“Pissy Staircase” sports a tough, yet playful sample, but Spoda and Rim ain’t playing around here. As one of the standout joints from Spoda’s Full Court Press, Rim bounces his lyrics off the bass-line proving why he’s one of Brooklyn’s best. The video shows Spo and Rim in various street spots, subway platforms and dilapidated hallways bringing their raw energy over a Wavy Da Ghawd produced beat.
Check out the video here:
Words by Ian Charles
When the borough of Staten Island is mentioned, a few things immediately come to mind: The expensive tolls at the Verrazano Bridge, the mighty Wu-Tang Clan and the Staten Island Ferry. While the Wu basically put Shaolin on the map musically, “The Forgotten Borough” is an unfortunate stigma that not much else good comes from there. Emcee Squeegie O seeks to disprove those negative notions about his home borough with his latest project, F.N.T.G. (From Niggaz To Godz).
Entering 2020, Squeegie O comes in with a discography more than seven projects deep over the past seven plus years. That experience is clear in his content, song structure and confidently smooth delivery. On F.N.T.G. the musical landscape is shaped by Amsterdam, Netherlands producer, P Souloist. Upon numerous spins, the synergy of Squeegie O’s diverse song content and P Souloist’s production is evident as they have developed a distinct mood on each track.
The imagery conjured from the intro is that of a laid-back family Sunday as a soulful vinyl record fills the air, fitting for the title “The End JUSTIFIES The Means (Intro).” As “No Luv” begins its established early that Squeegie O is unapologetic in his approach, stating: “Your love was never needed nigga, plus your hugs was never needed nigga…” The psychedelic production builds up as a guitar takes you deeper into Squeegie O’s life and society. The current rap life has provided highly questionable clothing selections, fake thugging, and more opinions on the industry through his “Open Letter.” Egon Doe and Squeegie O link up on “Chesson Boise” as they have done throughout their careers. Here they’re dropping bars over a spooky-looped, bass-thumping P Souloist track reminiscent of something from Redman’s Dare Iz A Darkside. The title is distinctly accurate on “Flesh Eatin Bobby”, as the rhymes and evil rock essence from the production deliver a sinister vibe. The vocal sample loop on “Let’s Stay Together” feat Mvtha Cvla is engulfed in a mellow vibe, yet presented with a serious topic. Squeegie believes in the best for our youth as he questions largely, the world and the pervasively negative music we raise them on. “The world is yours, you got to teach the young.” P Souloist unearths his own inner Staten Island with a slight Wu-Tang vibe on “Kabrina.” “Harbor Kidz” takes us on a lyrical journey with Squeegie O and Baltimore emcee/Staten Island native, Jamil Honesty.
Listen to Harbor Kidz here:
https://music.apple.com/us/album/harbor-kidz-feat-jamil-honesty-single/1479680440
“My Uncle said in theory we are Prisoners to our conscience, controllers of our destiny, each level gives an outcome…“ This is the epicenter of “Karma.” The influence of technology (social media, big brother, accessible information) is a gift and a curse on “Negro 911” with lines like “babies are born into technology, four months with a phone in his hand…” The struggle of feeding oneself, paying rent, impressing women, sneakers, clothes, food stamps/EBT, and hustling, are the focus of “Definition Of A Broke Nigga” with Drugunn$ delving deeper on the second verse. “Step Brothaz” featuring San Diego, CA Emcee Scvtterbrvin (of Red Lotus Klan) brings the lyrical dexterity from both coasts as distant relatives. Having no direction, contemplating death, and feeling as if you won’t make it in life is a road to “Nowhere (Riding Shotgun)” as the Staten Island emcee’s thoughts take control while watching it a unfold. As a segue from the previous track, Squeegie O speaks on his views of cheating death/gambling with life, traversing to the afterlife to speak with loved ones on the first half of “Eid/Vil.” The latter half of the track follows the S.I. emcee reveling in life’s evils from prescription drug addiction, attention, followers/likes via social media, using others, bad credit and scams, to strippers receiving record deals.
Squeegie O: “This album isnt all happy-go-lucky and it isnt the usual jackin Griselda wave shit niggas are used to hearing today. This album is my growth, my life. I may not be everyone’s cup of tea but I make shit relatable to the average joe or the person who lives realistically in a plastic based world. From Niggaz to Godz is the story of life in emcee perspective. Cause the truth of the matter is, however we live, “We All Evolve From Niggaz To godz,” (we) just have to stop doing nigga shit in order to see the true god living inside you.”
The music industry’s portrayal of us, their influence on the youth and their attempts to silence Boom Bap in the mainstream are all recurring themes on F.N.T.G. Squeegie wants us to see this and actively think about such things. Striving to push the youth to believing they can be on a brighter path starts with us, the adults and elders. Amsterdam producer P Souloist is key to the cohesion of this project as his production couldn’t be any better throughout the entire album. Expect more great work between these two. Squeegie O’s lyrical expressions aims to have the listener become more aware of the world we live in. He shows us how the hood is past, present, future for him and for many of us growing up. Squeegie touches on life struggles, success and failure, and self-awareness. He holds these as crucial topics, central to his persona and close to his heart in conveying a sense of truth. Never eluding the fact that there is more out there than what is fed to us. Elevate our minds “From Niggaz To Godz (F.N.T.G.)”.
Purchase the album here:
https://itsobitch.bandcamp.com/album/f-n-t-g-from-niggas-to-godz
By P80 Parks
Skunkz is in the early stage of his career, evident in his hunger and work ethic, but he also carries himself like a veteran. His self-assured attitude comes across in his delivery and often blunt lyrics. The Dorchester, Mass-bred, left coast-dwelling Skunkz brings us a project handled entirely by himself. Skunkz ft Skunkz shows off not only his sharp pen and rhymes but also his newly acquired production skills across 10 beats and 5 tracks with his own raps.
Skunkz opens the album as if he’s awakened to start the day with the bright “Arizona Daylight Savings.” He pulls an uplifting soulful vocal sample over slight organs. On “Stone Cold” the mood shifts to a somber, slightly jazzy trumpet over light percussion. Here Skunkz opens up a bit about pursuing his dreams while making sacrifices with lines like:
“Yeah the top’s where I gotta go, and if it mean I gotta leave some people behind,
I got a dream I gotta teach my mind
And when I learn some good knowledge bro,
I could feel that shit deep in my spine, pause,
I go way deeper tryna find the divine cause.”
“Orthopedic” brings the raw drums and the Wurlitzer organs as Skunkz exercises his lyrical flexibility. Skunkz is at his most poignant on “BMP.” It plays like an open letter to his mother, bringing back some memories of struggles as a youth and the promises to take care of her. On “NOSTABLELABEL” the bouncing synth organs build slight tension as Skunkz brings the heat lyrically.
Check the video for “NOSTABLELABEL“:
If you been around the underground community for a minute, it’s established that Skunkz can spit. It’s his fresh beatmaking skills that are on display as a big part of Skunkz ft Skunkz. “Coupe De Grace” delivers a melancholy vibe with synth guitars and subtle effects. “Signature” brings in the funk with 80’s r&b samples. Lift off into the galaxy with “StarSkunkz,” as spacy effects and chopped synths abound. On “GFK” Skunkz hits us with a soulful vocal loop with piano notes. “Ode” plays like the score from The Running Man or another 80’s action flick, with its uptempo beat and pronounced synths.
Deeply Rooted Hiphop caught up with Skunkz about this project and his new venture into producing tracks.
Skunkz: “Honestly, making my own beats comes with having my own ideas in my head for them. I will add this though, when I was hesitant about it Flash(ius Clayton) made it a point to tell me how fire making beats is and how technical it gets”
DRHH: When did it really click, like yeah I’m gonna make a project using my own beats?
Skunkz: “I knew i was gonna do it within the first week of making beats , that’s one thing that clicked RIGHT away was the fact I made beats that I could actually rap on.. For this project I definitely thought imma sit down make some fire joints and put it together for an album”
DRHH: Were there samples you instantly knew were it? “NSL”? That one definitely knocks and has a bounce to it.
“Yeah NSL was definitely one I knew was pure fire, but honestly all of the beats give me a different feeling like them joints put me in a different place. The “AZDLS” beat, for instance puts me in a Arizona state of mind, you know? Whereas BMP makes me think about my mother… My favorite joints ended up on the instrumental side though, believe it or not! That’s one of the things that even blew my own mind.. My favorite beats I couldn’t even write to em. The instrumentals were my SHIT!”
Skunkz comes through with a no-nonsense attitude but without a self-inflated ego that many rappers rely on through their boastful bars. He talks plenty of shit, but his drive and focus keep him in check. With Skunkz, there’s a genuine sense of self as he seeks to carve out a secure spot in the rap game. Skunkz ft Skunkz is certainly another step closer for him with this unique project.
Album available to purchase here:
Skunkz provides a candid glimpse in the new visuals for his first single off the upcoming Skunkz ft Skunkz project, which drops later this week. On “NOSTABLELABEL,” the bouncing synth organs build slight tension as Skunkz brings the heat lyrically. The video, handled by Tucker DesLauriers shows Skunkz getting a haircut out on a sidewalk in LA. This type of scenario sums up Skunkz’s personality well, as he clearly doesn’t care what anybody thinks; he’s focused solely on his craft. Only Skunkz would get a haircut, outside, with no shirt on for a music video. Look closely and spot the cameo of Jack-of-all-trades emcee, Flashius Clayton, clipping Skunkz’s hair in the video.
Check out the video here:
The fully self-produced Skunkz ft Skunkz drops later this week. Preorder the album here:
https://skunkz.bandcamp.com/album/skunkz-ft-skunkz
Stay tuned to Deeply Rooted Hiphop, as the exclusive Skunkz coverage continues…
By P80 Parks
“Oooooooh!”
With an infinite abundance of energy on the mic, the Super Nackman returns for Vol 4 of the MiniMansionDust tapes. Estee Nack always pulls together gems for each volume in the series, whether from recent sessions or joints from the vault. Nack has consistently been one of the most prolific artists over the last several years. Catch him spitting a verse on Westside Gunn’s latest album, or as a featured highlight on numerous other underground rapper’s albums, typically bodying emcees and demolishing every beat and loop he touches.
The ever-elusive producer, Mr. Rose always brings out the best in Nack & co with a special insight and personal firsthand knowledge of Nack’s individual skills. Mr. Rose creates precisely what suits Nack, and fittingly, he’s on the boards for 8 of the 10 tracks on Vol 4.
A few features from homies, the (Tragic)Allies, and a couple mystery guests is all Estee Nack needs as assistance on Vol 4. Crucial the Guillotine drops a verse on “MONOLITHS” as he saunters over the beat with stretched syllables. “FUKUTHOUGHT” is the posse cut with Divino, Codenine, Weapon ESP and ??? all stopping by Nack’s MiniMansion for verses over ominous xylo notes. Producer Junelyfe delivers a flurry of off-beat percussion on “TOSTONESCONSALAMI.” Nack unloads a memorable verse on “WEDONTSLIP” over fluttering sax notes. Mr. Rose supplies the Latin flavor on “LAGRIMAS” feat Divino and ???. Nack himself says the ??? Mystery guest is “Our hidden character”; he’s the “MINIMANSION Noob Saibot.” HIGHERLEARNIN” brings the tension with the strings. Producer El Maryacho provides the soulful vibes on DOTHEMOST feat C. Wellz.
Estee Nack delivers a smooth attitude, menacing rhymes and clever metaphors. The complexity of his rhyme schemes are unmatched in the rap game. His ad-libs morph into a serenade followed by Spanish phrases with machine gun bursts all at once, and he keeps it fly. Quite honestly, the singular Estee Nack has no one in his class.
Cop the album here:
Words by Ian Charles
Alabama may not be known for its underground hip hop. And on an even smaller scale, the city of Centre may not immediately come to mind when thinking of music. But SeKwence aims to make it known when his name is mentioned that Alabama can grow some talent just the same.
I discovered SeKwence‘s music in 2018 through his affiliate, ThugYeezy, on the infectious up-tempo posse track “HUFFY BIKE” produced by manwithnoface. Shortly thereafter I discovered his own track “Supreme Victory” featuring Adonis and produced by Thelonious Martin. I further plunged into the distinctively-voiced emcee’s discography to find Fulgore2018 and This Shit Is Fucked. SeKwence’s stream of music continued to grow consistently as 2018 and 2019 progressed via his features and through new projects like his Da HIGHED UP Tape, Budget Cuts 2, and Wonder if Hell has a Buffet, amongst others.
SeK enters 2020 with his new LP, Lake Water, displaying all that was heard previously in his music with those elements kicked up a couple notches. SeKwence proudly declares his name, hometown and life loud and clear on the new album. The intro track “Real Life/Oblivion” wastes no time letting you into his mindset of living in northeast Alabama. The soundbyte speaking on growing up in a small town is aptly placed, while KillerKane and No.Pulp’s production develops a melodic moody soundscape containing a smooth vocal sample during the chorus.
Gary, Indiana producer, Ed Glorious’ dusty static-driven vinyl drum looped track “I’m So” details SeKwence’s upbringing and pushing on for the greater good. Toronto Emcee, Lord Juco comes through with the same mantra that it just “doesn’t have to be explained.”
https://soundcloud.com/sekwence/im-so-prod-ed-glorious
A sincere dedication to hip hop is evident on “Where I Go” with Jay Bel over ntvrme’s knocking tracking.
https://soundcloud.com/sekwence/where-i-go-feat-jay-bel-x-prod-ntvrme
Thelonious Martin links up again with SeKwence on “Clarity.” The song title is all the insight needed here. Veteran Richmond, VA emcee/producer, Nickelus F comes through on what begins as a slow track then gains momentum as SeKwence begins his verse on the smooth guitar laden “K.Y.H.L” provided by Zepeda.
The sultry voice of Tina immediately sets the smokey atmospheric mood courtesy of No.pulp on “Duals/Simulations”. “4 What It’s Worth (FREE SMOKE)” changes the pace and the vibes straight out the gate. SPVCED creates a head-nodding, fast-paced track with a well-placed chopped vocal sample as SeKwence blitzes the track with lines like:
“I take it back to the basics, basing stories of my past, present, future,
up ahead it’s fuck a red light its not stop.”
https://soundcloud.com/sekwence/4-what-its-worth-free-smoke-prod-spvced
New Jersey producer, KillerKane’s cymbal and drums combo dominate in a Jazz-like setting on “JOPLIN” with SeKwence repeating, “Maybe I can fly after all…” evoking a journey into the afterlife. The horns come in, followed by a drumroll with the music quickly stopping and reintroducing as the horns continue. Sekwence transitions smoothly from his thoughts on “JOPLIN” to “Cloud Walker”.
Long Beach, CA emcee, Adonis, alongside Louisville, KY emcee, BIGLARRY and SeKwence rhyme of their “Cloud Walker” highs as the horn-looped production of gorgeonstars switches up as the hook comes in. SeKwence brings in guests Haze, from Massachusetts and Cherry Hill, N.J.’s own Barry Marrow vividly depict “Another Day.” KillerKane‘s “Sink Or Swim Interlude” has a lo-fi feel with warped vocals samples perfectly sequenced. The last few tracks emit mellow emotions of what we leave behind in life beginning with “Gone/Carry On” assisted by Lincoln, Nebraska’s Sleep Sinatra. Producer Promise ends the album on a smooth note as SeKwence wants everyone to know of his awakening, while leaving most of the negative parts of life to a minimum in “Beam Me Up.”
There is no denying that SeKwence’s voice and lyrics candidly portray his life and memories over an array of quality production throughout Lake Water. These elements all show that Centre, AL and SeKwence are synonymous. The sequence (SeKwence) of tracks is well-thought out as it plays through. Its clear that there was an intention on creating a cohesive project, full of personal narratives and insight into his life and emotions. SeKwence shares his ups and downs in life over an album captured like the chapters of a book. However, this book has not yet reached its final chapter, with still more to come.
Listen to Lake Water here:
Watch out for snakes and keep your circle tight! UK’s Hobgoblin and Baltimore’s Jamil Honesty are back with the first single off their highly anticipated sequel to Martyr Musik. “Reptiles” features MAV and Pure joining Jamil on the lyrical tirade. The 3 emcees come correct, and eradicate any reptilian species over a classic loop, delivered crystal clear from Hobgoblin.
Check the track here and stay tuned for Martyr Musik 2, coming soon:
Skunkz lets us in on a midnight smoke session in the visuals for 1911. The beat, provided by J-Es, sports contrasting piano loops and stuttering snares as Skunkz unleashes a fury of rhymes with no hook. The video, directed by Tucker Deslauriers shows Skunkz posted up in the dark, burning one as a flashlight shines around the room. Skunkz spits with ferocity and intent, never seeming to ease up on the gas. The Dorchester, Mass-bred, west coast dwelling emcee has recently shown that same laser focus on developing his craft. There’s a hunger in his voice and in his work ethic and it’s evident in his latest music, brimming with authenticity and sincerity. Although this is just a single, the self-produced Skunkz Ft Skunkz album is dropping the end of February so stay tuned for more heat from Skunkz.
Words by D.L. Chandler
The modern age of Hip-Hop, in short, doesn’t possess a so-called “traditional” sound any longer due to various sub-genres and sounds that hold weight today. Still, the style of old has reemerged in recent times and is exhibited well in the latest release from Brooklyn rapper Rim and his ALGORYTHYMS project.
Some might know Rim from his group Da Villins alongside Villin P, and for their collaborations and connections with the late, great Sean Price. The same street grittiness that Price was known for informs the music of Rim, and New Jersey’s ILL Tal, who offers Rim a varied platter of production for his menacing bars.
ALGORYTHYMS opens with “INTRO” and immediately, Rim launches into an intense bar assault atop ILL Tal‘s haunting track, serving as a perfect backdrop for the jux or the handoff. Rim’s bars go until the end of the beat, fading out, with Rim still spitting. Next up, “SMDH” brings his brother Villin P on the assist, and the pair sound not only in sync but at home with ILL Tal orchestrating the sonics.
Harkening back to the jazz-tinged production of the 1990s, “SPEAKER PLAY,” Rim proves that he has more in his rap arsenal than just hard bars. Rim’s flow and tone almost melt the mic behind the mix of the snap, crackle, and pop of the dusty loop ILL Tal utilizes. To this point, “SPEAKER PLAY” employs perhaps the album’s most memorable hook, ending with an interlude featuring a soundbyte explaining the concept of an algorithm.
“CON JOB” is another shift in sound for ILL Tal and features the talented and slept-on Maffew Ragazino, who delivers a scene-stealing cameo on one of the standout tracks on ALGORYTHYMS, although Rim most certainly holds more than his own here, as well. There isn’t much of a concept present on the album, but that doesn’t mean that the bars are without their gems. Rim’s Brownsville, Brooklyn pride and unwavering confidence sell the project and ILL Tal ‘s versatility as a producer is beyond worthwhile.
In all, ALGORYTHYMS is a reminder that little is needed in Hip-Hop beyond strong beats, sharp rhymes, and a sincere delivery of that package. If Rim and ILL Tal decide to tap in once again, it would brighten the listening experience to learn more about them personally or perhaps to reveal a touch of vulnerability. As it stands, what needs to be known and understood is that this project is worth the spin.
The album is available to purchase here:
https://davillins.bandcamp.com/album/algorythyms
Or to stream here:
By Alex P80 Parks
From it’s Latin origin, Carpe Noctem translates to “Seize the Night”. Producer Big Ghost Ltd, known for his own mysterious ways, calls upon his fellow night riders and nocturnal deviants to form a super emcee team to maintain stronghold of the indie rap underworld.
Big Ghost:
“The project is called Carpe Noctem, as well as the unofficial group collective name. Originally it was The Big East.”
The Core Squad: undergound elites like Daniel Son, Ty Farris, Al Divino all check-in for a verse (Crimeapple has 2 guest spots) and definitely bring their A-game, but it’s the main group that Big Ghost uses in different formations throughout the album. The grizzled veteran, Estee Nack brings his multitude of rhyme schemes and crazy imagery, Rigz delivers his slick nasally drawl, Mooch weaves crack tales with his smoked out high register, Recognize Ali reigns down with his confident raspy flow, Rome Streetz provides the creative street wordplay, Rahiem Supreme brings his smooth flow, and Asun Eastwood comes with his brash, no nonsense attitude. Big Ghost has put together an all-star posse album, not just a compilation project.
Big Ghost:
“I actually really had a vision to bring all the nicest underground artists together on some supergroup shit. This roster changed a few times. Different circumstances forced me to stay on my toes. One straight up had no interest..one lost interest.. one made up wack ass excuses. I hold no ill will towards the first two.”
On “Murder at The opera” Big Ghost lays an aptly-placed high octave vocal loop that flutters into the stratosphere as the low end rumbles throughout the track. Estee Nack opens it up with murderous lines while Crimeapple closes it out with his creatively humorous punchlines. On “Goon Ettiquette” the emcees spit fierce bars over Big Ghost’s subtle guitar loops and elegant percussion. The beat switches up to a murder mystery with resonating xylo notes as Rec Ali drops his focused verse. With a smooth bass groove, and delicate touches as a nod to those gone, Mooch sets it off on “The Elegy,” with Rahiem bringing the poignant hook. On “Fake my Death” Big Ghost provides a mix of swirling strings, a funky guitar riff and rolling drums. As Nack unloads a clip, the beat unfolds into “Paper Plane Lords” where we hear Nack resume, as the tracks blend flawlessly into one another.
“Gladiator School.” Features Rigz and Mooch , Rome Streetz, Asun Eastwood, Rahiem Supreme, Recognize Ali, Estee Nack, Daniel Son, Ty Farris and Lukey Cage, this joint certainly showcases the individual talents and differing flows of each of these emcees. Big Ghost brings his large production consisting of eerie resonating synths organs, sliding guitar effects and plenty of booming drums throughout. Lukey Cage closes it out with his usual comedic insight, reminding heads that “Nobody ever wanted to be Pookie.”
Check out “Gladiator School” here:
https://m.soundcloud.com/bigghostltd/carpe-noctem-gladiator-school
“Benghazi Emporium” features Al Divino, Estee Nack and Rahiem Supreme over scattering, sputtering flutes and a sawing guitar. Divino sets it off as he stutter steps with his slurry street slang. Nack delivers rapid fire bars as he tiptoes over the beat, while Rahiem comes through with the fly, luxurious imagery to close it out.
Check out the track on SoundCloud here:
“Clyde Frazier Minks,” features Crimeapple, Estee Nack, Recognize Ali, Rahiem Supreme, Asun Eastwood, Rome Streetz, Rigz and Mooch. Big Ghost brings the distorted instrumentals on this banger, with swirling synth effects, twisted guitar notes and tumbling drums. The beat switches a couple times throughout, using some subtle digi effects, while leaving plenty of space for the emcees to all do their own fly maneuvers on the beat.
Check out “Clyde Frazier Minks” here:
https://m.soundcloud.com/bigghostltd/carpe-noctem-clyde-frazier-minks
Mooch and Rigz keep it amongst Da Cloth on “Hate to Love” over high keyboard synth notes. With “Bricks in the Futon” Big Ghost lays down the dooming vocal choral loop, ominous bells ringing in the distance and a buzzing guitar note as Asun, Rec Ali, Mooch, Rigz and Rome all float on this drumless track.
DRHH: Do you find that you seek out some of these “underground” emcees as emerging artists gaining steam? Like, are you conscious of that and focus on that? I think of all the artists you’ve worked with: Hus, Vic, Ankh, Crime, obviously Griselda, now Rigz and Mooch, etc
Big Ghost:
“Yeaaaa.. I definitely try to catch em early before they got a lot of work out. I’m not really tryna help nobody drop album number 47… And it depends on the artist. But I also start a lot of the process outside of the public eye. I had hit a lot of those artists a year or two before we finished a project. For Carpe Noctem even.”
The album plays seamlessly from track to track even with the hilarious Lukey Cage skit god interludes thrown in. Cage closes out the album with his interpretation of the underground genre, claiming that the underground isn’t what it once was, but has transformed into an open-ended abyss.
DRHH: At the end of Carpe Noctem, on “The Abyss,” Lukey talks about the change and the evolution of the underground genre.. What are your thoughts on that?
Big Ghost:
“I think its like he said.. The underground…like the real bottomless underground.. not the struggling mfs who try to make palatable mainstream shit and happen to languish in the ocean of unlistenable mediocrity they deserve to remain in forever… the actual underground that drives this culture and compels moguls like Hov and Eminem to get they hands dirty and pay attention… For the first time since like 36 Chambers that real raw uncompromising hip hop is creating waves and getting respected by everybody. So now you can come straight from that and continue to do what you do how you been doing it.. except now you might have a machine behind you. Uncompromising shit. The only issue might be samples. But like Griselda proved…there can be ways around that too.”
Big Ghost Ltd pulls together a Big East, All-Conference team on Carpe Noctem, full of hard-hitting drums, resonating synths and sharp lyrics from some of the game’s top spitters. Creeping up from the dark abyss of the underground into the night, the Carpe Noctem collective shines brightly.
Check for the album out available here:
Deeply Rooted HipHop 