Kadeem from Boston (Mattapan) has teamed up with SlumLord from Lynn, Mass to deliver a 7-track EP. An engagingly charismatic emcee, Kadeem strings rhymes together, making it seem effortless. But don’t get his outgoing, smooth demeanor twisted; Dude is sharp with the pen and keeps listeners on their toes with his deep rhymes.
Kadeem describes the title The Game is The Game as an acceptance of life. He says: “Whatever results that come about from playing the game you can’t be mad. You decided to join. It’s a precautionary journey that highlights living with the decisions you make.”
The cover art is a play on hustling and probability, confounded by the multiple dice. This idea of random chance and unpredictability is evident throughout the tracks as Kadeem ponders life and meaning behind each choice and decision made while also questioning the shit thrown his way out of his control.
“Choices” (intro) over a crackling piano loop, he speaks to the listeners: “I think every single ‘L’ is worth stressing. The ones I ignore was the worst lessons”
“Either/or” a repetitive piano loop accompanies a stuttering snare and bass that doesn’t complicate the track.
“On the fade again, Few blended,
but I ain’t afraid to win.
Shaking things up like a fading pen.”
Kadeem is focused here, describing the juxtapositions and paradoxes that exist and accepting the outcomes as either fate or perhaps chance.
“Heavy Hands ft. Darius Heywood” with echoing futuristic synths and compressed drums. SlumLord lays a thumper, perfect for cruising the streets on summer nights, with mischievous minds on the creep. Kadeem finds that groove to flow to. Darius drops a dope energetic rhyme scheme which is complementary to Kadeem’s more reserved and understated flow.
“Unrivaled” sets the scene as if Kadeem is rolling through the casino. A funky guitar riff, bongo drums and subtle effects show off Kadeem’ s braggadocio flow in this track.
“I ain’t hearing it.
‘Less you pay the consultation.
If you ain’t steer the ship,
don’t speak upon my observations.
It’s the captain of the yacht.
Yeah Im really this.
The gillie swish active in the drop like is it really him?
Go and dip the philly quick.”
Listen here:
“2nd Hand Lessons” has a morose air, as Kadeem reminisces on his father leaving him and whether to reach out after all he’d gone through. This sticks to the intended theme of coping with what life deals you. This one’s just a bit more personal for Kadeem as he illustrates the trials of navigating life with a father who’s been selfish and neglectful at times. Kadeem recognized the pitfalls along the way and is ultimately the wiser each day. SlumLord lays a high-pitched organ synth and a 70’s style bass line with snappy snares and cymbals. Kadeem simply states at the end of the verse:
“The best of you became the worst of me”
the track ends with a phone beeping as it’s just lost connection, paralleling his relationship with his father.
“To each his own” The hype punchy boom bap track is the energetic one of the bunch showing Kadeem with quick rhyme patterns, while maintaining that smooth cool he exudes. SlumLord builds a track with a simple but fast-paced flute sample over the cymbal-heavy track. These are the type of tracks that the cool is most emphasized because the energy of the track is a contrast to Kadeem’s chill overall nature.
“Destiny Calling” The melancholy of the jazzy trumpet and echoing drums provide a foundation for Kadeem to explore the elements of life’s purpose.
The hook:
“I hold my phone on silent, destiny calling but I let it ring.
I know an answer needed. But this a view I ain’t used to seeing.
Starting to see a path, pray that it’s my free at last.”
From his previous work, Kadeem shows some maturity and adheres to a theme without trying to be too deep. His content shows a man pondering life’s choices and the nature of making those decisions that impact life. Kadeem avoids sounding cliche with tired punchlines here. SlumLord supplies a simple yet effective canvas for Kadeem to display his smooth, confident style. Kadeem shows that he’s on the right path to continued growth with this latest release.
Cop this and his previous work at his BandCamp page:
Delaware’s Chuck Angus and LockJaw are bringing us a new project since dropping Just Desserts, last September. Blue Shell Theory finds them shining in this EP, showing off their brand of lyrically-complex hip hop. Across 5 tracks, Chuck N Lock spit with purpose and not a wasted bar. Punchlines and metaphors abound, but they’re either thoughtful or pretty funny. And though they never take themselves too seriously, Chuck N Lock also don’t really try to come across as prophetic or overly profound, striking a balance in their content. This balance coincidentally mirrors the concepts and ideas they’ve adopted for this album and perhaps their approach to life. Versatile producer Billy Loman from Boston, lends his remarkable talents here as he produces some rich and textured beats, providing a perfect vibe for this duo. Coming off last year’s EP and several single releases which included top guest features from Crimeapple and Skyzoo, Chuck N Lock are poised to continue their rise and show hip hop fans what they got to offer.
The album begins with a Super Mario Kart starting line sample on “Controlled Burn.” Loman constructs a 90’s-era style thumper that would make Havoc of Mobb Deep proud. Rhymes like: “I earned chunks off the surplus, And you paid to suck like Kirk Cousins” are chuckle-worthy and fitting for these 2 battle-tested emcees.
“Koopa Kings” has a mysterious beat with subtle, muffled drums and booming bass. Unique imagery like “Press forward, and Don’t forget ya set of morals, I’m at headquarters, just prepping this Tesla coil” display the duo’s intent to create a vivid experience for listeners.
“Hypochondriacs” is fittingly anxious and paranoid. An eerie loop plays while an echoing piano clinks through the foggy scene. The beat could easily be background music for a creepy 80’s TV murder mystery. LockJaw spits: “Shift this round the atlas, ya outta practice, this is madness. Let’s infect the masses with these instant classics. That’s why I’m found, usually round rooms with soundproofing. Loud fumes, dropping Crown Jewels that sound cool to ya. Find me down in the vault, yeah we been keepin quiet. In the lab, cultivating this new zika virus.”
The duo describes the term ‘Blue Shell Theory’ as “actually a take on the futility of life, how in any situation albeit first, middle of the pack, or last, an unforeseen event like a blue shell can come in and shake everything up for everybody.” Adding that it’s “just a cool concept to add insight to the way we feel about navigating through all the smoke, mirrors, and bullshit.” Elaborating more about the cover art: While the blue shell represents the chaos and unpredictability of life, “The roses signify stopping to appreciate the things and people while you can.”
“Fire Flowers & Rose Water” Loman elevates the vibe with muffled, dirty, and crunchy drums adding a synth-like flute loop which seems to resonate and echo for bars. It’s power lies in the simplicity of the beat. This allows Chuck N Lock to really flex their barwork and for the track to remain focused on their rhymes. They ask: “How many die without smelling the roses?” Lines like these are not just superficial in nature; they tie right into the EP’s concept and leaves the listener with lingering questions.
“Victory Lap” is a smooth jazzy and orchestral track with a silky guitar sample and supportive strings. Loman arranges this one perfectly. The balance of the punchy drums with the buttery softness of the Jazz sample creates a triumphant yet slightly melancholy feel for the duo to unleash their complex lines.
Billy Loman doesn’t disappoint on the boards, laying the perfect arrangements without cluttering the beats. He leaves an adequate amount of room to breathe on the tracks for these lyrical emcees to display their talents.
In addition to releasing this EP, they also mentioned a finished project with The Custodian of Records, coming soon in addition to upcoming work with their long-time collaborator Brillo Beats. They also mentioned that they’re working with The Historian and the UK’s FARMA as well.
Blue Shell Theory is a strong EP with excellent production and some sharp, well-thought lyrics. Short, but satisfying, this 5-song endeavor showcases their wide range of vocabulary and intelligent rhymes. Chuck N Lock making smart moves with the right producers should only continue to elevate their craft and their product.
Check this and their other releases on their BandCamp page at:
I reached out to AnkhleJohn after Vinyl Villain dropped the bomb that he was working on an EP with the Shaap Records lyricist. He mentioned that he loved the piece I wrote on Vinyl Villain, so I asked him if I could do an interview with him. I was aware that he had only done one other interview that I could find, so I wasn’t expecting him to agree. His reply:
“Bet. I’m ready to go when you are.”
I had to find the time to get this done soon, with his new album on the way. I also wanted to get the questions just right, especially with an emcee that’s on such a steady climb. Check it out:
DRHH: For me, I became aware of you late last year after you dropped The Red Room. You made a pretty big statement with that album.
AJ: Yeah man, I mean The Red Room was kinda like the breakthrough for me. Actually I think if you really wanna go deeper, it was more like the EP’s. Specifically the Shrimp boat EP. Around this time, last year I was putting out EP’s. The Shrimp Boat EP and the I Killed a Man EP. That was all building anticipation for The Red Room. So I don’t blame you for starting at The Red Room. But I think The Red Room definitely helped put me on the map with the help of Fxck Rxp, the label over in Germany. With the help of the other artists that was involved with The Red Room as far as Hus Kingpin and Big Ghost and a few other producers. with the help of all those it raised The Red Room much higher than what I expected. I seen it, but I didn’t have that plan for that. I just wanted to put The Red Room out and just get it out but everything came to fruition so quickly as far as the distribution of it and getting it out. You know, where I’m from here in DC bro, it’s not really talked about. People don’t really talk these things as far as making money off of music, packaging it up and distributing it. Usually muthafucka’s be just dropping they shit on SoundCloud and go on to the next (laughing) ya know what i’m sayin. I didn’t want that to happen but you know my main goal was at least to get it on to iTunes, and the streaming services and BandCamp. But I never thought it woulda turned into a vinyl and a cassette tape, just physicals. And I can still push and promote The Red Room still to this day, so that project definitely has survived and it put me on the map, ya dig.
DRHH: Because of that more people started taking notice of how nice you are on the mic. How did that album change your mindset or approach?
AJ: It did 100 percent, because I raised the bar for myself. So the following projects pretty much followed on that same scale, ya nahmean. After the Red Room, it was like aight boom, this SoundCloud rapper shit is over with. I’m no longer approaching the game as a starving artist anymore, ya nahmean. Now I have to take these things seriously, as far as the concepts that I’m doing, what I’m actually rapping about, the production, the entire package, the physicals of the shit. Now, everything I have to consider, you feel me. Everything comes like that now. There’s no way that I’m just gonna drop something just to drop it no more. So The Red Room pretty much provided the structure for me, or at least got me to start thinking about structuring these projects that I’m putting out. I know what my visions are. I have deep visions, man, and I don’t wanna just put music out. So when it comes to developing a project, it’s more than just the music. It’s about the journey that I’m bout to take this listener on, and how long I can stretch this journey. Because we living in a time when shit is just dropping, multiple projects dropping just on this day alone, so how can I make a project that’s gonna provide this longevity for the next year or for whenever I’m ready to get back on the mic, ya nahmean. That’s where my mindset is at now, and it’s a beautiful thing. I’m glad I’m starting to think about it now. I wish I woulda thought about it before but I’m at a good age where it’s making sense. Not just working hard, but working smartly as well, you know?
DRHH: Since that album you’ve been on a tear, dropping crazy projects it seems like at least every other month.
AJ: “Yeah true indeed. So after The Red room, that’s when i was working on the EP’s with All Ceven. As far as the Wisdom Equality EP and the Knowledge Born EP. I think those EP’s are probably my favorite EP’s. What we did was we composed all of those EP’s. It was 4 EP’s. Those EP’s man, the overall message of course is to provide the music but also to provide Knowledge of self. I come from the nation of gods and earths. I’m not sure if you’re familiar with the 5 percent nation, as they’ve held a prominent history in hip hop. Also a prominent history into the development of self awareness in the black community. As far as hip hop goes, the knowledge of self has pretty much been taken out of it. My duty is to educate the uncivilized, in any way I can provide that. Even in my name, a lotta people will pronounce my name wrong and call me ankle John and shit. But its pronounced Uncle John, nahmean. And even when I tell people that and they don’t see the spelling of my name, they think it’s spelled U-N-C-L-E. But it’s actually a symbol for something. It’s all subconscious symbols and wordplay that i’m using. For the EP’s, for example, I named it Wisdom Equality and I used a picture of the most honorable Elijah Muhammad. A lotta people might not even realize that and just take it on face value for what the music is, you know what I’m sayin, the music sound good to them. But with these EP’s I’m providing these little gems of knowledge too. So I’m gonna still talk my shit, still talk that fly shit. But I’m still gonna talk about what goes on in these communities, these streets too. And I’ma also build so that’s why those EP’s are my favorite. It’s pretty hard to top those for me. Real raw, just real grungy. Some screw-face shit. Shit nasty, just grimy. But I’m really building on some pretty deep shit too. I’m keeping it simple, not going all the way over ya head. But if you know the knowledge, you can pretty much understand where I’m coming from there.
AJ: Following those EP’s I went into a mini-album. Lordy By Nature wasn’t an official album, it was a project. Ankhnasty, wasn’t an official album, it was a project. I feel like my only album is The Red Room. That’s the only official album I’ve ever dropped. With Lordy By Nature I’m taking you on a journey with this whole car-theft UUV concept, ya nomsayin. Ankhnasty pretty much wasn’t conceptual even though there was a theme because of the cover art. I just wanted to put that out because it was my birthday, it was a good time, I wanted to put out a new project, with physical CD’s. I wanted to do something on my own, without the label, invest my own money into something, have my own artwork. These projects been surviving me through 2018 until we about to drop this next album. So yeah after The Red Room those EP’s definitely been keeping me above water, (laughing) ya dig.
DRHH: All your releases, they’re all conceptual and have a cohesive theme. Is that something you have in mind at the onset or does it happen after you’ve recorded a few joints?
AJ: With Lordy by Nature it was supposed to have that concept. Honestly, it was only supposed to be 3 songs though. It was only supposed to be a small EP for my guy. He’s the one that developed the merch for it. This ‘Lordy’ term. Even though he got it from me, he branded it with my blessing. That’s my A-alike, my brother. From the original Lordy, he made a clothing line, the UUV. So I wanted to support it, cuz not only was the clothing dope, but the message behind it- I could relate to it. So it was like, aight boom, lets do these three songs. Three songs turned into nine songs and nine songs turned into three extra bonus joints, ya nomsayin. So yeah I had the concept going in, true indeed. Lotta people they just compose songs, add up they songs, put a cool cover on it and then call it art or whatever these guys are buying into they shit as. If you really look at it, there’s only a select few that’s really dropping that real art. And I look at something like The Red Room and Lordy by Nature as really art pieces. It ain’t the most lyrical, or probably don’t got the hardest beats, but it’s definitely something different than everybody else’s shit. It’s conceptual. I’m pretty sure if you close your eyes with these projects you can envision everything that’s goin on.
DRHH: It seems that overall you select darker beats, ones more sinister in tone. What’s your beat selection process like?
AJ: See one thing about me is I’m very cinematic. Ya understand what I’m sayin. I try to provide a cinematic experience. People got different forms and ways and different sounds they wanna convey through music. Some people they’re happy-go-lucky. Some people wanna provide that vibe that makes you feel jolly and wanna dance and shit like that. With mine I don’t necessarily wanna take people into dark places like that. Now, mind you, I don’t even really watch movies that much but I know what’s a good movie and what composes a good film. And what composes a good visual. Like when you’re watching a certain dramatic part in a movie that has a score that fits perfect for that moment. And most of those scores are emotional and coming from an emotional place. I rhyme from the heart, ya nahmean. I’m not just kicking shit just to be kicking shit, ya dig. I’m kicking shit from a place that either I have been at, I have seen people go through, or it’s from my perspective. Coming from heart, my experiences. I’m not trying to make ‘dark’ music. It’s really more cinematic to me, rather than dark. I would use ‘cinematic’. But I see where people could get it from. I’m not mad at it, I would just call it more cinematic, or more score music though. It’s just certain breakdowns, certain samples, certain sounds. Not sure if you’re familiar with the producer Viles, but he’s from my area. He produced on Lordy and Southside Pennywise. If you listen to a lot of those beats, there’s just certain sounds and certain things that catch my ear. So for me, it has to be something that I can feel and envision it. Anybody can make a beat sound good, but can you make one that makes you feel it? I try to go after those beats, rather than the ones that’s just on some low-fi shit to be low-fi or some boom bap shit just cuz it’s boom bap. That’s not really what it’s about to me. It’s about trying to provide a cinematic theme for ya. I know my voice is dope- I got a dope voice! I smoke a lotta cigarettes, a lotta weed, nomsayin (laughing). This a very grimy voice right here, and I know what works well with my voice.
DRHH: What’s your process when recording songs? Do you jump right in and spit or do you sit on a beat for awhile and catch vibes before rhyming on it?
AJ: Yeah I got shit in the chamber from a year ago, shit two years ago that I ain’t even touch yet. My process is changing almost daily though. But usually, if you send me a beat at 7pm, and I’m really, really feelin that shit, I’ll wake up early the next morning and knock that shit out. That was my process all last year. Even before that it’s been like beats that I’ve been sitting on, where I always knew that I’d use someday. It’s like some synergy shit that I foresee. I could’ve been 18 or 20 when I got this beat, but it probably didn’t make sense to me then. You may not be ready for it at one point in your life and sometimes you just gotta come back and let it find you. Even though it didn’t make sense when I was 20 years old, because I probably wasn’t going through so much at that time. I was 24 recording them, now I’m 25, so it probably makes more sense, I probably got more experience, I probably could relate better now.
DRHH: You’ve gone on record saying how much you’ve been feeling Vinyl Villain’s beats. Tell me about that.
AJ: He’s my current favorite producer right now. On some real shit. He provides everything I’ve just spoken about, Ya nahmean. He definitely provides that experience. He understands my sound, where I’m coming from. I can tell he has studied what I sound good on. Literally, every beat Vinyl Villain has sent me, is a beat I have or will use- I have not passed on a beat he’s given me. I move with what makes sense, so we definitely bout to drop something soon, maybe even next month. It’s gonna be special. It might top or be close to the other EP’s. I never did visuals for those other EP’s and I wanna do visuals for this. I shoot videos. I don’t know if a lotta people know that about me. I shoot em really good. I have a really good camera. Vinyl Villain’s production is so good it has inspired me. Not only musically but visually. He’s making me wanna pick up my camera. That’s the mindset. The beats he sends me make me wanna provide a soundtrack. I got the cover art. the artwork almost done. We about to get it in this week, I’m adding on to my verses. That actually might drop before Van Ghost, but we not sure yet. I wanna come up there and get in the studio with him and see his process and how he selects certain things, these records that he samples, how he creates the music visually.
DRHH: You recently shot a video for Al Divino. Talk about your friendship with him and also what it was like directing him.
AJ: That’s my A-alike right there. Besides the music, he’s also a student and a builder of the nation. He’s god. We both studied mathematics. We both studied alphabets. We both in this nation, growing, as newborns together. He’s very knowledgeable. I spent a week with Divino up in New York with Sauce Heist. Divino is a genuine guy and a loving guy and probably one of the most amazing people I’ve ever met. And that’s just talking about the man, not even the music. My moms used to tell me that the people I grew up with might not be your closest friends when you get older. Those people close to you might be those you meet later in life. I feel like Divino’s one of those cats. We forming that relationship that maybe one day he might be my kid’s godfather or something like that. Along with Sauce Heist too. Me and Sauce when we first got introduced to each other it really wasn’t peace like that. It was almost like a slight altercation. When I met him in the physical, he provided that same confident aura like Divino. Stand up men, besides the artistry, besides rapping they ass off. Ya know, I’m a genuine person. I deal with real life. I don’t deal with that mystery internet shit, or that mystery phone shit. I gotta get that energy off in real life. Both of them cats have provided amazing energy, amazing aura, they’re a fuckin inspiration. That’s family now. Divino, family. Sauce Heist, family. Locking in with them cats when we was in Brooklyn was one of my best moments in hip hop for me, man. Besides that, the artistry Divino got is unmtached. Knocking out beats in like 15 minutes or gettin on the mic and just throwing out things mad fast.
AJ: As far as that visual (For Moroccan Mausoleum) we was just on Flatbush Ave. I had the camera with me. We walked to the liquor store. Sauce Heist had to go in (laughing). We on the ave and I seen that red door and what Divino had on was a good match. That red aesthetic. It was a go from there, ya nahmean. For me that shot was right, I mean it was really just a few shots that composed it, and some editing. It came out beautiful. It was only one minute but a lotta people grabbed on to it. And there’s a lot more where that came from. I initially bought my camera to do short films, not to shoot videos. I work with a Panasonic TH-4, it’s a micro 4/3 camera. So it’s not your typical Canon or Nikon. My camera matches my rap (laughing). My camera be lookin better than real life. It was a pleasure shooting that video though. Cinematography started as an investment. I wanted to do it myself. Same as studios. I got tired of paying for studio time, so I bought my own studio. I mixed and mastered the entire Red Room album, ya know.
DRHH: Are we ever gonna see Ankh make beats and produce? That seems like where you’re heading.
AJ: You already know- Definitely right! That’s definitely my next step. I gotta dude who’s got an SP-555 waiting for me. That’s definitely the next step for me. A lotta people that I’ve recorded with been noticing how I go through that mixing process. That shit is difficult (producing) but I’ma get that shit done cuz I got an ear for it. I know what I want. I know what it do to me. I know how it could change me as an artist. As a producer I feel like it could sharpen my pen too. It’s like how it can sharpen up my angles of this cinematography shit too. Everything coincides with each other to me. That why this art is a beautiful thing to me. Even The Red Room cover, god, I made that cover art. You know, with the help of the Fxck Rxp guy, he definitely put his touch on it as well but that cover art I did. Lordy by Nature cover art, I did. I got different aspects that I bring to this shit.
DRHH: You’re from DC. What’s that like, knowing that you’re not typical of the type of hiphop artist coming from there.
AJ: I’m from DC, born and raised, Ya nahmean. I was just heavily influenced on the culture of more up North. Especially the golden era of music. But if you knew me and you was down here you would definitely see my DC influence. I’m 100 percent DC. I been in a lotta places In DC that people who claim DC don’t even go to. That being said I don’t call myself a local artist. If you was in the DMV area you would know that there’s a big fight for who wants to be the most known or the best DMV artist. Lotta people just wanna box you in and say you a DMV artist type of shit. I’m like fuck that, I’m a hip hop artist. I’m an artist for DC, for New York, for LA, for fuckin Africa, fuckin Italy, for all over the fuckin world, for the universe, ya nahmean, cuz we all can relate to it. The DMV, the scene is different. It’s progressive, but not as progressive as what we doing over here. A lotta people don’t know nothing about this. Muthafuckas (we) dropping vinyls and cassette tapes and selling out shit and people leaking music. They don’t have any idea of what that’s like. I’m just blessed that I have gotten the opportunity to be placed in the culture where that’s embraced will all of those components- whether people like it or not. Like the bootlegging and shit. A lotta of us don’t really fuck with it. We feel as though it takes away from the profit that we could make. But for me, fuck man, nahmean, I grew up in bootleg shit. That’s why I started rapping (laughing), ya nahmean. Mixtapes and bootleg shit is important to our culture. Bootleggers is very influential to our culture. It ain’t always peace. For someone to want to strip my project and take the time out to do that, that means its a form of supply and demand to me. Someone wants to hear my music, and wants the world to hear my music so much that they do whatever they gotta do to do that, and that’s just how it is. I ain’t mad at em, nahmnean. A lotta people where I’m from don’t have no idea where that’s from. These people might have hundreds of thousands of followers or might seem like they poppin on social media or whatever the hell they doing, but they ain’t never stepped in this lane before. I’m possibly the only artist in my city that has really did it like that- There’s probably a select few that’s gone to that stage but I’m 25 years old, cats that’s older and younger than me ain’t never really experienced shit like that. It happened to me quick. It’s only been about a year. To know what that feels like- It feels good though, to know that somebody across the world right now building on this right now. Somebody cross the world reading one of your interviews as we talking right now. So me, I come into the picture and I try to create scenes. Not only with all my wisdom, not just my wise words and actions, but also with my visions, with my style of fashions. With all types of shit, I try to give y’all a glimpse into DC, by providing my local brands from all my friends. My friends make clothes, my man Say-less is just one. Everybody I fuck with who have they own brand. That’s what DC is all about, it’s making our own culture. Our own sound of music. We got Go-Go, ya nomsayin, We got our own slang. And I’m all of that. And I’ve been gettin the message to y’all out, and y’all been fuckin with it. So that lets me know I gotta dope city for one and I’m in a dope demographic as well. Cuz I get to come into your world as well. I never thought I’d be building with people from Boston and shit like that, ya nahmean? And it’s forcing me travel so I can see how y’all live, and y’all can see how I live, nomsayin. It’s a beautiful thing man.
DRHH: Does that mean some touring in the near future?
AJ: yeah definitely. We bout to tour soon. Probably this year.We definitely gonna be hitting Boston. We got a show, me, Divino and Anakin on July 16th in Raleigh NC. We gonna hit everywhere at some point, for real.
DRHH: What was it like working on your new album, Van Ghost with Big Ghost Ltd?
AJ: Big Ghost’s a fuckin genius. I approached him. It was before The Red Room, I hit him on Twitter, like yo we gonna work (laughing). On some real shit, like yo we really gonna work. I made it manifest. I spoke that shit into existence. I believed in it. And once we did “Original Man” with Hus Kingpin, it was like, no question. It’s just crazy how all of this shit really just started as a thought. I’m really a guy making things manifest. But with Big Ghost it’s been a pretty easy process. The thing I appreciate about Big Ghost is he told me in the beginning, he’s no regular beat sender. A lotta these producers ain’t really producers, they just send you a beat and let you do whatever you want to it. Big Ghost was like nah, we gonna do this officially. Like we gonna work with each other on this. He provided the track list for me. He made it real easy for me, he made it real relaxed. He had the whole arrangement from a production standpoint. Even though we went back and forth, he explained his whole vision to me, and I had my input as well. I freestyled all that shit, sent him the verses back, and he tweaked it, doing his thing. Man, me and Big Ghost, it’s probably gonna be a groundbreaking project. I think Red Room was that peak, but I think Van Ghost could possibly be that groundbreaking thing for me. Doing the history of Big Ghost, looking from where he started from Griselda Ghost, to Cocaine Beach, the joint he did with Vic, even what he did with Crimeapple. Yo, Big Ghost know what he doing, man. He’s a mastermind, a genius. He maintains that mystery, but like I said I’m from the nation, I don’t deal with any mystery so he opened it up and allowed me to conversate over the phone with him, and he’s a cool guy. Very easy going, cool guy. I got hella love for Big Ghost. He’s a big part of my success, man. I don’t got no problem with giving people credit for what they’ve done for me. Big Ghost is a big part of my success. Hus Kingpin is a big part of my success. Al Divino is a big part of my success. ya, nahmean. I hold onto these guys, and I’ll ride for them. But yeah, Big Ghost is amazing, man. I can’t wait for y’all to hear this.
DRHH: Other producers you’re feeling?
AJ: I’ve been fucking with GrayMatter beats lately, and I’m fuckin with Foisey a lot. Me and Anakin been working together a lot, so I don’t know what will happen there, it really might manifest into something. My guy All Ceven is a creative like me. Even though we haven’t worked on music together in awhile, he still busy on the graphic part and visuals. But he’s still one of my favorite producers. Of course Divino got the ill production too.
DRHH: Emcees you’d like to work with:
AJ: I worked with pretty much everybody that I wanted to work with at this point . Of course I’d love to jump on tracks with some of the older gods like Westside, Conway, and Roc. Some of my favorites. And even if I don’t, it’s cool. I’m in that group that’s next up. I like to do me for the most part, you know. As far as me featured on albums, I’m trying be cautious to who I’m giving the sauce out to. I’m trying to develop my own brand first and stay in my own shit. Create my own lane. Get your foundation first. I know what I can do for myself. I don’t ride no wave. I don’t deal with no expectations. If I really wanna work with you, I wanna have that interactions as meeting you as a man. Meet you in the physical and see your energy, your aura, and then we can build on some shit.
DRHH: What are you listening to lately?
AJ: I relate to Westside Gunn, and watching his interviews and his process and I appreciate that shit. I listen to a lotta shit though, man. I listen to trap shit, I listen to some mumble rap. I’m from DC, so I listen to some Go-Go which is composed of a lotta percussion- We call it Crank, it got that bouncy feel. Like Trap music, or those type of Trap beats, or 808’s beats that type of shit that a lotta people won’t consider as hip hop, I like that shit. Don’t get me wrong, there’s a lotta trash out here, ya nahmean. But I definitely provide a vibe. I like to listen to what the bitches wanna listen to. I like that fly shit. I try to accommodate for everybody. You gonna hear a range of all types of shit. You gonna hear this gritty boom bap wave, trap wave, soulful shit, jazz. You gonna hear Anita Baker, you gonna hear it all. I’m not just one of those types of cats that only listens to Nas and MF DOOM. Nah, I listen to everything. Whatever I can get drippy to. Go to SoundCloud and look at my likes and you can see all the different shit I like (laughing), nomsayin.
DRHH: 3 non hip hop artists or albums that are important to you
AJ: Jazz, Dave Brubek. For soulful stuff, I love Anita Baker and Marvin Gaye. I really dig classical music too. As a kid, I used to go to sleep listening to classical music. I had a process when I was about 8. I had Michael Jackson and some classical albums I would rotate every night before bed. I’m heavy on jazz though. Miles Davis, of course.
DRHH: Emcees you emulated or looked up to growing up.
AJ: Growing up I wanted to be like 50 cent. 50 was my world. That whole G-unit movement was my world. Yo, I wanna out my moms on the phone- she tell you how much I used to loved 50. Me and my homies, we used to freestyle off the Guess who’s back mixtape. banging on the table to that shit. I was inspired by the Hot Boy movement like Lil Wayne. 3-6 Mafia era, Scarface era. A lotta the guys I was around that was older, that was the music they was playing from the older heads in the DC area. In the 90’s, it wasn’t even cool to be a rapper from DC. It wasn’t the up North rap that we were playing in DC, they were listening to the down south rap. Through my love for 50, I started picking up on the other New York rap. To be honest I wasn’t listening to the east coast NY raps like Wu-tang or whatever until I was developing my own tastes later on as I was discovering more of that NY sound. And then I started to really embrace that sound and those raps.
Quick story about about my friend, my brother in 7th or 8th grade. He was muslim, and while we was listening to Lil Wayne or whatever was popular, he was listening to all those albums that are considered classics like Mobb Deep and Outkast to name only two. I had an iPod and he would take it and load a ton of music at night and give it back the next day. Shout out to my man, Kay. He really blessed some wisdom of hip hop music on me that I still carry to this day.
DRHH: After Van Ghost you’re gonna drop The Green Line.
AJ: I’ve had the concept for a few years now. I got heavy emotions for this album. Maybe, if not deeper than the emotions I had for The Red Room. This album means a lot to me. This is an album that I’m gonna really take y’all into my world. With The Green Line, I’ma get very detailed and very specific with a lot of things that’s going on how I grew up in DC alone. This is gonna be my introduction to providing that real DC story for y’all, ya nahmean.
Deeply Rooted Exclusive Review:
Ankh shared “Yellow House”‘from Van Ghost. Before sharing it, he was emphatic that it still needed to be mixed but it was close. What I heard sounded damn near flawless from a mixing perspective, though my ears are not quite as acute as Big Ghost’s. Ankh is his usual gritty, shit-talking self. Big Ghost creates an ambience of futuristic background strings, synth guitars with heavy effects, some knocking bass. The track is loaded with layers of subtle samples flipping here and there, fitting perfectly for Ankh’s cinematic griminess. Big Ghost certainly knows how to get the most out of the artists he works with. His work always has an incredibly high production value and is always impeccably mixed. Van Ghost is shaping up to be one of the dopest albums of the year. For AnkhleJohn, it sounds like he’s got plenty more up his sleeve and that’s just for 2018.
Ahead of his new album This Shit is Fucked, dropping next week, SeK unloads his brand new video for “Writng” produced by Klsr from his PerfectWorld EP. Edited by Revenxnt
Vinyl Villain and I originally linked up a few weeks back and discussed getting together to see what he’s got cooking. Last week he reached out and offered me a glimpse into the mixing of 2 brand new tracks he’s got coming out. He told me to come by Jon Glass’ studio to check out the product.
Glasshouse studios is owned and operated by Jon Glass in Beverly MA. It occupies a seemingly unassuming garage space down by the Marina next to the shoreline. Inside the space, however, is packed with crates of vinyl, couches that just pull you in and all the tools and equipment needed to operate a studio capable of supporting a variety of types of music.
When I arrived there, an event was just ending and I was warmly greeted by Jon Glass and Vinyl Villain. They both introduced me to some local cats there for the event and I immediately felt at ease in the studio.
Villain had invited me to the lab to sit in while Jon mixed the 2 new singles he produced. The first single was by Detroit’s Nolan the Ninja:
The track begins with a sample from The Departed which features an ice cold Jack Nicholson quote. Villain highlights Nolan’s staccato flow with a sawing accordion along with organs and layers some ticks and boom appropriately. If your local mafioso ristorante played hip hop during dinner, this would be the jam. Nolan flexes his wordplay and machine gun bars while Villain shines with his versatility on production.
The second Vinyl Villain produced joint was “Heist-a-fella” by Sauce Heist and Ty Da Dale Heist:
A quote from The Wire pulls you into the track as Vinyl Villain lays down a grimy beat with a sinister effect for the Heist brothers to murk over. Ty Da Dale has some sharp rhymes and almost sounds like Killa Cam in his prime on a few bars. Sauce brings his usual brand of fiery yet smooth NY street rap. Sauce has quietly established himself as one of the more consistent underground lyricists lately.
Glass did his thing with ease and proficiency. He would highlight certain aspects he felt needed to be emphasized and Villain gave him some feedback. Villain let Jon do his thing, which is make an already dope track sound that much better.
Throughout the course of mixing while Jon was working his magic, Villain and I chopped it up about artists he’d sent beats to, dudes he’s got tracks in the works with and artists that he’s really feeling at the moment. He cited AnkhleJohn as an artist who is on top of his game. I was able to pry out of Vinyl Villain that he has an upcoming project with Sauce Heist in the works. He also mentioned that he and AnkhleJohn have a new EP in the works; one with a grand, cinematic vision. This follows up Ankh-nasty, released last month, which featured 2 Vinyl Villain produced tracks.
Not all secrets can be divulged though. Villain has some projects in the works and others he’s begun that fans are just going to have wait for and hear when they drop. Though he has no plans to release his own album yet, Villain says “it will happen” in the near future, “hopefully this year.”
We joked that his catchphrase has become: “Music to extort small businesses by.” He credits CodeNine for bestowing that descriptor on his work. I suggested that be the title of his full length album. Now I’m starting to think that he should remove the word “small.” There’s nothing small about Vinyl Villain’s expanding resume and Rolodex of clients.
Glass Flippin
After Villain’s 2 tracks were mixed, he cue’d up an obscure jazz sample to mess with. He played it a few times and Jon was loving it. Jon flipped it and just started chopping it up and was “hearing” it all come together as he plucked the pieces apart and then placed them carefully together, adding other elements along the way.
Jon added some drum fills and a spaced-out sax loop to drift your head right into the clouds.
And then played around and added in some synth for a West-coast type of flavor:
This track ended up extremely dope in such a short flip. Jon is a true professional and a talented musician along with being a skilled producer and mixing engineer. Excited to hear if this track comes to fruition and excited for whatever Jon has next in store.
Both Jon Glass and Vinyl Villain have got plenty more gas in the tank to keep banging out great hip hop. Keep your ears open for more from both of these talented cats.
Emcees everywhere try to get their music out to a larger audience. Some do it for artistic expression and others looking for fame and fortune. Standing out amongst fellow emcees and competitors is a challenge, not only due to the deluge of music released daily, but also because of derivative styles and an increasingly ubiquitous sound. For those reasons some emcees are too quickly dismissed like many of their contemporaries. Lord Juco has sought to stand out amongst the crowd. Whether it’s in his unique voice, his flow or his choice of beats in his work, it’s clear that Juco wants only to put out a high quality product that sets him apart from other emcees.
Hailing from Toronto, Lord Juco has been recording since 2016 showing some strength in his young catalog.
Peep (2016)
Produced entirely by Wowflower, this EP introduces Lord Juco to the world. On “Part Deux,” Juco plays off a muffled dusty piano loop, bouncing his rhymes:
“Ain’t it Cupid, stupid
Get laid down for the rubix Cuban,
Who’s losin?
Bumpin blues,
Sippin blue label,
Who the fuck is you?”
With “Cruella Deville,”, Juco condemns an ex over a slightly murky and psychedelic vibe. On “Putas P*****as,” Juco magnifies the vanity and superficial nature of many modern women. This EP may not have the polish of his newer albums, but the well selected beats and rhymes show his aim and intentions in making his mark in the game.
Mark n Wayne (2017)
Produced entirely by Rayne Drop, this EP shows Juco evolving from telling us his intentions outright to allowing the beat and melodies to set the tone with Juco adding more complex rhymes to leave some thought with his listeners.
With “Frozen Henny,” Juco sets the tone well, spitting thoughtful bars over a loop of strings and piano. On “Kate Upton,” Juco warns of maintaining loyalty, making good decisions as adults, being responsible parents and cutting ties with those that hinder your progress. Here again he shows some maturity in his content and rhymes. “Accessories” has a quick paced hi hat with a fast repeated guitar loop for Juco to tiptoe over and lace well. The only features come on “Run ya Mouth” where Mer and Ransom come thru and drop off some heat. “Off White” is a more sinister track where Juco blasts his competitors with a fury of rhymes leaving the track bodied.
Tiffany Joints (2017)
With crisp production, and a more developed overall sound, Lord Juco again elevated his skills and content with this 8-track EP. His features are on-point and of only the highest caliber as Juco creates some bangers, showing his evolution as a legit emcee and displaying a sharper sword. Rayne Drop handles production on 4 joints while Dekos, Link, Noize Theivery, and Raw Minerals craft the others.
“New world order feat Conway and Westside Gunn” is a certified banger. On paper you’d think this would be an easy lay-up with the support of the Griselda brothers. In actuality it’s a thunderous tomahawk jam with all three emcees making big noise.
“Narcos with Roc Marciano and Benny the Butcher” adds even more top tier talent to Tiffany Joints. One can picture the three emcees, sweating in a single engine prop plane landing on a grass field runway in Colombia to snatch up the packages from the connection. Roc strolls through the track as with his usual quiet command, with Juco and Benny adding some heat on a spanish-influenced track, complete with authentic vocal samples.
While the star power of the guest features may reel in many listeners, it’s the solo joints that really put Juco’s abilities on display. “Don’t give a fuck” really stands out on this EP with its jazzy trumpet and spacey vibe, bringing memories of early 00’s Cormega.
The 96 Imperial (2018)
This album is an homage to the doo wop era with cinematic elements sprinkled in. Featuring production from JMB, Ali, Four Limbs, Marvwon, Rayne Drop, AK, Vic Grimes and even Lord Juco himself on 3 tracks. The samples and beats are varied enough to remain interesting, though the theme of nostalgia and reminiscence remains intact throughout as a coherent concept album. Juco consistently delivers some clever rhymes and interesting flows on this album. On “Fealty” JMB lays a perfectly simple doo wop sample as Juco spits:
“Wrong side of the tracks,
but the grass is greener,
Force-fed this false faith,
Till we actually believe it.
But we actually demons,
Deliver us from evil.”
MarvWon drops by for a verse, lending his production to “Goldie and Wendy.” The other features on 96 Imperial come from Fastlife on “Leatherface,” and from Benny the Butcher on “Extras.” Again it’s Juco who shines alone on “Taste,” where Four Limbs creates an echoing jazzy sax with some added bass for thump. Lord Juco really floats on these tracks, the vibe and atmosphere suiting his style and rhyme scheme well.
Although he keeps an extremely low profile and keeps his face out of photos, I was fortunate enough to be able to talk with Lord Juco about his music, influences and more.
DRHH: Coming from Toronto there’s been lots of noise from hip hop artists especially these past few years, including that one guy and some other talented artists. What’s the scene like there and how does being in Toronto impact your sound, your hustle or influence your approach?
LJ: Toronto is a huge melting pot of cultures and I think that helps everyone in this city with their own style. We are exposed to so many different cultures and I don’t think you can narrow down a Toronto sound, that’s what makes the city so special. We may all talk the same Toronto talk but we all have something unique to bring to the table.
DRHH: How did you get started in hip hop?
LJ: I been writing as long as I can remember, writing to other peoples beats and shit. But only started recording in 2016.
DRHH: I heard your few EP’s that you had dropped over the last few months. Those came very quickly in succession. Was there a flood of creativity or were you pushing to get your music out there?
LJ: I actually had most of Tiffany Joints done BEFORE I even started recording PEEP. And while I was finishing up Tiffany I went to Saskatchewan to link up with the homie Rayne to do Mark N Wayne. So all my projects kind of overlap one another. I’m always thinking of something new and sometimes that backfires but mostly pushes my content forward. But to answer your question, the creativity doesn’t stop flowing.
DRHH: Are you always writing/creating or does it come in waves?
LJ: I’m always creating, at all times of every day. Always writing one liners down or little 4 bar schemes. Never stops man, my mind runs a mile a minute.
DRHH: That 96 imperial album is basically all doo-wop samples and influences. How did that come about?
LJ: I’ve always loved the Doo-Wop bubble gum era of music. Makes me feel good, so I usually listen to it whenever I have some free time. So that being said I heard a few records that I thought I could flip and rhyme over and I did. It’s as simple as that. Added the movie influence and just put together a theme.
DRHH: Your guests spots on your albums are always used sparingly but have been high caliber emcees- did you seek them out?
LJ: Yeah I just wanted to work with all the people I listen to. I say it a lot and I’ll keep saying it. I’m a fan first, and I only reach out to people I actually listen to.
DRHH: How did the Griselda connection begin? What’s it like working with them?
LJ: The Griselda connection started with Conway, we just got in touch via social media. We did a record together and I sat on it for a hot minute and got sick of my verse so I scrapped it. One day I hit West with that same record and he agreed to jump on it so it all worked out. Benny came from the same shit, social media. It was all emails back n forth, nothing intimate, I’ve only been in studio with Benny and he was a savage. Real humble solid dude.
DRHH: What was it like working with/ having Roc Marciano on one of your albums?
LJ: Having Roc on my album was a milestone for me. He killed his verse and between him and Benny I don’t know who’s I liked more. Roc actually gave me his number after that shit but I don’t have the balls to call him for a follow up, not until I got that Narcos 2.
DRHH: You’ve mentioned that you don’t want to show your face to the world till you’re ready? What’s the reason behind this?
LJ: The reason I don’t show my face is simple, I’d rather have a voice than an image. I make music, I don’t act and I’m not a model. I make music, you listen to music. Things have gotten so visual that the content doesn’t even matter to people anymore and all I care about is my content.
DRHH: Most recording, production and mixing is done through email and rarely in-person anymore- How do you feel about that? Does it take away from the energy or does it matter?
LJ: Depends who you’re working with. The email thing is a blessing and a curse. Some people feel the vibe and the record comes out sounding like you’re in the studio together creating. Sometimes it doesn’t work like that and it can be noticeable. I’d prefer to be in the studio to work with an artist but that’s not always possible these days.
DRHH: Are you a selective beat chooser?Are you conscious of it or will you spit on anything? And how do your individual preferences in music influence that?
LJ: Yeah I need to feel something, sometimes the strangest beats will bring something out of me. I act off emotion when choosing beats, if it don’t touch me on a personal level I won’t be able to create properly. I try not to be biased to a particular sound but let’s be honest, we all like what we like and I’m sure that shows in all my projects
DRHH: I hear a highly polished product with your work. Are you meticulous in how you want your sound? Are you especially selective and particular about the mixing process or do you prefer to focus more on your rhymes and flow and choosing beats and let the producer and engineer do their work?
LJ: I’m very hands on for a guy who doesn’t understand the mixing and mastering process. I don’t know how to do it but I know how I want to sound and I’ll always give Rayne a hard time about it and I’m sure he hates me for it. Rayne does most if not all of my mixing and mastering. I mainly focus on my rhymes but if they don’t hit the way I hear it in my head, we got to do something different.
DRHH: With so much music pouring out daily, hip hop has shifted into 2 lanes: labels, and large distribution with promotions and marketing. And then you have independent hip hop artists releasing either on their own site or bandcamp. As an independent artist how do you feel about the current state of independent hip hop?
LJ: Independent hip hop is a Beautiful thing. A lot of dope talent out there and we have total control of everything. It’s a beautiful thing to see so many people being successful on their own, selling their own shit. It’s more personal when you get something directly from the source. Feels like you’re apart of something. Wish nothing but success to all independent artists!
DRHH: You work a full time job and record and hustle in your spare time. Is it hard to make a living in hip hop or are you just creating and not worrying about any of that?
LJ: Honestly, it’s hard to be creative on a schedule, like between these hours I need to create. That being said I wouldn’t have it any other way, I love making music and I do it for myself. If people like me, that’s a bonus but this is really just me dealing with everyday life thru music. I like the challenge of being forced to get shit done, because at the end of the day you need some form of pressure to get the best out of you, for me at least.
DRHH: Are there any emcees you really want to work with?
LJ: Emcees I really want to work with… Royce, Styles, Vinnie & RA.
DRHH: Producers you’d like to collaborate with?
LJ: I really want to do a project produced by Roc. I think his production has a special something. But other than him, Nicholas Craven, Buck Dudley, The Historian, Vinyl Villain, Bozack Morris, Alchemist, Buckwild, Preemo, Party Supplies. To name a few.
DRHH: any hints on upcoming work you got in the near future?
LJ: I got an EP in the works entirely produced by Won87. He’s dope, check him out, the loop killer! Moving forward from that I got some stuff in works, nothing set in stone yet. Me and Four Limbs talked about a possible JADE2, we got good chemistry. Spoke to Rayne about Mark n Wayne 2. Who knows, only time will tell.
DRHH: Shows and touring?
LJ: No shows or touring as of yet, I’m just trying to build my brand. As most know I don’t show my face so, in a world so driven by image, it’ll take a while. But it’s all planned out, just a matter of time.
DRHH: Favorite hip hop artists?
LJ: Too Many to name. But off Top; BIG, Styles P, Royce da 5’9, Vinnie Paz, Young Zee, Roc Marciano, RA the Rugged Man.
DRHH: Favorite hip hop album?
LJ: Favorite hip hop album…damn that’s hard! I can’t narrow it down to 1. So … Ready to die, Gangster and a Gentlemen & Visions of Gandhi.
DRHH: 3 non hip hop artists or albums that are important to you
LJ: 3 non hip hop albums. Frank – Amy Winehouse, Mechanical Animals – Marilyn Manson, Til Shiloh- Buju Banton
DRHH: Emcees you emulated or looked up to growing up
LJ: Biggie, Styles P, Eminem, Big L.
Jade Review
Juco sent over his latest work, Jade, prior to its release this Friday so I could catch the wave he’s been on.
Produced by Four Limbs, the album displays a relatively wide range of sounds on the tracks for Juco to do his thing. His unique flow can vary from sharp and cold to just being chill and calm. Even when Lord Juco is slower in his delivery, he never sounds lazy or uninspired.
“More Bordens” Juco starts off his album with a regal sounding vocal sample where he spits:
“Less assistance and more scoring,
More expensive floorboards,
And flights boarded
Life touring,
Spilling life’s stories,
It’s like glory.”
“Shinin” A simple guitar loop and tinkling effects over a dusty popping vinyl sound. It’s more of a relaxed feel where he just sits back in armchair and breaks it all down.
“Memoirs of a Lord” Reminiscent of early Stoupe’s Jedi Mind Trick beats, complete with vocal sample, strings and bouncy bass line to accompany Juco’s sharp delivery.
Only one track with features and it’s a banger. “Paid in Full” features CodeNine and Daniel Son. All three emcees wreak havoc on this one, each displaying their own individual vocals and styles. Code comes correct to start, Daniel Son fires with his distinct vocal tone, and Juco cleans up nicely with this track showcasing three emcees doing damage
“Furthermore” is a bouncy piano-driven track with skittered rimshots where Juco has matters to tie up, leaving no loose ends.
It’s evident that Lord Juco is making his presence known. Even though he wishes to remain music-centered and opposed to exploiting himself as a visual representation, he is gaining momentum and shouldn’t be slept on. Lord Juco is making moves, so keep your ears open
Check out Lord Juco’s latest EP, Jade out Friday here:
The Waveform Scientician is back at it again. The Boston-based producer released 5 tracks on Friday from his highly anticipated tape Netherrealms, due May 7. This limited edition of only 30 cassettes is mostly an instrumental album but features a few of the sharpest emcees currently. Evilldewer varies these tracks yet adheres to the theme of the album with great success, showcasing his own multifaceted beatmaking skills while also letting talented lyricists shine.
“Portal jumping”Imagine standing in front of a portal into another dimension. This world is safe and familiar, with calm air and a reassuring tone. You are a willing participant in the experiment, accepting whatever fate lies ahead. Punch in the coordinates and patiently wait as the organs are heard; they build and climb into a crescendo, breaking down every molecule in your body. You arrive as a whole in an unknown time and place. Technologically advanced, yet a layer of grime coats the surface, with thick smog congesting the air. The vibe is Futuristic, yet there is a primitive feel as Evilldewer paints a narrative that pulls in the listener as the main character, creating a first person perspective of the grim dystopian landscape.
Developing a particular sound doesn’t seem to be paramount for Evilldewer. It’s the feeling and mood that is captured which is most important in his music. Often, his sonic imagery can be psychedelic, seeming surreal and worthy of just vibing out. Though his work can seem futuristic at times, he avoids calling his music “space beats.” That would be cliche and slighting Evilldewer’s true capacity in his art. Regardless of sub-genre or further analysis in labeling, there is no debate that Evilldewer’s sound is unique.
A true renaissance man, Evilldewer is an artist, musician and creative wonder. His visual artwork can be chaotic and intense, using multiple media full of textures and varying tones, to capture a feeling, an essence. His beats achieve the same effect, leaving the listener unsettled, but vibrant and awake. Perhaps the interpretation is more in the overall tone of his work, as if it’s disorienting, uncomfortable or maybe even paranoid. Or perhaps it’s even an acknowledgement or projection of some personality flaws that exist within us all.
“Plus Degrees” Feat Estee Nack and Sauce Heist The abrupt and jarring beat on this track is perfect for the flow of Nack and Sauce, both highly capable of incinerating a track. The samples Evilldewer flips and chops is an assault on the listener. The beat tenderizes the ears up, while the emcees pound em into little cauliflower stubs. Estee Nack comes with his usual hype energy, intricate rhyme patterns and some of the best ad-libs put on wax. Sauce Heist is a hard NYC emcee with a smooth delivery and plenty of clever lines. Both emcees have been working at a blazing pace of late, bodying every beat they touch.
“Ultramagnetic BodyBags” Evilldewer’s collaboration with Vic Spencer was initially released a couple months back to critical acclaim. Sonically, the tone evokes the war scene of SkyNet vs the resistance from T2: Judgement Day. Again, the beat is unsettling and disruptive to the listener with punchy drums and splashing cymbals. The arrangement on this track really shows off Evilldewer’s ability to incorporate so many different elements, orchestral or otherwise. Halfway through, the beat flips into an even more sinister realm. Vic Spencer does his typical damage on the mic. Whenever Vic hits a track, other emcees start re-thinking their career choices. His pen game is on an elite level, with several moments requiring a pause and backtrack.
“The Arrival” feat Paranom Evilldewer creates a lush arrangement on the beat with orchestral piano sounds. It’s shades of vintage Havoc/Mobb Deep with the crackly vinyl sample as the foundation. The track is slightly reminiscent of “Three” from Prodigy’s 2000 album HNIC. That Prodigy track happened to be produced by the iconic Alchemist. Paranom comes in quick, stabbing the track up with precision and a fiery determination. P-Nom loses his mind on this track, setting fire to the mic and burning it down. Paranom clearly had one intention on this track: to leave no survivors.
“Dumbledore Raps” feat Illingsworth A bouncy track with a synth bass groove which complements Illings’ articulate yet playful flow. Evilldewer stays in the same industrial, Blade-Runner universe on this track. The desolate scene is complete with laserbeams, conveyor belts and assembly-lines building robotic machines ready to take over the globe. The instrumental continues on the track as if that machine just doesn’t stop for nothing.
Even in just the 5 tracks released with the cassette preorder, it’s clear that Evilldewer doesn’t cater to other’s preferences. His music is most certainly unconventional. Not just to be different though, but to exist in its own space. On these tracks he has really captured that sense of the harsh industrialism and cold post-apocalyptic world he may envision for our future. All of the beats are really a statement to his evolution as a producer and to his aesthetic style as an artist.
New Bub Rock Exclusive track review from upcoming FLYPOLAR album
by Alex P80Parks
Long Island has been home to some of hip hop’s most legendary emcees. Bub Rock, of Lakeview, is following some of those greats as the next up-and-coming talent to surface out of Strong Island. He’s dropped a few videos and released several tracks on SoundCloud over the past year plus. Bub released his last album Now or Never back in February. More recently Bub has gained some momentum off his energetic Rock Season freestyles and his music video for “Kobe Flyant.”
Bub Rock is a true NY lyricist who doesn’t hide behind style. He is pure substance, raw lyrics with punchlines aplenty. He has clever metaphors and double entendres worthy of rewinding. His rapid-fire delivery leaves even the listeners catching their breaths. When he rhymes in pocket, it’s like you can hear the spit dribble down the mic. From his earlier SoundCloud loosies to this year’s work, he has developed as an emcee, showing growth and maturity in his delivery, wittiness and beat selection.
A source of inspiration and mentorship for Bub has been Harlem’s DJ Boogie Blind. Member of the X-ecutioners and a DMC Hall of Fame inductee, Boogie Blind has DJ’d for Pharoae Monch, O.C. and Busta Rhymes. Bub describes Boogie Blind as a “good friend who is always putting people onto my music.”
Bub has a new album on the way produced entirely by the young protégé The Historian. Set to drop in Early June, FLYPOLAR will showcase Bub Rock’s lyrical abilities over some high-quality production from one of the most in-demand producers in hip hop right now. The Historian has developed a reputation as a loop-craftsmen, often omitting drums from his albums. He didn’t pioneer this style, but he executes the looped samples and obscure flips with precision and ease.
Bub released the song “October Blue” on SoundCloud earlier this week to a strong response from fans and praise from fellow emcees and producers. The Historian lays a soul sample complete with some strings and a funkier bass line. Bub Rock walks on the beat like he’s in a 70’s pimp flick rhyming:
“I got a Tracy McGrady vibe,
Meaning I could give you the game,
See it with a lazy eye”
Listen to October Blue here:
DEEPLY ROOTED HIPHOP EXCLUSIVE
Bub Rock also shared 2 other tracks from the upcoming FLYPOLAR album. The track “360” starts with Ric Flair yelling his catchphrases as The Historian layers a flute and adds some futuristic synths for Bub to float over. Bub’s hunger and drive to be the best are on display with this latest material.
He spits rapid fire starting the second verse:
“Only right I,
Cross T’s and dot I’s
And think life size
Give em 5-mic vibes
Lines is like diamonds,
Dancing freakish on gold pieces,
Molded in the same facial features as Jesus”
The last of the exclusive early-listens came from the track “XV”. This track really flexes Bub’s skill in adapting his flow to a variety of beats and tempos. He slows it down a bit on this darker track, rhyming:
“Who gossip bout the who, what, wheres
I don’t do the boot-cut.
Let the light blue cuff sit on the nubuck condtructs, what”
The Historian creates a slightly murky vibe on “XV”, like the score from an 8o’s TV murder mystery flick. These are the type of beats that really suit Bub and allow him to flex and capture the darker vibe.
Reported to be around 10 tracks long, this collaborative album with The Historian will really showcase the skills of an emerging talent joining forces with a young producer who is also quickly climbing the ranks. If these tracks are any indication, then FLYPOLAR is gonna be a wild ride in a coupe with Bub Rock driving at high speeds into the murky fog, not giving a fuck.
Recent discussion around Boston area hip hop has focused around defining what a scene is in New England. By definition, a scene can be a place of an occurrence or action and a sphere of activity. While not necessarily derogatory, these definitions are void of the ideas and creativity present in the regional music, with both omitting the human element that is an integral part. To credit legendary producer Dibia$e for more appropriately defining it, community is probably a better word to describe the current New England hip hop climate. This community just happens to be bubbling on a hot stove, overflowing with talent.
Nightworks, a series of performances on Newbury St in Boston has attracted the likes of local DJ’s, producers and beatmakers, providing them a platform to display their art. But it’s also become a showcase of some serious talent from elsewhere. The last episode of Nightworks back in March featured the aforementioned Dibia$e, helping create a night for hip hop history and one for Boston. On this night, House Shoes was set to headline a cast of locals who continue to contribute to the blossoming hip hop and beat community.
Part art gallery, part intimate concert venue, the space on the 3rd floor at 338 Newbury St. evokes a feeling of creativity. All in attendance are immersed in a full sensory experience. The hypnotic visuals projected on the wall are complimentary to the beats, causing incessant head-nodding. One can easily zone out with the psychedelic vibe in the spot. A cypher can pop up at any moment with cats jumping in to spit off-top rhymes to the beats. These artists and performers want to share their creations and engage with one another to elevate their art and improve their skills.
The conductor for Nightworks is Rah Zen. He puts on a great show with passion, overseeing all the technical and logistical aspects with ease. He troubleshoots issues with pride and efficiency. Going back to the early days of rockin in the park, DJ’s have had to deal with a myriad of technical issues. Rah Zen handles these with grace. The Master of Ceremonies and the host for the night, Kadeem, is magnanimous and engaging. Kadeem is a true party-rocking emcee who is always enthusiastic and energetic, smiling and keeping the crowd entertained the whole night. Kadeem is one of those old souls who is extremely comfortable behind the mic, maintaining the energy for all. Introspektah provided the sounds between sets and did a good job of keeping our heads nodding throughout the night. Samo provided the visuals to complete the experience.
Grubby Pawz
Grubby Pawz, erupted first with some hard, heavy-hitting beats. You can tell he is a perfectionist, crafting a sound that has become familiar in his work. He’s one of the producers that create a feeling of delicately balanced tension, regardless of his choice of samples. There is always a slightly ominous mood to his beats, without feeling too dark. He doesn’t overproduce his tracks either, though his beats are well-polished and mixed perfectly. As a highly respected and appreciated producer, he’s recorded countless tracks and released several high quality albums with some of Boston’s most talented emcees. Grubby Pawz received significant critical acclaim from last year’s release with Haze, After The Glory. Pawz and Haze have recorded multiple albums together and make quite a dynamic duo. The same can also be said with Pawz and SPNDA, releasing their newest album only 2 weeks ago, Holographic, following up from last year’s Steel Sharpens Steel. Grubby Pawz also contributed to multiple tracks off the La Tripleta EP from Estee Nack, Haze and Paranom which released only 3 weeks ago. He was absolutely a genuine and chill guy. He chopped it up here and there with fans and his peers but generally preferred to observe and soak it all in.
Wowflower
Had never heard of dude before this show, but he left an impression on the crowd. An affiliate of Street Corner Music, he had a unique variety of sounds creating his own atmospheric vibe. House Shoes himself has described Wowflower as “Blissful downtempo escapism.” He even had some of his custom made visual artwork on display for the show. His debut LP Balloons was released last July on Street Corner Music.
DJ Manipulator
Manip came in with some really dope tracks full of energy and some hard deep bass grooves to rattle your chest. He flexed some sick scratching and brought an edginess and incorporated some futuristic sounds like those off his newest album from Feb 2018, The Synth Tapes. He was warming the crowd up nicely for House Shoes, increasing he energy level. He was a very humble guy who appreciated the support from all the fans. He provided support to all the artists once his own set was done, kicking back and watching the epic night unfold. Manipulator is another great warrior in the Boston army of hip hop talent. Community is a great word to use, though another term that could be used to describe the movement and collective of individuals in the region is ‘family.’ All these hip hop artists work together and help one another like a family. Fitting that on this night the family has an uncle stop by for a special visit and an epic set.
Everybody’s got that crazy Uncle
This crazy uncle just happens to be an insane DJ and producer. A peer and dear friend of the late icon J Dilla, House Shoes has become a legend in his own right. Although he makes LA his home now, Shoes represents his hometown of Detroit and has admirably maintained Dilla’s legacy. House Shoes is very respectful and protective of his Dilla material, in a way that holds the music as sacred and not to be exploited. He could’ve cashed in and sold some of the material he has from Dilla years ago but he’s a stand-up guy and was a personal friend of Dilla himself. That shit just wouldn’t be right. Shoes has also created his own imprint and doesn’t rely on Dilla’s legacy to cement his status in hip hop. He has crafted beats for years, recorded several albums and has worked with hip hop artists from around the world. In LA he founded the successful record label Street Corner Music, which is home to several high-caliber musicians and beatmakers, specializing in vinyl.
House Shoes is first and foremost, from the era where DJs and beatmakers had to be able to rock the party. Shoes doesn’t disappoint when it comes to a live performance. In front of a crowd, his magic comes from his ability to sequence and play only the finest beat and song selections. He’s got that DJ’s 6th sense of knowing his audience and satisfying even the most discerning of hip hop connoisseurs. He flipped samples in ways that come from a lifetime of being immersed in sound. Shoes balances tracks from across genres and blends seamlessly to create some unique vibes from a variety of material. Shoes’ versatility in his sourcing/sampling is another hallmark of a true party- rockin DJ. He has his laptop to play some of his own beats and tracks he has, but most importantly he spins vinyl with precision and accuracy. Yeah, of course lots of DJ’s can play records and can even blend well. But to do it perfectly and without a hiccup, murmur, or detraction from the continued vibe, now that’s a legendary DJ.
In a Shoes show, there are bound to be Dilla gems, hits and some rarities. He played vintage Jay Dee from Slum village to solo stuff to the Jaylib material. But it’s Shoes’ treasure chest of unreleased material that is well known as a mysterious vault that hip hop fans would savor over hearing. He asks that you put your phones away when those come on. Later in the night he sprinkles in a few more never heard before joints. Uncle Shoes is carrying on the tradition of hip hop but he’s also an ambassador to the new generation and the new wave of DJ’s producers and emcees. His collaborations, productions and co-signs mean you’ve made it. You’re in. Unca Shoes is feelin it?? Hip hop accepts you. His good nature and easy going attitude in a show make him easy to work with.
Hang Glidin with Divino
The surprise of the night came from the homie Al Divino swooping in through the window to perform. With Shoes on the ones and twos for Divino, this was some shit to see. A legend rocking with one of the best of this generation. The excitement and energy of organic collaborations like these are really what hip hop is all about. Shoes provided some support behind the tables for Divino to rock the mic accordingly. He ran thru a few joints with some serious energy. The crowd was feeling the show. With Divino on the mic, you know Estee Nack had to come thru and help his brother out on a couple tracks. Their chemistry is undeniable. They play off one another and they set each other up like beach volleyball, spiking the track with the next verse.
Seeing Uncle Shoes rock the 1’s and 2’s for Divino and also play some mind- blowing shit are a testament to his technical skill, ear and versatility. Shoes played for about 3 hours following the Divino and Nack surprise collabo and would’ve played longer if not for venue limitations and city ordinances. The crowd wouldn’t have minded regardless. Even as some fans left and drifted off into the night, Shoes kept playing. He knew that the last die-hard hip hop heads of the night were there for a treat, so he made those perfect choices, providing one seemingly endless night of hip hop.
Support
On this night, strong local support came from some real heavy hitters yet again. DJ Deadeye, a stalwart in New England area hip hop was showing love. Having worked with elite talent, he has a tremendous ear for quality hip hop and shows respect to those that continue to add on for the culture. Like House Shoes, Deadeye is a true performance DJ. He makes beats and produces but he’s also a touring DJ who performs before monster crowds all over the world. Even when pretty much everybody else is gone, Deadeye is there showing support, vibing out to the perfectly selected beats.
The homies Vinyl Villain and Jon glass came thru checking out the vinyl and tape section sale, possibly looking for the next hidden gem to flip into a beat. Villain and Glass have truly become beatmaking pillars, foundations of this generation of the New England hip hop family. Chronic Tone came thru showing love, introducing himself and supporting all of the acts on the nights bill. It was dope to meet Tone. As an ill emcee, Tone most recently released two bangers, one with Divino and one with Nack. He’s a true pro and an important part of the community. The homie P-nom was also there showing his support. Dude might be the nicest, most chill, easy to talk to cat. P-Nom was just doing his thing, maintaining and enjoying the show. The big homie, Boston’s legendary Dart Adams was in the house showing love too. If Dart is showing support for a hip hop show or artist, it’s gonna be legit. He was the source for Celtics score updates during the show. Certainly an honor and pleasure to meet and build with the man.
There is no hip hop scene in Boston. That much is true. It’s far greater than that in actuality. It’s a community that has embraced hip hop culture immensely. The talent of the individuals is unmatched, yet it’s the collective that have created this organic family where the talent exponentially increases. Together these cats have generated a community where music and art and ideas are flourishing. This new art movement occurring in the region has infectiously inspired each single entity to grow and continue elevating their crafts.
This was supposed to be a written review of the 4/19 Primo Profit album release party featuring Estee Nack, Crimeapple and O.T.O. with special guests. I figured that there would be some other local emcees and producers who would show up, and I would get up-front access by pushing my way to the stage and maybe even meet a couple cats. But a week before the show I reached out to one of the local emcees I admired. He was a frequent collaborator of one of the performers so I checked to see if he was planning on going. Once I connected with this cat, I knew that the show just got better for me. I had no idea that I’d end up hanging out with artists that I regularly listen to and highly respect.
The Allied Liaison
Paranom, has carved himself a nice niche in Boston-area hip hop over the last few years, releasing some high quality, well-produced albums along with guest appearing on most of the albums of his local peers. He’s developed an introspective, yet worldly sound, working with some talented beat-makers and producers. An important memeber of the Tragic Allies family tree, his most recent releases include last month’s The Hispaniola EP with Estee Nack and this month’s La Tripleta with Nack and Haze (of City Yard Music). He and I connected on twitter, after we’d exchanged tweets about hangover remedies in the past few months. He is an accessible and truly humble dude, who is genuinely down for whatever. We exchanged the math and agreed to link up at some point before the show. Again, for me, I was hype just to meet dude, nevermind getting to chill and chop it up about music and life.
A couple hrs before doors open for the show and he texts me that he needs a ride to the show. I’m thinking, cool, no prob. He’s outta Lynn. I’m up the North Shore, so maybe a 45 min trip to the crib… Nope. He’s in Brockton. Ok, I’ll still come down and scoop you up, but that’s another 30 min at least. I still got you. I pick up Paranom and he advises us to go up to Nack’s place, in Lynn. Nack’s set time wasn’t till later, so we had plenty of time to meet up before the show. I’m hype as fuck at this point. We’re going to Estee Nack’s crib? The MiniMansion?? Trying not to fan out, I keep cool.
MiniMansion Squad
This is where the team pre-games for all the local shows. It also happens to be where Nack has recorded countless tracks over his career. When P-nom and I arrived, we were greeted by Al Divino, the man Nack has recorded the recent EP’s Rafaga Facil, Maleficis Artibus, and DESTINY with. Divino also just released his own, fully self-produced LP, Monumentality. Divino is a guy with a tremendous current buzz around his name. Whether the buzz surrounds his deep and aggressive flows and flipping wild rhyme schemes or around his selectively high pricing of his art, Divino has the eyes and ears of the underground on him. He prefers to maintain the mystique and mystery of his character, opting out of most interviews and photo shoots. I was fortunate enough to build with the young shooter, mostly with me listening to stories that he tells with such clarity and precision, similar to the way he flows and constructs the imagery in his rhymes. A stand-up dude, and an extremely talented emcee and producer he’s carving his name in stone with a firm grasp of the hip hop industry. Divino is a smart and savvy businessman who knows his value and doesn’t back down for no man.
The vibes for creativity at Nack’s place are organic and all the homies that come thru feel comfortable as hell, cooling in the MiniMansion. Beats on in the background, along with some Nack tracks I hadn’t heard. After chilling for a bit and just sinking into my seat, some homies including Purpose (of Tragic Allies) and King Asiatic come in, generously offering refreshments and introducing themselves as if I’m a fixture in the scene. In rolls CodeNine. A member of the Tragic Allies, Code has been consistently releasing high quality albums, most recently with the album IX in December of ’17 and just this week releasing 9 Roses. Codenine has a strong reputation for excellent beat selection, high production value and gritty street rhymes. He introduced himself to me and slipped right into conversations as if he’d been there for hours. Whether zoning out to instrumentals with heads chipping in 2 cents about visuals, Nack’s home is a place where the close friends come together like a family.
Nack Daddy
Like every family, there is a mother or father figure to provide guidance, advice, spiritual and physical in presence. The team’s patriarchal leader is Estee Nack, no question. Now I hadn’t yet met Nack at this point. He was still getting ready because he was a featured performer on the night’s bill. When he finally came to greet me, it was as if I was one of the homies. He is a genuine dude who made sure I was all set. He has a warm and welcoming nature, despite the tough and raw persona displayed in his rhymes. His presence demands everyone’s attention. Not in an arrogant manner, but in that of a wise sage, eager to share his knowledge. While the pre-game was still in session, he was trying to figure out who was riding with who, and when we were hitting the liquor store, acknowledging that we were already running a little late.
My first time hearing Nack was a few years ago on the 7 Gems album with Tragedy titled Golden Era Music Sciences. I heard that raw, raspy voice speaking rhymes with heart, but also visceral and real. By that point he had built a strong following with Tragic Allies and having a sound that embodies true hip hop, and not following trends in production choices. Recently, Nack has evolved into a truly prolific emcee, recording with some of the most talented emcees and producers at a breakneck pace, especially over the last few months. He has popped up as a featured guest emcee on several high quality releases of late including SPNDA and Grubby Pawz new album Holographic, and even contributed to 2 tracks off AnkhleJohn’s new LP AnkhNasty. Nack is a presence in hip hop and is highly regarded for his lyricism and complex rhymes by critics and his contemporaries. That night we were eagerly anticipating his new album releasing the next day, on 4/20 with creative visionary Sadhugold titled Surfing on Gold waves.
We left shortly after that, headed for the venue. P-nom and I went straight to the show while Nack, Divino, Code and the rest of the homies stopped at the local liquor store. My head was floating from it all. P-nom and I were vibing out to some beats, discussing some of his personal favorites and classic artists of all time, Stevie Wonder and Marvin Gaye. We talked about European vs American concerts and then about French producers and instrumentals. The night just kept getting better and we hadn’t even got to the show at this point.
Mid East showtime
The Middle East Upstairs was already simmering, but when we rolled in I feel like shit got wild. The scene was pretty tame. I had hoped for better enthusiasm initially but that didn’t matter. Not when the team shows up. Nack’s energy is palpable. He performs with a lot of physical and spiritual energy. He basically jumped on stage after only being in the building for a few minutes. He hyped the crowd up himself and ran into his new opening track “El Blablazo” off the brand new album with Sadhugold. He Ran through a couple more solo joints before Divino jumped on stage to burn it down alongside Nack.
Al Divino provided some additional rugged energy to hype the crowd up even further. They blew off the roof with “Lugano Airport” from Triple Black Diamonds and then ran through a couple more songs. Nack rounded out his set with a couple more solo joints including “The Talented Mr. Nackly” from his MiniMansionDustEP Vol.1 . Nack klled his set and got the crowd pretty hype for Crimeapple.
Manteca
Crime has a different, yet still magnetic and engaging stage presence. He’s not a physical energy kind of guy, it’s more spiritual energy. Crimeapple has earned a stellar reputation since he burst onto the scene with a thunderous impact and quickly rose the ranks as an elite emcee. His command of the mic is quite powerful, making him an excellent performer on stage not just in the booth. He did “5 Chechnyans” and “Palo Santo” from his latest LP Aguardiente, “Spike Up” from Metralleta and then his verse from “Lanus” off of SmooVth and Giallo Point’s Medellin album. He has a great voice and projects well throughout each song in his set. I was certainly even more impressed by the dude after seeing and hearing his dope performance.
After Crime’s set, I was by the bar where I was chilling with P-Nom, Nack and the crew and bought a round. Crime came over to buy a beer and we chopped it up for a few. He’s got a chill demeanor but he’s well-read and extremely articulate and can talk about anything. Again, trying to maintain some cool as a fan and not a male-groupie, I told him I was a fan of his beat selection and his depth of vocabulary. He seemed really humbled and appreciative of the accolades and praise, which is nice to see in anybody who is in the public eye. Crimeapple once said he tries to interact with everybody, “Even the aloof mf’s.”
I can’t forget Termanology’s surprise joints that he did. He jumped on stage and tore it down with a couple quick ones. Term is always a great performer. As an avid New England hip hop fan, I’d be remiss not to acknowledge what a huge contributor Term has been for the scene here for more than 10 years. Term and his guys DJ Deadeye and Ea$y Money were also there for the whole ST Da Squad crew. Those dudes have worked with some of the illest cats in all of hip hop and helped to put Lawrence/Haverhill on the map and all of Mass in terms of quality hip hop. They also have a new album, ST Da Squad.
Primo Profit
In all honesty, I was least familiar with Primo’s music. But had downloaded his newest album Locksmith from Dec of ’17. Definitely an overlooked/underappreciated album with some hard beats and heavy hitting guest spots from Conway, Jadakiss and Dave East. The same goes for his performance, character and stage presence. He had great energy, the crowd was feeling him and his songs banged. I was impressed by how he rocked the crowd and was getting solid interaction. The beats in his set were strong and he had some serious bars to flex. I wasn’t able to meet him post-show, because he was so busy with other fans. I’ll definitely have to check for him on future releases and upcoming performances in the area. He also seemed like a gracious headliner for the night and a genuine dude.
The Extended Fam
During the show I met Magno Garcia, a fiery lyricist with an ear for top-notch beats on his albums. He is another guy who is accessible and truly humble, down to build with a fan. His latest album, Chandelier Shining, was one of 2017’s best albums. Also showing support was Vinyl Villain, who is working with everybody these days, crafting all kinds of crazy beats for emcees all over the place. He released 3 The PRR Way with Nowaah the Flood, Jamal Gasol, and Sauce Heist about a month ago and then a monster single with Crimeapple. He also produced a couple tracks on the new AnkhleJohn album. Dude is working with everyone in hip hop.
After the show I got to meet the extremely talented producers Jon Glass and Billy Loman. Very down-to-earth and chill guys. These guys are also multi-dimensional producers. Just last month, Billy Loman released a seriously legit beat tape called Funkin Donuts. They were very appreciative of the support and I acknowledged their impact on me as amazing beat makers and producers.
As a collective and collaborative unit in New England all these emcees and producers are really unrivaled in overall quality and high caliber of skill to any other region right now. That is certainly my opinion and I am most definitely biased, but who’s gonna argue with the talent in that building? There were some other hip hop cats that I didn’t even get to meet that were in there showing support to the thriving underground Massachusetts hip hop culture.
I certainly had a memorable experience to say the least. I have to extend my deepest thanks to Estee Nack, Al Divino, CodeNine and the whole Tragic allies fam along with a special thanks to ParaNom for making this night a legendary hip hop night for me.
Deeply Rooted HipHop 