By Alex P80 Parks

Bub Rock is releasing a 7-track EP this week. He’s been steadily dropping snippets and a couple singles sporadically. The album is titled XV for his born day, October 5th. Employing soulful elements on each track, Bub invites listeners in to his sermon as he preaches through his crazy wordplay.

The EP is produced entirely by the production duo of CdotHall and AdotMcCray, known as The Standouts, hailing from Ft. Worth Texas. AdotMcCray describes working with Bub Rock:

“Bub is just super dope the way he puts words together and we just been cookin up. He approaches unorthodox beats and that allows us to be creative and even more unorthodox.”

The EP as a whole is more personal than some of his other releases, evident by the cover art, the title referencing his bornday and the subject matter touching some various personal experiences.

Miracle Water check the track below:

I chose to focus on 3 tracks I thought were ‘standout’ tracks on this EP.

LNB ft. Alibi Wealth is a plucky guitar sample with a soul-laced background vocal and a subtle organ. Alibi Wealth kicks in with his more rough vocals to lead into the track. Bub rhymes with confidence and swagger on this project.

Don’t Know is a fully- immersive soulful experience with a strong guitar/bass combo, chimes and a female vocal crooning in the background. The drums aren’t overwhelming but complement the sample well.

“I’m just a fly on the wall

N***as lying to me

I gotta move to evolve

That’s why they dying to me

I can’t get higher, The sauce just kicked in now

Can’t even lie, key thoughts made me a penman.”

On the hook he states:

“But y’all don’t know what I’m goin through”

This is a heartfelt beat for Bub to pour his soul over. This track is well-balanced with soul and solid drums and Bub just takes off, rhyming with focus and intent.

Sixth Song incorporates multiple soul samples with strong vocals. Well layered, but not to overwhelming for Bub Rock to provide his super-lyrical delivery

Bub spits:

“My homegirl keep asking me when I’ma get a shorty

Iono cuz when I get em I clip em.. shortly

Maybe this just isn’t for me.”

He’s not talking the same tired slick shit, or about how many conquests he’s had. Rather, Bub takes a unique look at some the conversations he’s had with women he’s tried to be with, friends he’s had, relationships that have blossomed and some that have failed. Tracks like these show his depth of talent at writing unique rhymes, creating imagery and telling mini- tales, a few bars at a time.

Bub is gaining some attention as talented emcee with some clever wordplay and rhyme schemes. He stays away from some overused topics and is refreshingly witty and wise for a young man gaining his stripes in HipHop.

Start checking for The Standouts as they showed some obvious talent with some of their refined choices in samples and laying their beats. And check for Bub continuing to drop heat all summer.

By Alex P80 Parks

Nebraska’s shining light, Sleep Sinatra brings us his latest LP. Featuring a wide array of talented producers, Sleep remains consistent in bringing fans some of the best hip hop around. He does most of his damage over 90’s style, minimalistic production. There’s always either a melodic, hypnotic or a jazzy element to the beats he chooses. He stays in pocket, never reaching too far to achieve. Maybe that’s why he succeeds in crafting such great tracks, especially on this gem.

His last project, Amethyst, literally came with gems, as in a piece of amethyst for the limited edition physical bonus. Amethyst was a focused EP, primarily jazzy boom bap beats. [D]arkangel picks up where that project left off sonically, but adds some serious production heat, a bit more variety in the beats and an elevated level of sophistication and craftsmanship.

Conceptually, many of the tracks on [D]arkangel contain mini-intros or outros dealing with angels, demons, mythology, human existence, etc. These philosophical ideas throughout the LP are left intentionally ambiguous for the listener to impart much of their own perspective to complete that narrative. Sleep never pushes or imposes those ideas on the listener. They just exist, for an individualistic take.

Sleep Sinatra’s writing is thematically spot–on for each track. The whole album flows seamlessly. That says quite a bit, considering the varying styles each of the producers bring. It’s seamless not in style or production, but as in chapters of a great story or as several short stories in a compendium or collection. Sleep selects beats that fit his style perfectly and he provides a sonic journey with appeal for different types of listeners.

Sleep’s fanbase may be underground but he doesn’t just adhere to one style or beat type. His palette is broad with some rich and lush choices in his beats. This LP is very well rounded and provides an array of sonic textures. Sleep has really chosen some excellent production to rhyme over and has devoted himself to well written bars. Track sequencing is important to an excellent album, and even though each track stands on its own, it creates such a binding overall narrative that Sleep either touches gently on, or outright explains it.

This album resonates well for several reasons. Sleep’s often poignant rhymes never sound forced or judgemental. He avoids the tired cliches. His flow is casual, but not lazy. Smooth, but not trying to be a pimp-type figure. He is both introspective without losing the listeners, and cerebral without seeming too superficial.

[D]arkangel begins with Sky battles. What a hell of a start. Evilldewer is one of the best producers crafting beats right now, pushing the boundaries of sound. The beat is atmospheric and captures a feeling outside of the ordinary and mundane. Sleep’s rhymes seem effortless here.

BIE (stands for Black Identity Extremist) TCOR creates a swift jazzy scat. It’s an uptempo track with live-style drums. Plenty of ride cymbals and snare drum fills for Sleep to float over. On the chorus he slightly harmonizes:

“Now if you conscious they calling you B.I.E.

Think you ready to D.I.E. like B.I.G.

knowing that the hate is chronic still D.R.E.

Pass the peace pipe bomb- exhale spirits towards the east”

Check it out here:

Death & Taxes prod by Eyeree is a subtle melodic beat. Sleep doesn’t get eclipsed by a busy beat here. Minimal in production seems to be the sweet spot for Sleep Sinatra to really let his poetics flow.

Blessings by KVMI features a 60’s guitar loop with a rolling snare. The lyrics focus on pushing hard, digging deep to work but not forgetting to be thankful. That’s what we missing. All these blessings and things we shouldn’t take for granted. With no chorus he spits for over a minute straight. After he’s canvassed the entire beat, at the very end he repeats:

“So tell me what we missing..”

whether he’s asking the question to all or if it’s only rhetorical, his writing conveys those bigger ideas, the beneath-the-surface meanings.

Pancho in the villa UK producer Farmabeats lays droning bass plucks, a sharp guitar sample and a Spanish choral vocal sample.

Check out the video here:

He Got Game feat, Stik Figa prod by Illustrate is bass-pounding thumper. A little vocal sample and hi- hats persuade mad head-nodding on this banger. Stik Figa begins the track with his powerful voice, discussing other rappers who seem false in their claims and intentions. One of Stik Figa’s clever lines: “And ya homie ain’t ya homie if you never shared a roach.”

Sleep spits:

I’m from the era of the two-tone du rag

Before the hashtags,

lunchroom battles to determine who was trash

I would sneak into the venue rockin

homies let me pass

Now they paying promoters so they can open last.”

Annihilation prod by Stu Bangas sports a smooth slide guitar sample looped and chopped. Stu chops his samples so precisely, especially this one in particular is chopped so clean and seamless. Sleep spits:

“Say that I can’t and I’ma find a way

Master of survival traits

Impact how the styles shapes

My name is Sleep but I’m wide awake.”

After Hours feat Argyle prod by Phantom Janitor. Plotting and making moves, over a frenetic jazzy high pitches flute and a trumpet. Argyle adds a focused performance, playing well into their nighttime schemes on this track.

Divine Intervention prod by MeanWhile is a 90’s vibe with a female r and b vocal sample over a fading synth and hi hats. Vibe out and chill to this smooth joint.

“That type of soul that start evokin the chills,

You know that it’s real,

Force could put a hole in ya grill,

Mold the feel from components to me owning the field.”

Narcisse prod by The Historian is a beautiful melodic loop with a bass groove, subtle high notes and a sped up vocal sample. The Historian does it again, here in a less-is-more approach.

The second verse:

“I think I’m narcisse with the hard speech,

Flow illegal like liquor in prohibition.

How these bars reach deep in ya system

Brother just listen.

Huggin side roads with a vengeance, CD’s skipping.”

Temple of the Thugee feat Buddi3 Da Gawd prod by KVMI. A familiar sample used recently, has the somber melancholy, while building some slight tension. There’s a reason this sample has been popular. Here KVMI flips it on his own terms, speeds it up with some snare and flat hi hats. He gives it his personal touch to make it his own.

Noob Saibot feat Recognize Ali prod by SLUMLORD88 is an airy track, with muffled industrial snares and compressed bass pops. This track provides plenty of space for Sleep to flow. Recognize Ali stops by for a fierce verse where he just devours the track. A great showing of both emcees here. Sleep’s smooth relaxed flow contrast well with Ali’s grimy hard rhymes.

Waking Life prod by Illustrate is a punchy upbeat track where Sleep ponders purpose and devotion amidst false realities that people gravitate towards. On the second verse he rhymes:

“They say to be original is dead

I say you n***as talking like the sickness in ya head,

Scriptures that I bled

More than just a figment for the bread”

The Easel feat Wakanda One prod by Mar Rahqid us a repetitive melody with some sax notes, rimshots and tambourines which is just enough for the room to rhyme and also feature a singing r&b hook from Wakanda One.

Gatekeepers prod by KVMI plays a bit somber with some interestingly layered chopped samples of vocals and Japanese flutes. The muffled and stuttering drums are minimal to, yet again, let Sleep Sinatra flex his verbal abilities once more.

Sleep does appeal to a variety of hip hop styles with his choice of beats. He has plenty of boom bap tracks backed with crackling samples. He has drumless loops. There are tracks that are bangers with some deep heavy bass to rattle your chest. He’s got throwback 90’s style tracks, some with r&b sensibilities. He’s got edgy futuristic beats. He’s got tracks with tense samples. All the while he describes his life, his choices, the struggles of being a young black man in America. He details things in life to be thankful for amidst all the struggles that most of us also endure. Maybe that’s part of his appeal as well. By maintaining his sense of self as an everyday working class man with a family, responsibilities, etc. We can relate to him more than the emcee always bragging about his materialistic gains.

Sleep Sinatra pulled together some real top talent for production on every track. There really aren’t any throw away beats. It hits all the marks to satisfy true HipHop heads. Sleep covers as much ground as his solid brand of hip hop encompasses. Never forced, cliched or tired.

This man is a talented poet and wordsmith and requires HipHop’s undivided attention. He’s making some of the best HipHop that’s out right now. Don’t Sleep… on Sleep Sinatra

cop this album when it releases on June 29th at:

https://sleepsinatra1.bandcamp.com/

For this installment of the Tastemakers Playlist I invited a guest curator. I like the idea of bringing on other HipHop connoisseurs to share some of their current favorites for others to see on this type of platform. This particular guest is known across the world for his infectious excitement and promotion of virtually every dope emcee and producer on both Twitter and Instagram, Nick “Fadeaway Barber” Gauder never really misses a beat.. almost literally. The dude shouts out everybody and also supports financially. HipHop is lucky to have this guy. Here at Deeply Rooted HipHop we are lucky to have him put together a super dope playlist for us all to enjoy.

Sit back relax, and check The Tastemakers Playlist by Fadeaway Barber

Nicholas Craven Ft Eto “Close Ya Mouth”

Ice Lord “Luca Brazzi”

Adonis X VDon ft Tedy Andreas “Street Lites”

El Camino “Coke”

YBN Cordae “Fighting Temptations”

Estee Nack “T3NCHU”

Sibbs Roc ft. Saipher Soze, Daniel Son, Asun Eastwood, Black Nazi, Rob Gates and Maverick “Pallbearers”

Icon Curties ft. Eto “Let Me Talk”

Sully Nomad ” 02 Blue Genie”

Ice Lord ft. Sully Nomad “Bang on Em”

Vanderslice ft. Slug and Evidence “North American Money”

Won87 “False Flagging” (Mass Shootings)

Suave the God X Giallo Point X Sully Nomad “No Fear”

Tedy Andreas ft Adonis “Houdini P”

Bub Rock “October Blue”

Billie Esco ft El Camino “Rare”

Nowaah The Flood “Peace Mama”

WestSide Gunn “Amherst Station”

Kadeem “Destiny Calling”

Big shoutout to Nick for putting this together.

Stay tuned for the next installment of the Tastemakers Playlist

Peace

by Alex P80 Parks

Agallah releases No Mercy for the Weak on June 22nd. He shared the album when we linked for the interview last week. Here is my review of his latest LP, fully produced by the Don Bishop himself.

Embodying the villain from Batman, Ras Al Ghul, Agallah presents his evil-induced album with sinister intent. The album begins with The Risk. Ag provides a sinister beat with a deep guitar bass-line, eerie synths to spit his usual brand of talking shit, crushing other emcees and all types of plottin’ and schemin’.

“These days I ain’t into rap

I’m into hittin museums and stacking up on artifacts.

Rackin up on Van Goh’s gettin all the Rembrandt’s

Fuck the Baroness with bulletproof implants

Rogue gallery shit, you plead insanity.

Living off the vanity,

No hope for humanity.”

This is one of the better tracks off the album, with a grimy synth sound that he has developed so well as a producer.

A Slug for you (feat. Vinnie Paz) Ag lays an ominous beat with fuzzy background guitar feedback. Pistol Pazzy drops by to stab up the track. His guest verse is as sharp as always:

“I wish a muhfucka would

I hit you with the fist of god

The knife like a skewer

it’ll turn you to a shish kabob

Ice grill, never smile

This is les miserable”

Stay in Your Lane is a piano loop sample with some 80’s guitar in the background with some thumping drums. Lies and Deceit is an atmospheric track with futuristic synths. Supervillain Theme is heavily chopped jazzy sample with a sharp hi-hat and a tambourine flourish.

The Wrong Turn has a subtle soulful sample, soft hi-hat with the vocal soul sample rising as the track progresses. This is a more personal track for Ag. He talks about his pops not being there. He talks about wishing for better days, losing family and close ones. At he end of the first verse he repeats “maybe you can find a way…”

Rogue gallery (feat. Eggroll, Test Loks, Spnoza & Bishop) Is the posse cut of the album, with a chopped sample and machine gun drum-roll. Ag Al Ghul is the Man is a punchy boom bap track with a simple piano loop and a repeating vocal sample. Sinister Talk uses a punchy bass and a woodblock percussion. Reminiscent of 70’s detective movies. Ag deconstructs how dope of an emcee he is and how he lives his life.

Ghul Baby Another standout track, despite incorporating a sample thats been retread a couple times. It’s one of those tension building strings samples that works every time.

Check the track below on Soundcloud

Impersonate My Character Check the video below

Living For Greed a rising orchestral sample and booming muffled drums lays the foundation for one of the better beats of the album. Ag spits:

“I wouldn’t test Al Ghul, you must be out ya mind

I think you outta pocket,

I think you outta line.

The lord of the grime,

And I’m heavy on the slime.

In these tryin times,

My levels reaching the prime.”

Nothing earth-shattering for lyrical content, however, Agallah spits with fiery conviction. According to Agallah, nobody can slow him or stop his shine.

No Mercy For the Weak Check the track below on Soundcloud

Crown Treatment spiraling strings with a vocal sample showcase the least heavy drums on the album. The loop is a nice gem and a departure from the heavy boom of the rest of the album. The balance is key here. Good albums need those drums, but a couple drumless loops adds some variation and breaks it up.

Lazarus Pit is a fast-paced run for your life track as Ag comes firing.

Never seeming to reach the peaks it strives for, the album does satisfy with the solid beats from Ag. He spits some sharp bars as well throughout. Overall the album could benefit from some variation in some of the beat selection and some change in flow and delivery. Many of the beats sound a bit too derivative. That being said, they are well-mixed and provide that pure boom bap that many of the older and throwback heads want in a full dose like this. Ag’s lyrics are never weak, they just seem like he could be doing more with the talent he’s got. Not a disappointing album, but not quite reaching the pinnacle from a man who’s been doing this for over 20 years in HipHop.

Agallah deserves his place as an important emcee and producer from the end of the golden era to now. His production talents should be utilized by more emcees, including up and coming rappers. My thoughts are that Ag ain’t going anywhere. Agallah will be around for another 20 years, at least if he has anything to say about it.

by Alex P80 Parks

An under-appreciated figure in hip hop for over 20 years, Agallah has worked with just about every emcee and producer in the game. Throughout that time, despite a few name changes, Ag has remained a steady presence; working tirelessly to provide fans his rugged, grimy rhymes and consistent beats. With his new album No Mercy for the Weak dropping next week I linked up with 8-off Agallah, Ag Al Ghul, the Don Bishop himself, as he was eager to share his story.

DRHH: You been around, seen the game, worked with everybody. What was the jump off for you though?

Agallah: I fell in love with hip hop culture at the age of five years old. My Godfather ran a record store called “Soul Shack” On Pitkin Avenue. I Wanted To be a DJ so i would buy all my records and cassettes and break beats from there. Djing turned into beatboxing for a group around the way called Smoke and Top Dollar. Top Dollar wound up getting in some trouble with the law so i took his place in the group. I was always rapping, though. I just didnt take it serious until Top Dollar got in trouble, so I had to step up for the team. Brownsville, we stick together. We from “never ran never will!”

DRHH: When did you know you had to do this HipHop shit?

Ag: Well, when I was a kid no one really believed I would be a hip hop artist. My dream was first to be a lawyer, which is funny cause now I read my own contracts. So I guess, somewhat knowing legal terms is a thing for me. I knew I had to do hip hop when I ran away from home cause of abuse from my stepdad. My moms had an abusive relationship. And cause of it, I ran away from home only to land myself in group homes and foster care afterwards. I was living on the streets at 18 in Washington Square Park, battle-rapping against any MC who had skills. My name would soon grow big in the city. Some of the best can attest to this: Talib Kweli, Mos Def, MC Supernatural, and Akinyele. Both Akinyele and Talib have even spoke about this on Drink Champs. I have became an icon; One of hip hop’s most prolific MCs ever.

Check the Akinyele drink champs episode here:

https://www.youtube.com/watch?v=1Rfrspj8snA

Talib Kweli episode:

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

DRHH: You began making your name in the game as a producer right?

Ag: No i was always an MC before a producer. I remember times I couldn’t even get a beat from producers. Now I’m one of the dopest producers in the game today. I have produced for a lot of greats including, Busta rhymes, EPMD, Das Efx, Lloyd Banks, Remy Ma, Guru, Onyx, Run DMC, Mobb Deep, Big Daddy Kane, Kool G Rap, Big Pun, and Dipset. Fred Durst and more have either needed my production and/or ghostwriting. My latest album is all written and produced by myself, which releases on June 22nd “AG AL GHUL NO MERCY FOR THE WEAK” fans can pre order it here:

https://agallah.lnk.to/NoMercyForTheWeak

DRHH: You’ve been a producer for some of the greats-What was it like to be from that era? Did it feel special or was HipHop culture so ingrained in you that it was all just regular life for you.

Ag: The vibes was all natural, nothing forced you know. Back then, if you had that heat (Production), heads wanted to hear that in person. Now a link is sent to listen to music. Which, in my opinion, takes away from the organic level of creating. But I just roll with it, cause you can’t win in today’s times using yesterday’s methods. These kids are getting rich out here. I ain’t mad at em. I like that they giving the game life. I take the positive levels and roll. People want great music and they don’t care about street cred anymore. You got cats like Childish Gambino who is black but appeals to a white audience cause he is a poster boy for that sort of music. I’m the posterboy for that real street, live NY shit that will never die. Mad love to my west coast family for holding me down the last ten years, facts. It made me a better producer. I’m always learning as well teaching.

DRHH: Your first album “Wrap your lips around this” Was supposed to come out in 95, but got shelved right?

Ag: It never dropped due to label complications. They discontinued the label so I got shelved. But that album is a classic. Anyone today who is a real 90’s hip hop collector will tell you. I even heard the album is going for $700 on ebay, for the original CD. I also produced that album entirely myself.

DRHH: Sean Price was not only a collaborator in multiple projects but also a dear friend of yours. Would you speak on that?

Ag: Me and Sean Price grew up together. I known Sean since four years old. He is family to me. We became friends at an early age and we both loved hip hop. Playing video games and getting fresh kicks and clothes was our thing. He was my family no doubt. I known him my whole life. Me and P had a bond. It was family, we ate together, starved together. At one point, noo one wanted to give him beats, lol. So I wound up doing a lot of the first solo Sean Price demos. I put him on a song I did called “Rising to the Top,” which is a classic from Grand Theft Auto 3 and it garnered a lot of attention. ‘Lenny and Spittly forever!’ that’s my brother inshallah and I miss him and carry him in spirit.

DRHH: Can you share a story that most may not have heard of working with one of the greats.

Ag: One day DJ Premier called me up to do a remix for Teflon. I went to D&D (studios) and laced him with a banger, fixed up the track and he was happy. He said “Yo Ag If you need anything give me a call fam.” I was always in awe around Premier. I didn’t think nothing of it until I got to the elevator with Ike Eyes and said to him “wait a minute, I’m doing a solo album..” I just put two and two together then and called him right then when I was on the elevator and said “Preemo, check it, I’m doing an album and I need a track produced by you.” He said, “No doubt, I got you.” And a few days later he sent me the beat for my song “New York Ryder Music.” Premier speaks on how he gave me the beat in my guest appearance with him on his Shade 45 radio show recently.

Agallah part starts at 11:30 into the program here:

https://drive.google.com/file/d/1jhNMWNKrO1elTNxK-Uq2tudjep2-rMv2/view

He said the beat belonged to T.I. for his album, but he didn’t use the beat. So, thanks to T.I. cause (Atlantic) he turned down the track, i made it a classic.

https://itunes.apple.com/us/album/new-york-ryder-music/258003281?i=258003543

DRHH: How did your Dipset and purple city affiliation come about in the early 00’s

Ag: Through my boy Dee Doubler who was a close friend of mines and was friends with Shiest Bubz and Un Kasa. I came around hanging out on some cool vibes and they got wind of my production and music. The thing is, I’m not from harlem but I held them dudes down with my production only to see that it wasn’t worth my time in the end. Rest in peace to Dee Doubler as well. If it wasnt for him it wouldn’t be my involvement or no Purple City. I got the deal going with Chris Landry, and then Shiest did some business moves that I didn’t agree with. So I just left after the second album cause I was bored. So that’s why i did that PCP (album) stuff. I had a lot of fun doing that though. It feels just bittersweet with what coulda been a dynasty. Too many egos will fuck up the bag.. next question!

DRHH: Your catalog runs deep, for over 20 yrs as both an emcee and a producer. Looking back over those years, Is there a project or collab that was shelved or never released that you hope to one day share?

Ag: Yes i have an album called Imagine Your Life that never was released on game records. Also a album with Nottz called Language of the Sands. I look foward to releasing those projects soon and much more. Right now its all about AG AL GHUL NO MERCY FOR THE WEAK. PRE ORDER HERE

https://agallah.lnk.to/NoMercyForTheWeak

DRHH: Do you feel that you aren’t recognized enough for the time and work you’ve put in? I wouldn’t use slept on, but do you feel under appreciated?

Ag: I feel like im trapped between two eras. But make no mistake, I feel like I am a new artist to a whole brand new group of people who use social media as a platform to do what I done. There is a story that must be told outside of music, so I’m writing a book and gonna have a documentary about all of my career so the world can understand me more as an artist and my art for what it is, and also me as a person. I learned not to have an emotional attachment to feeling under appreciated, cause you only should be where you’re celebrated. I try and go where I’m celebrated, not under appreciated.

DRHH: More recently, You dropped Agnum Opus last year and The White Lotus with Dirty Diggs earlier this year, and now No Mercy for the Weak is dropping. Those have been pretty high quality albums and you’re Certainly not stopping..

Ag: Definitely not stopping. I have a fifty-clip I’m loading up called Agsquiat with a lot of names on it like EPMD , Sadat X, Edo G, Layzie Bone and a slew of other greats on it. It’s a work of art and the production is slapping. The raps is crushing, and I can’t wait to release it after Ag Al ghul No Mercy for the Weak. Shout to all DJ’s and people supporting it. My first single “Ghul Baby” produced by me is out now on itunes check the video- it’s litt!

https://www.youtube.com/watch?v=prE1sAUN5C0

DRHH: What’s your focus like these days? Are you focused on producing for yourself and others or are you tryna emcee for the most part.

Ag: I’ma do both as long as Allah wills me to. I love what I do, though I admit at times it hasn’t been all sweet getting my music to masses. I go thru a lot of politics and I don’t mind doing this for the people who love real hip hop. I’m happy that I get a chance that so many others dream of and will keep pushing the envelope. Bars and real banging beats will never die in my opinion, true story.

DRHH: What’s the process like for you in regards to creating beats and rhymes, Are you constantly creating or does it hit you in waves?

Ag: I challenge myself as much as I can to give the people what they want. It’s a competition for me to out do the next mc/ producer. I’m always making music. I’m like an addict. I make up to ten beats a day in my head then hit the studio to make another ten. I’m an animal with this man, really.

DRHH: Any other upcoming projects you can speak on?

Ag: Yeah League of the Shadows/Assassins coming. I got a few artists im working with from Cali to NYC right now with that project; Propain Campain Records is the label. We def got more albums on stash but best to let the public know when they ready. We keep people wanting more that way.

DRHH: Any younger emcees you feelin that you’d like to work with, either in a producer capacity or as a feature/guest emcee?

Ag: Lil Eto is one of my fav mcs right now thats up and coming and dope. I just worked with a cat named Rome Streetz who is dope. Hus Kingpin and Rozewood is lit. Nowaah the Flood who just dropped a album with the Architect, and his album cover he has got used by Nas on his new album produced by Kanye. What can you believe these days, haha?!

DRHH: Any collabs with any artist that haven’t already worked with that comes to mind?

Ag: Joey Badass, I would like to produce for him. I also would like to produce for the Flatbush Zombies, Bodega Bamz, and Asap Ferg. They the new voices right now of hip hop and its dope to have that element here. Check my boy Young Hope from Newark, he got heat and my boy Pop Off from Los Angeles. Shout to Choize Reef from Los Angeles, they real spitters, coming your way soon.

DRHH: Top 3 non HipHop artists or albums that inspire you.

Ag: Lalo Schiffrin, Bob James and Patrick Adams the king of disco music . These are producers who i’ve learned from and got jewels from. Look em up if you dont know who they are.

DRHH: 3 favorite hip hop artists?

Ag: Rakim , Big Daddy Kane and Chill Rob G

DRHH: 2 albums that changed your life.

Ag: Eric B and Rakim Paid in Full and Big Daddy Kane Long Live the Kane.

By Alex P80 Parks

A flooded music market has become a legitimate problem for fans of underground hip hop, as of late. But it’s a good problem to have, especially when the caliber of music being put out is of an extremely high quality. Artists staying sharp with collaborations, frequent EP’s and guest spots are the norm. Whether fans subscribe to a quality vs. quantity approach, there’s no debate that with the technology readily available and the ubiquity of producers and beatmakers, there is no lack of solid underground hip hop being created.

This collective of emcees from New England is no exception. It includes many emcees and producers, all bringing their own unique flavor and diverse talents. The common trait they do share? Skills. And a work ethic matched only by other elite artists in the game. They never put out a product that doesn’t showcase their immense talents. Featured emcees in this collective: CodeNine, Paranom, Estee Nack, and Chronic Tone to name only a few. Production-wise, Vinyl Villain, Grubby Pawz, Mr. Rose, Karnate and also Chronic Tone all bring their crafted beats to this album. To be perfectly clear, there are several others that belong in this local collective. The above-mentioned only reflect those involved in this particular album.

With this project clocking in at about an hour and consisting of 18 tracks, listeners and fans asking for full length LP’s will no doubt, be satisfied. The rhymes may, at times, be complex and layered but the overall theme is actually quite simple: Complete immersion into the finer things of life. The imagery and vibes rely on a tried and true underground formula: Equal parts street-cred and lavish lifestyle. Thematically, Million Dollar Mink is a cohesive project. The production embodies a regal elegance. The rhymes create an interesting dichotomy of wealth and prosperity mixed with a “we will fuck you up” kind of attitude.

“Opaque” prod by RZO show how well these two emcees can flow on a snappy boom bap beat. RZO lays a hi-hat snare with some punchy thump for Code and P to attack and lay a strong foundation to pull in listeners off the jump.

“Steak and eggs Feat. Daniel Son” produced by Icon Curties, this track sports a prominent bass groove and a spacious sample with room for a relaxed flow. Featuring one of the current elite emcees, Daniel Son, the song is all three emcees ‘staking’ their claims and letting beads know what they’ve been through and how they’re living now, with no intention of going back to a life of poverty Daniel Son raps with heart here, describing the past and being “piss poor.” Code spits his usual clear and specific bars with conviction as well. But it’s P-Nom’s verse that is other-worldly on this track:

“Experience be the greatest season,

Master energy’s moving chess pieces

Don’t show my cards til it’s time to play em,

Cuz that’s ya weakness.

Bitches stay digesting and

Bitchess leak secretions

While the third eye deacon rise to the peak of his beacon”

Paranom then continues to spit, totalling almost a minute and a half. He really stepped up to show his skills on that verse.

“Perfect Balance” Karnate lays a soulful organ and some horns as a hype track for these emcees to float upon. The tempo, subtle guitar, bouncy bassline, and the church-choir organ feel all complement one another for a dope track. These are the perfect beats for Code and P-Nom, to truly shine on. Karnate creates such a positive mood on this track. Definitely a standout beat amongst many other dope ones.

“Gold Label Reserve Feat. Estee Nack” features a Vinyl Villain beat that is orchestral with strings, a blues piano, and a mildly funky bass slap. In prime Villain fashion, his cinematic vision creates such rich moods and imagery. This arrangement paints a grand vision of opulence, as listeners are heli-lifted to a yacht on the Mediterranean. Freshly-caught seafood and top shelf drinks await on the aft deck. Estee Nack cruises up to the yacht in a jet-ski and appropriately spits his own gems on the deck with his perfectly-cadenced voice.

“MillionDollarMink” prod. by Vinyl Villain, the track retains that same luxurious feel with a synth piano loop and a crackly female vocal sample. This is where the listener walks through their Miami mansion circa 1981, crystal chandeliers hanging, mirrors lining the walls, post-modern furniture rests atop marble floors. These are the images evoked from the lush arrangements provided by Vinyl Villain; Cinematic elegance.

Check it out here:

On “Amethystchessboard” Vinyl Villain paints a glamorous party in a grand ballroom, circa 1930’s. The big band horns and tinkling piano is the perfect end of the party type loop for P-Nom and Code to spill their lyrics over. Playing appropriately into the vision of the album as lavish opulence. It has a Gatsby-era feel to it, with a subtle melancholy tone.

On “Rooftoppatio” Vinyl Villain creates an upbeat summertime vibe with a stretched guitar sample chopped with a high pitched synth. Perfect for sitting under palm trees, sipping mojitos, flanked by beautiful friends basking in the pool. It’s east coast drums and a west coast feel with the synth. This is the summer track, for sure. This is gonna be bumped heavy for the next 3 months, no doubt. Code rhymes:

“Rooftop patio plush, now keep a fatty rolling

Spilling ace on the Persian,

Bask in the afterglowin,

Basquiat in the yacht, Miata mazda,

my little homie’ll blast off metal fast as Jesse Owens.”

“Skypivot” takes the listener high into the clouds on a private jet. A chopped up jazzy clarinet and a light ride cymbal carry the listeners up and away. Sipping champagne and staring into the open sky, the private jet whisks listeners to Europe for the weekend.

“Titanicglaciers” Half expecting to hear Heltah Skeltah rhyming over this vintage 90’s type beat, courtesy of Mr. Rose. Code and P go in on this one. A boom bap rumbler with a knock, Both emcees eviscerate that beat here. The hook:

“Titanic glaciers,

20k, ten carat,

Benz wagon, pull up,

brim tilted like Eddie Valiant,

blaze bags with the torch,

pull up in the porsche,

you ain’t hoppin off the porch, muhfuckas.”

“ChxckenSpot” by Grubby Pawz has an eerie lo-fi vibe with strings, a vocal sample and a creepy guitar loop to create an uneasy vibe. Grubby Pawz is great a creating tension and paranoia in his beats. This is one not unsettling, just a slight subtle mood.

“Crownroyalbags ft. Estee Nack” produced by Grubby Pawz. The slight distortion creates the feeling of haziness, much later in the night, like the after party. Grubby Pawz mixes what sounds like an upright bass, a piano loop and a sped up vocal soul sample.

Bless the count” produced by Karnate is another dusty loop with a vocal sample repeating ‘bless you.’ It’s got a bouncy soul feel to it, fitting in with the theme of the lavish luxuriance, yet different enough from the other tracks to keep your attention. Karnate really brings out the best in these 2 emcees. His beats are soulful and provide that nostalgic feel without ever feeling too heavy. Paranom rhymes:

“I’m smooth butter but my gutter flagrant,

Under the fragrance of my past life as a warrior sacred,

A lot and none has changed, still survey the field,

while we play on the station,

banging like Jah sun,

under the mask of jason.”

“Feng Shui” prod by Vinyl Villain. Villain lays a a thick bassline, a resonating organ in the background and a slight piano. It’s a soulful church organ sound mixed with a slick 60’s brit vibe. This track is all Codenine. Dude spits for over a minute on this track.

“Fiends at the back door,

mama asked what the macs for?

drag em to church but it left a stain on they glass jaw.

I’ont respond to the government on my passport,

Goonies, we slangin in Audi’s, shootin from out the Rav 4.”

the track rides out at the end with a robust choir vocal sample and some boom bap drums.

“Cornucopia” prod by Chronic Tone . The beat is a solid finish to the album. Tone speeds up a piano loop, chops it and adds a droning high pitched synth. It provides just the right amount of tension to keep your ears on edge. P-Nom spits pointedly:

“Exclusive, reclusive,

diamonds and ills, divinage steel,

with the sharpness harkened from an impoverished yield”

check it out here:

CodeNine and Paranomsun make it clear what their brand of hip hop is. I’ll call it “luxurious mafioso rap for the new age.” The production from Vinyl Villain isn’t his usual cinematic extortion type beats. These are Elegant and luxurious in feel, coinciding with the theme and overall aesthetics. The album is complete with some classic beats from Karnate, some eerie and distorted beats from Grubby Pawz and very solid beats from Mr. Rose, RZO, Icon Curties and Chronic Tone. The rhymes are well-balanced, with plenty of gems from both emcees throughout the album. MillionDollarMink takes listeners on a regal journey with visions of grand luxury and a deluxe lifestyle.

Not surprisingly, even the special editions physical releases are premium. One of the extremely limited packages includes a custom-designed spirit case for the true collectors.

Cop the album in digital or in the physical here:

https://tragicalliescodenine.bandcamp.com/

**Coming very soon at Deeply Rooted HipHop: review of the bonus joints available only on the physical release.

Stay tuned fam

by Alex P80 Parks

It has become one of the premiere beat showcases in the New England area. The monthly installment features outstanding producers from all over who come to bless the ears of Boston’s hip hop fans. The series has displayed not only talented producers, but also high caliber emcees, to the delight of the audiences.

To oversimplify the social nature of hip hop performers, Emcees are usually outgoing and extroverted. They are innately vocal and by profession, they talk a lot. Producers and beat makers are generally quite the opposite. Though this is a huge generalization, on most accounts beatmakers are typically introverts. They work tirelessly, mostly alone on their craft, digging for gems and spending long stretches of time honing the subtleties in each track. In the Nightworks series, beatmakers are propelled into the spotlight, with not only perked ears listening, but with eyes watching as well.

Episode 5 of Nightworks featured dephrase, Nothing Neue, Lightfoot and Elaquent. I was excited to see yet another solid lineup of beatmakers. Nightworks has really done an excellent job showcasing DJ’s from all over for a night of quality hip hop beats, some dope visuals and always a great vibe.

I was under the weather that night which hindered my physical motivation around the room. I ended up posted up on the couch next to the table, seemingly introverted myself. As Vinyl Villain described to me later that night, I was “being all antisocial sitting over there on the couch in the corner”

Kadeem and Rah Zen are the constants at Nightworks. Rah Zen is a master technician and talented beatmaker in his own right. He makes sure everyone and everything is alright at all times. Kadeem was even more hype than his usually energetic self. He had good reason, he was on the eve of dropping his dope collab EP with producer SlumLord titled The Game is The Game. The stunning visuals to accompany the beats were again provided by the talented Samo for the night.

DJ Manipulator was rocking the ones and twos between sets, maintaining a solid level of energy throughout the show. He and I chatted a bit about some upcoming projects he’s got in the works. I told him that his style reminded me of the x-ecutioners circa late 90’s/ early 00’s. He admitted they were huge influences on him. If I were an emcee and I was on tour, Manipulator would be my choice at DJ, without a doubt. Dude scratches with the hard boom bap beats, but also plays an impressive variety of soulful and eclectic beats to show his range.

Dephrase

First on the boards, dephrase rocked some seriously funky sounds and displayed good chops, featuring an adequate bounce to his beats. Dephrase definitely has an upbeat vibe with plenty of danceable beats in his mix. His energy is infectious and he was a positive force displaying his sound to the crowd.

Nothing Neue

Brooklyn’s own Nothing neue brought out some dope energy of his own, proving contrary to my loose theory of introverted beat makers. Dude displayed his brand of hype beats, full of unique percussion samples and a high paced vibe to just dance into the night. Am enthusiastic and outgoing performer, he left it all out for everyone to hear, and he provided that uptempo vibe throughout his set.

Lightfoot

Boston’s own Lightfoot layered his samples just right, without cluttering the track and supplied a healthy punch from his drums. Dude showed a range of abilities and sounds during his set. Lightfoot’s beats have a crisp finish with subtle touches and slight added flourishes to each track. It was evident to me how much he cares for audio fidelity with clear and defined sound elements in his beats. His tracks sound meticulously crafted. His drums are so highly selected that His Wave Pack drum kits are available at his website for producers and beginning beatmakers.

Elaquent

Elaquent out of Toronto is an accomplished producer, working as visionary composer of instrumentals and also as a producer supplying beats for emcees as well. He dropped his Celebrate Life EP this past winter to critical and fan praise. Elaquent is a quiet, very humble dude who chose to closely watch the other performers throughout the night. He was gracious to fans, myself included and chatted with Boston’s resident historian Dart Adams while he vibed out until his set.

Elaquent wasted no time in showing his impressive skills. At one point he used an iPad to chop samples up live, during his set. He has been known to put on excellent performances, but for a guy who is quiet and mostly keeps to himself, he really expresses himself in a grand way while showing fans his pretty spectacular talents in beats and chopping samples.

Here Elaquent mixes a jazzy sax and a wobbly synth with some snappin drums to achieve a full vibe without the track sounding too busy:

Elaquent is the type of guy who prefers to stay out of the spotlight, chooses not to talk too much, or be too flashy with his own presentation of self. Of course, this is referring only to his own personality and not his music, which is vibrant and rich and pulsating and very much outgoing. Elaquent speaks through his music, loud and clear and full of life.

Nightworks continues to bring hip hop fans unique producers and beatmakers with serious talent. The series provides us with a cast of characters that range from the wildest, most-hype cats to calm, cool, and collected dudes. Each of them has given listeners a fully immersive experience to keep with them as another memorable hip hop night.

this is just one chapter..

The saga continues…

Brand new to Deeply Rooted HipHop, The Tastemaker’s playlist features some of the new tracks and videos that I’m currently feeling. Check out the inaugural edition:

Fortes “The All Seeing” freestyle prod. By Nyvanno

Chris Crack “Watermelon Pizza”

Codenine and Paranom “Million Dollar Mink” prod. By Vinyl Villain

Chuck N Lock “Controlled Burn” prod. By Billy Loman

Tuamie and Henny L.O. “Esh Greene”

Kadeem ft. Darius Heywood “Heavy Hands” prod. By SlumLord

Sekwence “69 Summertime ft. Tina” prod. By Dweeb

Ag Al Ghul “No Mercy for the Weak”

Starvin B and Stu Bangas “Maniac”

Milano Constantine “Guaranteed” prod. By Oh Jay

G dot and born “We On” prod by The SoulSlicers

Videos:

Al Divino “Jumpoutthehelicopteronskis”

Sauce Heist “Saeed” prod. By Camouflage Monk, directed by AnkhleJohn

MDot “Tedium” prod. By Zoom and Rectape

Gonna update in a couple weeks.

Feedback is appreciated!

Peace

M-Dot releases the visual for his track “Tedium” Off the album The Delivery by French producers Zoom and Rectape. The production duo flew from France for the video shoot, which was filmed in Brooklyn. Scratches by DJ Nelson.

Check it out:

The album features emcees including, Masta Ace, Edo G, Big Shug, and more.

cop the album here:

http://zoomrectape.bandcamp.com/album/delivery

by Alex P80 Parks

SeKwence is quite a character. He may look like a Grateful Dead groupie at times, but he has the soul of Kurt Cobain and rhyme skills all his own.  He’s immediately likeable from his social media antics and self-deprecating sense of humor. This down-to-earth dude from Alabama likes to drink cheap beer, smoke butts, chill in his hammock and, oh yeah, spit some really dope rhymes over consistently solid beats. And SeKwence’s ear for quality beats has been evident in all his work thus far.

SeKwence is dropping his latest EP This Shit is Fucked this week. The Alabama Emcee chose a varied selection of beats to showcase his unique semi-sedate, but quick-tongued conversational style of rap. SeK rhymes with a quiet, raspy flow which seems almost unassuming at first… until you really hear those bars.

Despite what appears to be a chill-and-party lifestyle, SeK’s rhymes display a man with more to say than just some cliched boastful raps. He’s got those aplenty and he could battle against some of the best. But SeKwence is also clearly battling some inner demons and needs to get some shit off his chest. He often casually mentions the trials and tribulations in his life sprinkled throughout his lyrics. Never looking for pity, each track is more of a confessional or a therapy session for him. It’s never as if he’s trying to convince you of something. He’s explaining it all to you, just in very vivid and specific detail. SeK has a unique rhyme style that hold meaning and then can also be superficial in just the next breath.

“AightThen ft. Cam Bank$, ThugYeezy, and Lars” This is the posse cut to open the album. The track features production from manwithxface. The beat has an almost southern swing and tempo to it, but remains uncluttered with subtle sounds to allow room for all the emcees to flow off and each talk their shit.

SeK goes in first with:

“This shit a fact I’m prepared for all dramatics

in abundance, stacking commas,

large amounts inside the duffel,

the contraband get shoveled for the faces.”

“This Shit is Fucked” Klsr produces this perfect summer track for SeKwence to shine on. It evokes ATCQ’s middle period with a positive vibe, and an uptempo feel.

SeKwence rhymes:

“If you my fam hold me down cuz I ain’t felt the love lately.

I feel the tension, most of em hate me

For valid reasons

I’m killing off all these creatures

And killing off all these features too”

The element of dealing with his own personal struggles is evident on “2xpillsbluepills“, producer Nopulp lays an appropriately somber piano loop for SeK to spit about his chemical dependency and psychological and emotional health. He really allows listeners to see into his vulnerabilities, without seeming fragile.

“I need like two pills to get me back to normal,

I’m treadin’ this water looking for rope as a problem-solver

I’m drowning in self-loathing.

The sin is stuck to my body-I can’t rinse it.”

“69 Summer Time ft. Tina” is the chill track. Producer Dweeb lays a melodic, smoky, jazzy vibe with a r&b hook and some backup vocals provided by Tina.

SeKwence ends the first verse with:

“Pour some liquor for my brothers who have passed away

I need an island, talking castaway

I need a great escape for sumthin better yo”

The whole track is a melodic vibe, where you escape with SeK into a euphoric place, far from the bullshit.

“Ramblin” Producer e66s lays a wobbly guitar sample on this thumping boom bap beat for SeK to go off. He does ramble, but remains focused, rhyming:

“Facts, look: They can’t ignore me now,

They talkin’ talking versatile?

I’ll merk em with a hundred sounds.

Couple bags of the power pack

You super lackin, losin balance.

Life a game, I ain’t afraid to battle.

For real, I’m drawin blood off the reserve notes,

Kush smoke inside my chest, I’m off the good dope.”

The whole while, gunshots capping off in the background parallel SeKwence firing his verbal shots off. A perfect track for him to unload his clip on.

“Starter Jacket ft Big Breakfast and Barry Marrow. ” produced by Killer Kane, the beat is quirky and frenetic with chopped strings and pianos below some scaled digi-sounds. Here SeKwence spits rapid-fire bouncing with the beat. All 3 emcees here provide enough variation in vocal tone and flow style to keep the track humming along.

“PWC Interlude” Sirisaac produces an eerie and slightly sinister beat. He lays a faint siren-like background loop to accompany the punchy drums. SeKwence warns to Proceed With Caution here, spitting:

“You see the proof homie,

This Billy Hoyle, chop and screw homie.

I put the moves on em,

Just like them and1 mixtapes,

I crush a percocet and down the shit with a mixed drink.

No fishscale for me,

I smoke a pound of the sour.”

Not always profound or complicated with rhymes like this, but SeK has a unique delivery and the consistent ability to sustain the vibe throughout a track. The one verse tracks like this, at or under 2 mins, show us a SeKwence in his prime.

“Blocka ft Ugly Frank“: producer GRiMM DOZA takes a crackling vinyl sample with some popping snares and creates a dark and gloomy track. Ugly Frank dances on the track first, showing a flow with a strong vocal presence. Foggy and subtly creepy tracks like this are the perfect beats for SeKwence. Not too busy or overproduced. Just simple, effective and emotive, allowing space to focus on the content within the vibe.

Check it out here:

The cover art displays SeKwence’s affinity for horror/ slasher movies like The Texas Chainsaw Massacre. His strong hip hop foundation and sensibilities really don’t match his taste in visuals and his personal sense of aesthetics and style. Perhaps that’s what makes his unique flow and voice that much more refreshing. It’s quite different that what you expect outta a character like SeKwence.

This album is more of an exposition where SeKwence shows you his range through some types of beats that he’s already comfortable with, but also beats that display an adaptability in his flows. It’s not a reach for SeK on any of these songs. He handles them well and stays within his zone, just sharper than before and more comfortable than many of his contemporaries. The tracks are never too long and SeK provides just enough on each track to provide a full sensory experience. The excellent production on these tracks creates the perfect vibe for SeKwence to really showcase his talents on the mic.

SeK is a different emcee, even by today’s standards of widely assorted rapping characters. Unlike many mainstream artists who proudly promote their depression and insecurities while prancing like clowns with face tats, this emcee doesn’t need to masquerade with nonsense in order for him to therapeutically unload his burdens. SeK doesn’t need to rely on any gimmicks or remaining stuck on one topic in his raps. Listen closely, because SeKwence has some shit to say.

Check out his BandCamp page for his releases:

https://sekwence.bandcamp.com