 6. Haze I hadn’t yet met, but we’d talked through social media/ direct messages. We had intended to link up a couple times but our schedules just didn’t match. Grubby and I had talked about his new studio spot he was working on and how he wanted me to check it out once it was ready. SPNDA and I talked about getting together to chop it up about his upcoming projects. Earlier this week Haze reached out to invite me to the studio session, so I had to make it happen.

This session was for Haze and SPNDA’s upcoming album. I got to check out 2 songs, both produced by Dutchmastered. Haze and SPNDA both laced their verses and ad libs for the tracks.

One of the most interesting perspectives is watching the creative process as Haze and SPNDA were writing in the studio, crafting their verses. The unconventional methods for naming songs- It’s amazing what old Spider-Man cartoons can inspire while vibing out in the studio. The 2 Dutchmastered tracks were aptly named by Grubby, Haze and SPNDA and share a theme with the intended visuals as well.

Check out Haze direct from the booth here:

Despite frequently working together, they all still surprise one another with their skills when creating. Grubby Pawz was stunned when SPNDA switched up his flow and came in differently on a track in order to match the beat following Haze’s verse. Haze couldn’t believe how quickly SPNDA adapted his flow and changed his rhyme scheme. It was like like 2 different verses from SPNDA. It was amazing and came off as effortless.

SPNDA in the booth:

The finished (not yet mixed) track:

Grubby Pawz and Haze have just wrapped up working on a new EP. Brookside Terrace drops this Friday on City Yard Music. Haze described this EP as his “most personal to date.” He felt as if the rhymes he penned for this are “as close to perfect for me to this point” The EP will be available on limited edition cassette tapes complete with the OBI strip.

Check out one of the more poignant tracks from Brookside Terrace below:

Cop it from City Yard Music this Friday:

https://cityyardmusic.bandcamp.com

This was certainly an incredible experience and a unique look into studio life. The session was extremely professional, yet laid-back. We spent almost as much time chopping it up about other stuff as well, just chilling in the lounge next to the studio.

Keep your ears peeled for new music from SPNDA, Haze and Grubby Pawz. What I heard is gonna keep heads nodding, for sure!

This is just one chapter..

The saga continues..

By Alex P80 Parks

New York Emcee and producer extraordinaire Fortes invited me out to his suburban crib just outside NYC to talk music, vulnerabilities, his place in the game and his story about coming up.

A Young Museician

DRHH: Tell me how it all started for you in terms of music.

Fortes: I wrote my first song when I was 8 years old. Full song with melody and all. That was 3rd grade. When I first really fell in love with music, it was soul music, Motown music. When I first heard Stevie Wonder “Living Just Enough for the City.” I was in 6th grade. That shit changed my life. Then I heard the Delfonics “La La La means I love you.” Later, when I was 13 years old I was 89 lbs, 5 ft 3, with braces at my school talent show, and I rapped. I always rapped, starting around that time. I just started writing poetry and then at 13 would freestyle and I bought a MPC 2000. I used Fruity Loops, and recorded songs on an 8-track. That was back in ’02 when I was like 13 or 14. I was influenced by Rock music as well, cuz my Dad listened to it a lot, classic rock. Once we were at a concert, him and I, and I told him that I thought Rock was a sad genre. He said ” just like life.” I don’t know about rap, I don’t what emotion (to call it). I summed up Rock to sad. I can’t sum up another genre to an emotion though. Rock makes me sad, I don’t know.

DRHH: I know you’re dying to discuss the best decade in music, which you say is from ’68 to ’78.

Fortes: The most significant and influential albums came out between that span of time. Whether we’re talkin about Tapestry, Inner Visions, albums from Baby Huey, The Stylistics, The Sylvers. All kinds of Soul, Funk, Jazz, shit even Rock too. Joni Mitchell was killing it, Donnie Hathaway too. But I still like old music. Etta James, Ella Fitzgerald, Eartha Kitt, Miles Davis, Coltrane.

DRHH: Now you’ve mentioned Nina Simone, quite a bit. Is she your all-time?

Fortes: I think maybe it was after watching her documentary, because I related to her so much somehow. She was suffering. I listen to it every day. She’s the best. Joni Mitchell is one of the best writers ever for sure. Her voice was crazy and her lyrics were like weird poems. The artists used to do one-takes back then. You know what I love about Nina? She changed the cadence of her song as she evolved as an artist. The same songs sound completely different. I’ve been listening to Nina Simone’s live shit for awhile.

Fortes’ love of true music was on display during our conversation. He was quite animated and excited to show me clips of Nina Simone, Stevie Wonder, and Joni Mitchell. He conveyed his love for Motown music beginning as a young man. Not as sources for samples necessarily, but to appreciate their sheer talent and be in awe of their musical contributions. These artists, to name only a few, continue to inspire Fortes. They are motivation for him to continue creating. He could have spent the entire interview discussing their genius and overall importance in all of music.

DRHH: Tell me about your first couple albums and figuring out your way in the game.

Fortes: I went from Dealer/MC in 2014, when I never really knew how to make a mixtape. I made it, and then after I made Money Sour, Respect in 2015. Funniest thing is, half the beats that I made for that album, I made for Curren$y Spitta. Actually, I introduced Curren$y’s music to Styles. Later on, outta love, Styles ended up introducing me in-person to Spitta. So I’ve fucked with Spitta now for awhile. About 3 years after I known him, We’re chillin and he walks up to me and says “Yo I was in Miami and I heard the Money Sour Respect. and they kept tellin me it was the Sour. The Sour! When they said it was you, I couldn’t believe it.” I said to him “Half of those beats were for you, man.” He thought it was wild that he heard it in Miami and then someone pointed out how it’s Fortes from New York. It wasn’t intentionally played for him like “oh it’s Fortes, let me put him on for you.” Kinda crazy moment for me. I produced for his dude Young Roddy after that as well. But funny thing, I remember rapping for Spitta at BB King’s and ten minutes later running down to somewhere else and rapping for Dza at another spot. Me and Smoke go back to when I was younger. I put Styles onto Dza. I liked to keep him up on what I thought was fresh. I put him onto Ka as well. I always felt like I wanted to introduce Styles to new music as much as he’s mentored me. I also produced for Cassanova on his debut album last year. That was another important look for me too.

DRHH: You keep your ear to the streets and support the dope underground cats.

Fortes: That’s the shit right there. Those are the cats doing it. That’s where I wanna be! I don’t wanna be one of the big time rappers. The underground artists are the people making the real shit.

DRHH: If there’s one thing that sets you apart from some others, in my opinion, is that you’re not just a producer, you’re a musician.

Fortes: I appreciate that. Well first off, I recognize real music and real talent. Though, I try to make music as simply as possible. I’m learning my scales and trying to get better at piano too. As far as other producers go, some people just aren’t digging right, or chopping right. And I still have so much pressure I put on myself to do better.

The Ghost, Styles-P

Styles is an important guy in your life, not just in music, but as family.

Fortes: I was a LOX fan as a kid. I was 11 when We Are The Streets dropped. Styles was one of my biggest influences and my favorite rapper by the time I was 13. I knew Styles lived in my area, and I rapped and produced, so I kinda wondered to myself why I’d never met him. When I was 17 I got into this car accident on my way to school, so I couldn’t go to school anymore and I started working at a liquor store as a stock-boy. One day Styles comes in and I’m starstruck. I mean, he’s my favorite rapper. I literally take an index card and ask for his autograph. He signs it and I’m like wow. Not thinking about any rap shit, I’m just like whoa this is crazy. So 3 days later I’m at a gas station. I’m pumping gas, and Styles pulls up. Still starstruck as a fan, he looks at me and I’m looking at him and it seemed kinda weird but it was cool. I just told him I was gonna cop his new album which was dropping soon. He says “No doubt.” He drives away and I’m like play-racing him onto the highway. I was still just such a fan. So about a week later, he comes into the liquor store and asks me to help him pick out a bottle of wine. I didn’t know anything about fuckin wine. So I fake-helped him. He pays for the bottle and leaves. I sprint out to my car and grab a couple grams of fire weed that I had; like some Cali weed or whatever I had at the time and run over and hand it to him. He’s like “Is this from you?” I’m like “yeah.” He says “aight, I’ll hit you.” Fast forward 8 or 9 months later I hadn’t seen him once. So I’m talking with my boys outside and we see Styles fly past us riding a bike! At this point it’s god’s good grasp of humor. So I sign up for twitter that day and hit him with “It’s the white kid from the liquor store, I don’t know if you remember me but hit me if you do.” He replies with “DM me your math fam.” We became really good friends from then on. And friends become family sometimes. If I didn’t get into that car accident I probably wouldn’t have ever met Ghost. If I wasn’t a rapper, we probably wouldn’t be so close. Me meeting him definitely influenced me being a rapper, and of course, to be a better rapper. It was written in the stars. Even if we never rap or ever did anything else in music, we’d still be family. I couldn’t have asked for a better mentor. He’s a gangster, a gentleman, he’s genuine and he’s a good guy. A real G, Capital G! The first track I ever did with Styles was in 2014 on NORE’s “On Dawgs” from his Militainment album. Styles and I split a 16 bar verse on that track. I never asked for a feature. I never asked for anything from him when we were friends. Still we are like brothers. Styles is always trying to get me to come out and do more. He’s always telling me “Get out of your crib, and let’s do something!” I’m stuck in my world just making music. I used to dream of going to D-block. And then it happened. It’s crazy. I also produced a song off Style’s latest physical album G-Host, dropping August 17th. It’s still all surreal to me.

Shadow Of A Ghost

A landmark album. Fortes is the first artist to release an album with the full instrumentals included. A distinction Fortes is certainly proud of.

Fortes: Nobody has done that before. As an artist/producer to release an album complete with the instrumentals. I could’ve put the instrumentals on vinyl separately and just charged whatever. Lemme tell you though, before it dropped, I gave Shadow of A Ghost to hundreds of supporters and fans and those I wanted to share with. I’ve given away music my whole life. Out of 5,000 beats I chose 10 for the album. Inspiration hit and I did it. On Shadow “In a Hurry” is about me fake quitting rap… But I end with the line “you know that I’ll be right back.”

Fortes: If you notice the algorithm of Shadow of a ghost, Everything is supposed to flow until it reaches “pray.”

When played in succession, the beginning melodies of each track help to create a flow for the whole album. He played each quickly and I could heard it. A unique interpretation of melodies in a sequence.

Fortes: I ended the album with “pray” cuz you just don’t expect that. When I wrote this.. I actually still feel this way. All these things.. this is how I feel. People thought I should’ve let it go longer. I had an Interscope A&R tell me they wanted to extend it, they said this was big. I didn’t want to do that. It’s sweeter, shorter, it’s unexpected, and it’s honest.

With All Disrespect

Fortes: As a rapper, I wasn’t really listening to other rappers. It’s a competitive thing, where it’s like: “I’m the best, and fuck everyone and all that.”  I had to change that mindset when I became a better producer. With producing you can’t be like “fuck rappers.” So that changed. It used to be only about rap. But when I heard Eto I was like this is the only cat I want to rap with. This was before I heard Roze(wood). I heard Eto, and told VDon I need to rap with this muthafucka. Period. I’ve known VDon for awhile. I met VDon like 9 years ago at a fuckin Chipotle. It was right after he did his first placement ever with the Vado shit. We chopped it up and I said I knew Styles and he told me he did that Vado shit. And we’ve been just friends ever since. VDon is getting his respect, which I love. I got him on the LOX album instead of me. Cuz it ain’t all about me. Why not put VDon on that? And guess what, that’s the best song on that fuckin album.

Fortes mentioned ghostwriting for rappers and also working with artists outside of hip hop. He said there’s something to some people just having an ear for it, and also a formula for finding that sound and getting the most out of an artist.

Fortes: I’ve been writing for rappers, but also pop singers too. I produced, composed and arranged some stuff for this 19 yer old pop singer- she’s dope. For the past 6 months I’ve been singing a lot too. I’ll just catch myself singing.

DRHH: You mentioned Eto as guest on With All Disrespect, but SmooVth is another guest, an emcee I love. Tell me about that.

Fortes: Yo, SmooVth is my dog. We’re supposed to do a tape together. He’s like “anything you ever need, I got you.” I’ve given him access to over 200 beats. I got a track with Hus (Kingpin) too. I’m on his next project.

DRHH: Those guys are the elite level of the underground.

Fortes: I think that’s where I kinda am. I think that’s where people would categorize me, with those guys. Maybe they wouldn’t look at me as much underground cuz of Styles, but if it wasn’t for Styles it would be easier for me to fit in the underground grouping.

His body of work and fan following surely elevate him into at least, the upper level of underground artists due to his ability to emcee well and also craft some extremely ill beats.

DRHH: Rozewood is definitely in that same category too. What’s that project like?:

Fortes: I’ve been waiting on him. (Laughs). Me and Roze, we must have at least like 20 tracks done for this project we got. It’s a full collab. Any beat he wanted, I was like, please, please take it. You know Chris Crack?

DRHH: Chris Crack, absolutely! big fan. You got something with him?

Fortes: Me and Chris Crack have a project. It’s so funny cuz I don’t even know how we linked, but I’ve given him more beats than anyone (laughs). We have a whole tape- Classy Crack. I keep asking him, when do you wanna release it? He’s like no, not yet.. but we’re close.

Production trends

DRHH: What’s your thought on the new wave of production styles, specifically the drumless loops dominating production-wise?

Fortes: I usually don’t fuck with the drumless beats, unless it’s for Ka or an intro or something. I did some before I even knew Roc Marci was doing it. Now everybody is doing it. It’s like a post-Roc era sound. That’s where a lotta people think the forefront is coming back, but you don’t really have an identity. I can’t listen to that after awhile. On the other end you got the trap beats. That trap shit gonna die, this golden shit gonna last forever.

Fortes: I’ll try to download 50 samples and I’ll just constantly listen to music. I have so many samples that I’ve forgotten about. (Plays a random sample from a file on his computer and starts messing around with it) Studying music is so vast that I just keep searching.

During my time with Fortes, he blessed me with witnessing him make several beats on the spot with samples he had on file. Check some of them out

A funky 80’s style beat:

DRHH: Do you labor over your beats or churn them out?

Fortes: I have so many samples of stuff that I haven’t used on files already, it really only takes me like 6 minutes to make a beat So I can make like 20 beats in a couple hours. Once I chop I can cook it up quick.

A banger made in about 5 min:

DRHH: Your shit always sounds so fucking crisp. Is it your mixing or how you chop or what?

Fortes: People are trying to do distorted to make it sound dirty, or lo-fi or compressed or whatever. They’re just trying too hard in my opinion. I’m not trying to butcher the samples. I try and leave the sample how it is if I can.

DRHH: Some dope artists have projects that just don’t sound as good as it could. Is it mixing?

Fortes: Could be mixing. Get it preset, make a pre-set. It doesn’t matter what I use. Voice is important. How you control your voice. I can control my voice and make it sound however I need. That’s why I like doing instrumentals though, cuz I don’t even have to speak.

More than just Music

DRHH: What is this underlying paranoia inside you? You’ve mentioned it and it’s in your lyrics.

Fortes: When you deal for a living, and this is before the music thing, there’s always that element in your life. At a basic level, everyone deals with something at some point in their lives. It’s traumatic being a human. Life is traumatic. Mental illness is something I’ve talked about in my songs and it’s documented. The line between crazy and genius is real. I can’t describe myself. I wouldn’t change anything about myself, mental illness and all. It’s a gift and a curse. Bliss comes in waves. I felt richer when I was poor. I’ve made great music in the dark. And doing everything alone does make me feel happy. I can be a team player,  but I’m just used to doing it alone.

DRHH: Why do some feel the need to rationalize these things about their own personalities? If this is who you are, isn’t it ok for these elements to exist in order to create?

Fortes: Exactly. I mean, I won’t make a PSA about it. I’m good. My loved ones are there for me as I am for them. Social media is poison. People only give a fuck when someone commits suicide. They aren’t gonna check in on their loved ones, they’re not gonna. I always delete those posts, cuz it doesn’t sink in. If you saw them, you saw em.

DRHH: These thoughts about mental illness and your paranoia, are they things you’re highly aware of?

Fortes: I think so. I don’t know how long I’m gonna live, that’s why I make so many beats, I have to create every day. Lord knows, I have my music, over 10,000 instrumentals uploaded, with instructions to my loved ones about how to release them.

DRHH: Tell me about success and overall happiness for you:

Fortes: I’ll tell you why I make music.. Seratonin and dopamine. I’ve gotten messages from people which is love. I’ve lived a life and can die happy. When fame and success are happening to you, it’s surreal. When I was on WorldStar, it was a weird thing. When I got Shadow of a Ghost on Sirius, it was weird. I didn’t rely on anybody else, I made all my music by myself. Thing is, I always get happier watching other people’s dreams come true. You can feel it more. When it’s happening to you it’s weird, it’s surreal. I like to enjoy other people’s success. You can see it, out of your own self.

DRHH: Perhaps it’s that generous attitude that ends up creating the paranoia.

Fortes: People made me the recluse that I am. I can’t be waiting around to share studio time. There’s a lot of people trying to record. So I had to build my own fuckin studio. Do it myself. I like doing this by myself. I like that it’s been all me.

DRHH: So you don’t want that kind of fame or attention or social awareness?

Fortes: I don’t wanna be like those bigger rappers. I don’t want my name pressed on flyers, next to liars. If I’m not headlining, I’m not going. I love to perform, don’t get me wrong. I love the rush I get. I’m an indigo, so I’m not doing anything I don’t wanna do. I just wanna listen to Nina Simone. I wanna do whatever the fuck I wanna do. Dreams change. The passion don’t.

DRHH: Is that part of the reason you want to focus more on producing?

Fortes: Production was always second. There’s just longevity in making beats. Even after I’m done rapping, I can still make beats. I can’t ever stop rapping though, I can’t. I think in rhyme.

DRHH: Any newer stuff you’ve been feeling from artists?

Fortes: That Phonte album might be the best album this year. I liked some of the Gibbs album I heard the other day. I think he’s hittin us with the gangsta shit before he drops with Madlib. But for artists, overall it’s a statistic thing with me. If Nas drops an album with 7 songs and 2 are good, what is that? That’s not a good statistic, I know that.

Fortes says he’s currently working on producing multiple projects, including working with legendary Queensbridge emcee Cormega. He has produced for another Queensbridge OG Capone, of Capone-N-Noreaga. He’s also produced tracks for several other emcees as well, with a few tracks floating around, some coming out sooner than others. Fortes just recently released a track with emcee Lord Juco. Check it out here:

Fortes shared with me some exciting stuff he has in store, which fans will just have to catch when he drops them.

DRHH: What’s the Future hold?:

Fortes: If I wanted to sell out, I could’ve done it 5 years ago, I could sell out tomorrow. Am I not the perfect mold to sell out? I mean, I’ve thought about it. Take major meetings, you know. But I don’t want that. I think I want to be a husband and a father. I don’t think I’ll ever have normalcy but that’s what I want in life. I know that I do want to help people.

DRHH: I think you do help people, with your music

Fortes: I hope that I do.

I think it’s clear that his music does. In more ways than he will probably ever know..

An absolute honor to present this playlist, this edition features legendary Bostonian Dart Adams as guest Curator. This is Dart’s homage to 1988 and all of the immensely ill HipHop that came out that year, peak golden era style! Keeping it Deeply Rooted in tradition on this edition.

Dart is bringing ’88 back with 25 dope songs!

Check out his playlist:

LL Cool J “Jack The Ripper”:

https://www.youtube.com/watch?v=agP6Lkxvs50

Public Enemy “Rebel Without A Pause”:

https://www.youtube.com/watch?v=52rrRcKcPZ4

Eric B. & Rakim “Follow The Leader”: https://www.youtube.com/watch?v=ScAu8GdiPsI

Stetsasonic “It’s In My Song”:

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

JVC Force “Strong Island”:

https://www.youtube.com/watch?v=05pcczvmrjc

Chill Rob G “Chillin'”:

https://www.youtube.com/watch?v=ewRxVcj9lcI

Jungle Brothers “Because I Got It Like That”:

https://www.youtube.com/watch?v=9UdIltEYziA

De La Soul “Potholes In My Lawn”:

https://www.youtube.com/watch?v=TrtpLfjQ_3E

EPMD “I’m Housin'”:

https://www.youtube.com/watch?v=6_24EZbQxk0

Run DMC “Beats To The Rhyme”:

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

Ultramagnetic MC’s “Ced Gee (Delta Force One)”:

https://www.youtube.com/watch?v=fhMANm943jU

Biz Markie “Cool V’s Tribute To Scratching”:

https://www.youtube.com/watch?v=U31Z6aLAvoE

Slick Rick “Lick The Balls”:

https://www.youtube.com/watch?v=kfcixQTLI0M

MC Lyte “Paper Thin”:

https://www.youtube.com/watch?v=7-DPuciliFg

Queen Latifah “Wrath Of My Madness”: https://www.youtube.com/watch?v=sCSvUEQqu6Q

Boogie Down Productions “I’m Still #1”:

https://www.youtube.com/watch?v=SuZj0D-lOGQ

Kid N’ Play “Gittin’ Funky”:

https://www.youtube.com/watch?v=q46tXrIQJZs

Super Lover Cee & Casanova Rud “Girls, I Got ‘Em Locked”:

https://www.youtube.com/watch?v=oW1zdamRx3w

Roxanne Shante “Go On Girl”:

https://www.youtube.com/watch?v=Q_VpOUqbfR0

Salt N’ Pepa “Get Up Everybody (Get Up)”:

https://www.youtube.com/watch?v=Y5wYLJPFvvE

Doug E. Fresh & The Get Fresh Crew “Keep Risin’ To The Top”:

https://www.youtube.com/watch?v=Mnvx6d2EvtQ

Tuff Crew “My Part Of Town”:

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

Krown Rulers “Paper Chase”:

https://www.youtube.com/watch?v=KzpGkK9LaOU

Ice T “Personal”:

https://www.youtube.com/watch?v=wWnHFxJrQg4

N.W.A. “Gangsta Gangsta”:

https://www.youtube.com/watch?v=GUb2qo5XF3U

By Alex P80 Parks

There’s really just too many dope albums coming out to review all releases. This edition tries to cover some ground by showing several albums from the last couple weeks that shouldn’t be overlooked, regardless of the buzz they’re generating or the coverage they’ve received thus far.

Chris Crack drops a 20 min, one-track EP produced by August Fanon. This Will All Make Sense Later drops only shortly after his Let’s Just Be Friends album from last month. This EP is full of beautiful soul samples and features several of his frequent collaborators and Chicago compadres. The beats are warm and rich, allowing Crack to show fans how talented of an emcee he really is. Chris Crack blends his humor, harsh truths, playful innuendos, and of course his singular voice perfectly on this short, but highly enjoyable EP. August Fanon blends and attaches the beats fairly seamlessly into one another for a relaxing, smoked-out ride from Chris Crack.

https://itunes.apple.com/us/album/this-will-all-make-sense-later-ep/1411150005

Lord Juco Clockwork produced by Won87 adopts the theme from the iconic cult film A Clockwork Orange. Juco is at peak form here, shit-talking and leaving heads with rhymes to ponder, just lingering in the air. Won87 provides some bangers here for Juco to spit his increasingly impressive flow. The 5-track EP shows Won87 going from bluesy guitar riffs, church-like organs, psychedelic guitars, to jazzy horn loops on the tracks. Juco ensures the mayhem by offering plenty of memorable lines. Juco continues to elevate his skills and showcase his broad choice of dope beats on this EP.

http://lordjuco.bandcamp.com/album/clockwork-3

Magno Garcia Element of Surprise is a 4 track EP produced fully by Elements. Mag comes out the gate blazing, with the standout track “Aziatic”. The track boasts a gorgeously balanced strings sample with a perfectly-placed soulful vocal sample for Mag to shine on. Elements brings his sharp beats from UK for Mag to carve up with his thoughtful lyricism. Heads are only left wanting more of Magno’s intelligent rhymes to rock out to. Fortunately for fans, this EP serves as an appetizer to hold them over until Mag drops his Monastery Monk Methods LP.

http://magnogarcia.bandcamp.com/album/element-of-surprise

Producer No Pulp laces us with Imports and Exports, a primarily Lo-if beat tape, with some interesting flips and some dope samples. The last beat on the tape, a Robert Plant “Ship of Fools” flip, is pretty dope and interesting. The range in using a wide variety of genres and sources make this worth checking out. It’s a fun and enjoyable beat tape for heads with varying tastes in samples. Listen to it on SoundCloud at:

Ecto-84 gives us DVNV, a nostalgic return to the iconic Ghostbusters film with this beat tape. Naturally, it’s full of snippets from the 80’s flick. The titles also share an association with the spooky comedy movie. He’s got a few dope soulful samples on the album, one of which on a standout track “For Life”. The beat tape is a dope vibe and cool retro theme, using Ghostbusters as a focus.

http://ghxstrvppers.bandcamp.com/album/dvnv

Grimm Doza Grimm Unltd, Vol 1 is a short, but fulfilling beat tape showing his atmospheric vibes. With these mostly murky and ominous beats, Grimm Doza paints a bleak soundscape, supplying plenty of thump for head-nodding. The perfect pairing of crackly lo-fi and synth effects for fans to envision a crumbling futuristic wasteland. Often creepy and dark, heads will want to vibe out with some intense cyphers or just ride out to this short but satisfying instrumental EP.

https://itunes.apple.com/us/album/grimm-unltd-vol-1-ep/1412344568

Killer Kane Forest for the Trees has Kane displaying some unique arrangements on this 5-track EP. Almost off-beat at times, the tracks can be jarring, but always enjoyable. Killer Kane shows some creative chopping on the samples and layers plenty of crisp drums. Balancing the lo-fi sound with some unique and interesting chops, the tracks create a hazy vibe, perfect for sizzling summer days and humid nights. Veering in a different direction from some of his peers, Killer Kane is becoming a producer with a unique sound, and keeps showing growth with each project. Check this unique instrumental album out.

https://itunes.apple.com/us/album/forestforthetrees-ep/1411150027

by Alex P80 Parks

Featuring another stacked lineup, the beat showcase rolls on. On this scorched day it didn’t matter if the AC was on, because the talent was heating shit up inside with another high-powered installment of the best monthly HipHop show in Boston. This Episode featured Vinyl Villain, Evilldewer, Jenova 7, Ewonee, and emcee Rayel.

Rah Zen continues to outdo himself with his ability to bring in some of the best talent around. He could basically run a beat set of his own each week and heads would savor to see just him. He is a generous and welcoming co-host along with Kadeem. As a lyricist, Kadeem is becoming a force to reckon with in HipHop but he rocks the party as a true MC and host each time. DJ Manipulator was his usual flawless self as DJ and scratch master for the evening.

Vinyl Villain

Working with all of the top emcees in the game over the last 6 months, he’s known as the Martin Scorsese of HipHop. He makes ‘music to extort businesses by.’ Vinyl Villain has built a reputation as a producer with a classic feel to his beats without being pigeon-holed into a boom bap box. He stays sharp with his sample selection and his tracks are clean and well-mixed. Known for having a ‘cinematic’ sound to his beats, they’re full of layered samples, and always well-chopped. Though his drums are adequate and crisp, Villain will also occasionally employ drumless loops. Vinyl Villain gave the crowd a good variety in the range of beats he’s capable of handling well.

Evilldewer

Evilldewer continues to really push the boundaries of HipHop, sonically. The “Wave-form Scientician” came correct on this particular evening. The way he stretches time out, his tracks are almost off-beat, yet they stay within rhythm. He develops extremely obscure samples into masterpieces. His work is atmospheric and frequently tense. Evilldewer imposes his infectious energy on the listener. He’s headbanging and dancing the whole while, as if he’s a mad conductor on the beats. He played some joints from his Netherrealms album and a few other unknown tracks, all to the delight of the crowd. Jenova 7 and I were talking a bit about how unique Evilldewer truly is. We both agreed he is the epitome of an idiosyncratic artist.

Jenova 7

Jenova 7 was the wildcard for me for the evening. I knew he was a student and scholar of music and HipHop. I was not expecting such an overall talented musician. I knew he made beats, and messed around with the guitar, but his set was a true showcase of his musical abilities, not limited to only HipHop. He and I chopped it up for quite a bit before and after his set as we discussed beats, guitars, documentary films and more. He is an engaging dude with a lot to say. A willingly-open conversationalist, we even talked some bigger ideas and plans with the current renaissance of HipHop and specifically the unparalleled burgeoning scene in Boston. His beat set was just the appetizer. He got the beat going and went into full improvisational wonder as he played a feverish guitar. DJ Manipulator even jumped on some of the beats for some dope scratching. When they connected, it was genuinely an inspirational moment in music.

Ewonee

Hailing from Poughkeepsie, NY and repping the Mutant Academy collective, Ewonee has been killing beats for a minute now. He has developed a strong following with his high level of technical skill without sacrificing the heart that his beats carry. His samples are so soulful and create such a euphoric feeling, you can’t help but feel good. He’s got a few ominous, murky tracks in his repertoire, but the soulful, upbeat ones just have a tendency to grab the listener. Heads usually end up dancing to the frequently funky beats. Ewonee has crafted his signature “Mutant Shit” sound that also doesn’t fall into boom bap, but employs additional sonic elements to create a fully immersive experience. Just last month, he released his vibrant LP titled ’73.

Rayel Stands for:

Righteous Affections Yield Eternal Life

I hadn’t heard of Rayel prior to this Nightworks episode. I asked a homie mid- show and he informed me that Rayel was an emcee. When her set started, I heard her sing and I thought she had a talented voice. She sang through a couple of joints and I thought that was the extent of her talents. Was that an underestimation of her abilities! Rayel then burst into some dope raps, surprising the audience, myself included. She amazed all with her sharp delivery and quick rhyme patterns. As Rah Zen so eloquently put it, Rayel “captivated” the audience with her “incredible performance.” During her performance the whole crowd was feeling her strong raps and powerful vocals. Watch out for Rayel, she is a talented vocalist and lyricist emerging on the scene. I know I’ll be checking for her next release.

Special cypher feat Al Divino

The homie pulled up, blew some gas and vibed out for the artists’ sets. Once the majority of fans left, post- show, the obligatory cypher began. That’s when Divino decided to grab the mic and appropriately melt that shit.

Another night of fantastic performances for the books. Artists showing and proving for the real heads. Nightworks never lets HipHop fans down.

Stop by 338 Newbury St Boston for the next Nightworks on July 28th

Check the review of Evilldewer’s Netherrealms here:

https://deeplyrootedhiphop.com/2018/05/07/evilldewer-netherrealms/

Check additional content featuring Vinyl Villain here:

https://deeplyrootedhiphop.com/2018/05/15/vinyl-villain-jon-glass-studio-exclusive/

**some technical issues occurred uploading some video. Hope to add Updates with MORE footage soon. Check back frequently!

Stay tuned fam

By Alex P80 Parks

The Custodian of Records has been popping up on projects regularly and Estee Nack has been busy dropping heat all year. Nack’s work ethic is unparalleled, as he continuously releases one project after another. The Custodian of Records is one of many who have noticed Nack’s prolific output. He says he’s been a fan “Since the days when they’d post his stuff on the Art of Rhyme website.” Describing the regional scene, TCOR says he’s “always been a fan of New England HipHop.”

TCOR himself has quietly built a strong resume as a talented producer, working with Hus Kingpin, Rozewood, MR MFN eXquire, Planet Asia, Flashius Clayton and many more. He recently featured on Sleep Sinatra’s [D]arkangel, producing the jazzy track “B.I.E.” The Custodian of Records also recently dropped the ill single “Good Money” with Flashius Clayton.

The New Jersey producer connects with the Super Nack Man on this banger. The track boasts a soulful doo wop sample and features Nack flipping his trademark verbal acrobatics and intricate rhyme patterns. The beat has a lovely nostalgic feel, providing the perfect canvas for the Nack Daddy to unload.

Check out the world premiere exclusively here at Deeply Rooted HipHop:

https://soundcloud.com/beatsbytcor/estee-nack-tapioca-prod-by-the-custodian-of-records

You can also check out TCOR’s latest 7″ limited Vinyl “Lousy New Years” release here:

https://thecustodianofrecords.bandcamp.com/album/lousy-new-years-blizzard-single

By Alex P80 Parks

Deeply Rooted is bringing HipHop heads another brand new series. This focuses on new content that hasn’t yet been reviewed on this site. The intent here is to just let the heads know that they shouldn’t be sleeping on some dope projects. Updates may come frequently so peep the first couple and come back to check soon after.

First off is KBurns and Vinyl Villain‘s collab EP Infamous Villains. The 4-track EP features Magno Garcia, SmooVth, and Team Fame Gvng alum GkFetty. The production on the album features Villain’s signature cinematic vision and high quality craftsmanship on every track. Both of the tracks with features really provide some unique rhymes and flows over Villain’s beats. Trevor Lang contributes the dope cover art. KBurns continues his development as an emcee with a singular voice and sound, making some of his best work to date.

Cop it on BandCamp at:

https://kburns.bandcamp.com

Limited release on Vinyl today- Do not sleep on that!

Big Kahuna OG brings us Sky Chryme, a full-length LP full of excellent production from all the Mutant Academy team producers and a few others. Big Kahuna OG continues to make some dope HipHop, using his excellent ear for beats and his witty lines, keeping listeners on their toes. A couple standout tracks: “Hush Money” produced by Foisey is a beautiful sample and Kahuna dismantles the track singlehandedly. “Bulls Vs Lakers” feat Mars and produced by Kahuna’s partner in chryme and frequent collaborator, Graymatter, who is an extremely talented producer making some of the best beats in HipHop the last few years.

Cop on iTunes and stream pretty much everywhere

https://itunes.apple.com/us/album/sky-chryme/1401002174

Producer Bass Reevez drops his album Kaffir featuring most of the young dope emcees killing shit currently. The album is full of boom bap bangers. The samples are dope and the project is mixed well. The album features Rome Streetz, Sauce Heist, Jamal Gasol, AnkhleJohn, Ty Da Dale, Nowaah The Flood, Baby Mane, KBurns, FastLife and Sleep Sinatra. All the emcees bring their grimy or smooth flows to this quietly exceptional album. Although every track is on-point, there are a couple standouts for me. “The Whiztle” featuring Rome Streetz and Sauce Heist showcase the emcees gritty NY street raps. “Haile Selassie” feat AnkhleJohn shows Ankh a bit less vicious, but no less potent. Arrogant Aromas features KBurns, Ty Da Dale and FastLife at their best. On “Mind Hunter” Sleep Sinatra rounds out the album with his smooth flow over a murky track.

Cop on BandCamp here:

https://bassreevez7154.bandcamp.com/releases

Don’t sleep!

keep Checking for additions soon.

Stay tuned fam!

Nick and Sharon of Respect Due Podcast are blessing heads with the next installment in the Tastemakers series. Not only are they passionate about HipHop and all types of music, but they are providing fans with some dope podcast interviews. More recently, they’ve ventured into promoting and hosting hip hop events, bringing in some of the best talent. Enjoy this playlist and be sure to check the Respect Due podcast.

Nick’s Playlist:

Codenine & Paranom-Gold Label Reserve

https://soundcloud.com/pnom/goldlabelreserve-feat

Juelz White-Red Velvet Mocks (ft. Supreme Cerebral, Recognize Ali, Daniel Son & Eloh Kush

https://soundcloud.com/juelzwhite/red-velvet-mocks-supreme-cerebral-x-recognize-ali-x-daniel-son-x-eloh-kush

https://www.youtube.com/watch?v=ga5y_dwwmj8

Nowaah the Flood x The Architect-Another Day

https://nowaahtheflood7.bandcamp.com/track/another-day

DirtyDiggs-Rose Gold Tassels ft. Killa Kali & Tristate

https://dirtydiggs.bandcamp.com/track/rose-gold-tassels-w-killa-kali-tristate

Ray Vendetta-No Facade

https://prestigiousrecordings1.bandcamp.com/track/no-facade

IconCurties-Cold Blooded (Ft. Recognize Ali & Pounds)

https://iconcurties.bandcamp.com/track/cold-blooded-feat-recognize-ali-pounds

Westside Gunn-Brutus (ft. Conway & Benny)

https://soundcloud.com/westsidegunn/brutus-feat-benny-conway

Shozae-Faded Pictures (Ft. SageInfinite & Grandmilly)

https://soundcloud.com/shozae/faded-pictures-sageinfinite

https://www.youtube.com/watch?v=vN47Og2IozQ

https://www.youtube.com/watch?v=oByQlO1PVYo

Showbiz – Do What I Want 2 ft. David Bars

www.youtube.com

Do What I Want 2 Performed by Showbiz & David Bars Produced by Showbiz Mixed by Parks Directed by Harold Urena A Room Therapy D.I.T.C. Studios 2018 https://bit.ly …

Meyhem Lauren & DJ Muggs – Kick Rocks

www.youtube.com

Frozen Angels

Cold Blooded feat. Recognize Ali & Pounds, by IconCurties

iconcurties.bandcamp.com

from the album Modus Operandi

Sharon’s Playlist:

Pearl Harbor- Wu Tang Clan– Ft. Sean Price – https://youtu.be/OKm1_tuN0dM

100 Skis – Daniel Son – Ft Dnte & Tony Boi – Prod. Finn

https://soundcloud.com/brown-bag-money/daniel-son-100-jet-skis

Flatlines – Estee Nack – Prod. Vinyl Villain

https://soundcloud.com/therealvinylvillain/flatline

Trust the Process – Daniel Son- Prod. Futurwave

https://soundcloud.com/brown-bag-money/daniel-son-x-futurewave-trust-the-process

When you go – CRIMEAPPLE ft. Daniel Son & Smoovth- Prod. Buck Dudley

https://soundcloud.com/crimeapple/when

On me – Rome Streetz Ft Rigz – Prod Camoflauge Monk

https://youtu.be/DV2ABN6mXT0

Karate Practice – Daniel Son – Prod. Bozak Morris

https://soundcloud.com/bozackmorris/karate-practice-featuring-daniel-son

55K – Pounds , Daniel Son, CRIMEAPPLE- Prod. Max Marciano

https://soundcloud.com/pounds-448/pounds-55k-feat-daniel-son-crimeapple-prod-max-marciano

Amore – Daniel Son & Smoovth – Prod Historian

https://soundcloud.com/damion-lester/daniel-son-x-smoovth-amore-prod-the-historian

Blowback – Galimatias

https://youtu.be/Gs6S-5hmX8w

By Alex P80 Parks

Switzerland’s The SoulSlicers, bring us a 26 track album full of hard-hitting boom bap HipHop titled Black Album. It’s interesting how many European producers have assumed a responsibility in maintaining the boom bap production of the “golden eras” sound. They almost always utilize excellent drums with plenty of punch and bass. Their samples are always minimal. And they employ grimy emcees to spit the raw NY/East coast style rap that we know from the mid 90’s to the early 00’s. The SoulSlicers are no exception. The Swiss production team have crafted an album full of these types of beats. They’ve selected a cast of mostly newer and some lesser-known emcees with some underground veterans popping up to bolster the firepower on this large LP.

The lead-off track is appropriately a banger. “We On” feat G.Dot and Born w/ cuts by DJ Tray. Boston’s G.Dot and Born provide some lyrical heat as the SoulSlicers lay an ominous organ and some subtle guitar effects with crisp hi-hats that resonate perfect. Both G.Dot and Born come correct with a mercenary approach to the mic.

Check it out here on SoundCloud:

Late Homework M-dot brings it on this track. It’s a kick in the face to those who ever doubted the talent and promise of hopeful youth. Some dope cuts provided by famed Boston producer DJ 7L.

Check the Video here:

“Pros and Cons” feat Revelation is a booming track with a slide guitar and a soulful vocal sample. DJ Decepta adds some dope slices to this joint. Revelation spits some hard and gritty rhymes over this banger.

“Ms. Merry Jane” feat Mesidge is a sped up vocal sample with some 80’s style synths. Mesidge describes his affinity for the green here. Some dope cuts provided by DJ LP2.

On “Real Visions” a somber piano accompanies the simple drums on this track for Absouljah to break down his thoughts.

“Breadcrumbs” feat Chad L is a quick track with an acoustic guitar loop, which creates a similar sound to the closing track “The End” feat Meta P.

“Dream so Mean” feat El Lay, Dre Goose and Sparkingtin is a chopped piano sample with snappy snares and some boom, with slices courtesy of DJ Tray.

On “Money” Ricky Bats delivers his powerful vocals over a piano loop with some serious boom. Ricky shows off that solid delivery with some strong bars as well here. The track is simple, which plays well against his commanding voice.

“Live backwards” feat The Savage Brothers is a strong sample and a perfect snare bass drum combo. One of the standout tracks on the LP, both emcees come grimy and spit the raw East coast rhymes to accompany the well balanced track.

“Never going broke” Sparkingtin and D.Gotti rhyme over a sample of traditional Italian music.

Check it out on SoundCloud here:

“Road Trip” feat MDot is an uptempo track with chopped horns, a slight piano loop and drum fills aplenty. MDot comes firing off his usual brand of high energy rap and spits some clever bars. One of Boston’s illest, MDot shows up on a few joints on this LP, never disappointing lyrically.

“We MC’s” feat Gdot and Born with cuts by DJ Tray is a fast-paced track with an 80’s style guitar sample. Both emcees tear through the track with fury. Another pair of emcees who show up to collaborate more than once with the SoulSlicers, they contribute some dope vocals and their own unique sound that still fits in with the overall style.

“Get finished” feat Sparkingtin and D.Gotti uses a guitar sample, claps and hi-hats on one of the better tracks off the album. Both emcees flex their lyrical skills on this dope track.

“The circus” feat Chad L sounds like a distorted or reversed sample trying to mimic the carnival or circus music from the old days. Chad L explains and exposes the fraudulent lifestyle for many of those in the spotlight, meanwhile maintaining his pride in his own independence.

“Patriots” feat Big Shug, Edo G, Mayhem and MDot. This track obviously supplies some of the bigger star-power on the album. MDot laces the track first with his well-delivered flow an unforgettable voice. He’s followed by Edo G and Mayhem. Big Shug contributes the hook, with some refreshing harmony for a dope posse cut with a throwback feel. Serious cuts provided by DJ LP2.

Check the video here:

“Cypher” feat Sparkingtin, Tank, El Lay, Scientific, For Da Block, and Dre Goose. Another posse cut, this one plays like a sped-up Mobb Deep beat from the late 90’s. The emcees all come raw and play well off one another.

“Routine” feat Unik Stylez has some chopped up Japanese flutes, playing in a rhythmic fashion which pairs well with their usually-solid drums. There are some ill scratches from DJ Mirage on this hyper track, with Unik Stylez showing his dope flow.

“Hungry Soul” feat Kore the SoulSlicers use those Baroque classical-esque orchestral sounds here that we’re popular in HipHop from mid to late 90’s. Again, it fits into the few styles that adhere perfectly to the sound that the Soulslicers hold the torch for.

“Light a Candle” feat Absouljah features chopped pianos and an Asian vocal sample. You could easily hear any 90’s era NY emcee rapping over these types of beats. Absouljah

“Poetry Vox” feat Good WTHR uses a really beautiful sample and aptly laid drums with Good WTHR spitting his refreshing lyrics and unique vocals. Another standout track on this album.

“Sunshine in your stereo” feat Good WTHR sports perhaps the only true modern HipHop beat off the album. The rhymes are played well off the quick tick tick of the hi-hats. Not necessarily trap-ish, but the beat is most certainly fitting with more modern production than the other sample- based beats on the album.

2 of the last 3 tracks on the album are remixes with some top guest spots. “Chances and Change remix” feat MDot, Skyzoo and Revelation w/ cuts by DJ Decepta and “I sold my Soul remix” feat Planetary, MDot and Banish w/ scratches by DJ Tray.

One consistent across the album is the solid drums. This production duo brings back that 90’s era thump on every track. A prominent element throughout the LP is the strong DJ presence and dope scratching on just about every joint. That is well-received by the older HipHop heads and traditionalists of the east coast sound. The SoulSlicers know the importance of the DJ in HipHop and they represent that well in their production.

The album isn’t ambitious, overly grand in scale (despite 24 cuts) or attempting to reinvent any style of HipHop. What it does is adhere to the aforementioned style and deliver within that lane, an album that maintains the integrity of that style of HipHop that has created such fond nostalgia amongst fans of the genre.

This is a solid album, especially if you have that nostalgia for east-coast late 90’s boom bap style minimal production. The emcees all hold their own. The production stays true and shows the SoulSlicers as traditionalists and keepers of the flame of that style. This album is best listened to in the jeep with big speakers turned up.

Cop the album out Friday here:

https://ownlanemusic.bandcamp.com/album/black-album