Lauryn Hill "The Miseducation Of Lauryn Hill" (1998)

 

As thee lone solo release by rapper slash actress Lauryn Hill, Miseducation's reputation has been cemented by time as a remarkable mic drop. After life in movies and The Fugees, this smash record solidified her reputation. Subsequently withdrawing from the limelight, this remains as her lasting legacy and a record I've been criminally slow to get around too. Doo Wop & Everything Is Everything still stir feelings and memories fresh from my preteen years, a period before the roots of what I adore today was established. Similar to my experience of Puff Daddy's No Way Out, this was an opportunity to step into an alternate past had I gravitated to it at the time.

My nostalgia could have set high expectations but I took this one at face value, for how it felt today. This may explain my lack of affinity with the critical acclaim bestowed upon its meaty eight minutes. Most songs hit the five minute mark with solid Hip Hop beats, embellished by Jazz, Funk & Soul alike instrumental performances to liven up its loops. Sadly, a fair portion of tracks leaned into a dreary sombre tones, reflecting on life's struggles with gospel hardship vibrating on moody expressions. That's not to say these R&B grooves aren't beautiful or stunning in their heavy presence, just a personal mismatch I failed to indulge upon, despite Lauryn's exquisite singing voice.

Early on in the record, we get a few harder cuts. Rugged beats, record scratches and Lauryn pivoting to her raw rapping persona. Delivering tight rhymes with lyrical depth on a firm masculine cadence. Her narratives are mightily written, holding attention for a whole song on her own. That substantive depth is present throughout. Something about her raps cuts the mood, putting them front and center, unable to avert.

Miseducation is also interwoven with two other aspects. Love and a musical tapestry. With interludes between songs, seemingly a teacher talking to a classroom about love, Lauryn seems to grappling with a personal story through this externalization as the students discuss various aspects of the four letter word. The musical tapestry comes with some welcome Wu-Tang samples but also timely lifts of samples, grooves and chorused from well known songs. It gives the whole expression a sense of roots into other artists works. A nice sentiment she pulls of a touch of class.

In conclusion, my many repetitions did not warm me up to the majority of its R&B moods. They dominated its tone despite a healthy variety of textures stretching from Spanish guitar to Gospel church organs. Lauryn herself an impressive creative force, both in the musical arrangements and as a performer, showing off much tenderness in her voice with a strong philosophy of mind backing her personal direction. Well worth the time but not quite a classic for me sadly. Maybe if discovered back in the nineties at an impressionable time, this could have been quite different.

Rating: 7/10

The Gathering "How To Measure A Planet?" (1998)

 

On their third outing with the classic lineup, a firm end to metallic components is all to apparent, The Gathering drop both song style and distortion guitars in favor of dirty overdriven tones, progressing into the morose side of their known melancholy. Echos of former selves are heard, if only glimmers of ethereal acoustic arrangements once toyed with, withdrawn sluggish tempos dominate its dreary limp temperament.

Anneke's youthful vitality is sullen by a moody, downtrodden presence, her charmed voice skewed by inescapable sombre sorrows. Paired with steely bleak guitars chords and dull, muted baselines, forays of strange electronic textures and distortion noise further extenuates an inescapable wearisome. Songs do swell, blooming in measured builds ups, only to collapse back into these pale atmospheres wearily conjured.

Its clear I've not been wooed. Despite a glowing reputation, this progression stole what I adored and replaced it with little excitable. A meaty double record duration further emphasized the dullness I couldn't escape. Even on Liberty Bell, its most energized song, the zapping synths rustle my dissatisfaction to grandiose Alternative guitar chords that don't deliver on intentions. It seems its clearly defined chemistry s lost on me, perhaps a result of its mournful spirit that seems tinged on a unidentifiable sadness.

Rating: 5/10

Snoop Dogg "Da Game Is To Be Sold, Not To Be Told" (1998)

 

In my youth, this one caught my attention with its overt, unabashed use of 90s Photoshop aesthetics. The then trendy Pen & Pixel Graphics covers are certainly eye catching. At the time, I cared little for the music but since learning of Master P and No Limit Record, my interest is renewed. Snoop was keen to exit Death Row Records, as many of its artists were. He found home and friendship down south, No Limit records taking him in with a warm embrace. The result? Essentially a creative low point for the legend as he is rotated into the album production line at the peak of cultural relevance before a sharp decline in the years to come. Despite going double platinum, this ain't one to be remembered but within a couple notes of interest make themselves known.

No surprises, features from the No Limit crew are in abundance churning out the raps. Produced by Beats by the Pound, the aesthetic, tone and No Limit cliches dominate the narrative. I'm fond of the occasional beat but for the most part, this is ruggedly rushed, now dated and simplistic music, lacking sparks beyond a routine music creation system. A couple tracks try to recreate classic G-Funk grooves. Gin And Juice II & Still A G Thing whimper from the shadows of game changing anthems yet do have a compelling knack to them, mostly driven by Snoop's persona.

 Snoop is a raw adaptation with this crew, his often near spoken word, snide flows and crude lyrics rarely bloom beyond shallow showboating. His identity as slick and cool as ever yet the gangster oriented stance affirming and general vulgarities become a tire quickly. The hooks and chorus are all too casual to get in deep across a massive twenty one songs on a typically bloated, 80 minute CD filling project, the No Limit way!

There is one blemished jewel to be found however. DP Gangster has Snoop and C-Murder resurrecting an N.W.A classic, reinterpretating the beats and flows of Gangster Gangster. Its essentially a cover, a re-imagination, something that seems to be a no-no in Hip Hop, yet I thought it was a delight. I'd love to hear more artists taking on old tracks, giving them a different spin! Anyways, I knew this was going to be disappointing but with curiosity leading the way, I had a bit of fun!

Rating: 4/10

Old Man's Child "Ill-Natured Spiritual Invasion" (1998)

 

If Galder is known for treading in the shadows of his comrades at Dimmu Borgir, then on this instance it occurs to me the influences may of exchanged direction. Still getting to grips with the modern Symphonic Black Metal aesthetic of Enthrone Darkness Triumphant, this third Ill-Natured Spiritual Invasion delves into fantastical, majestic synths spun in an "evil" tone. Its the spurious ruptures of swift, darkly piano melodies that has a distinct kinship to Spirtual Black Dimensions, my all time favorite album.

Predating it by a year, there are certainly ideas at play here that may have given inspiration. Either way, Ill-Natured Spiritual Invasion is a cohesive step on from The Pagan Prosperity. Galder fine tunes his approach to melody and groove for a thrashier beast, hell bent on a darker, sinister tones as his previous themes of Medieval might and magic give way to evil, darkness and Satan himself. Its deathly cheesy and all to be taken with a pinch of salt. His cries of "I worship the devil and I am the antichrist" on Demoniacal Possession are all to overt and silly for any actual musical weight.

Fortunately he is a talented composer and this refined approach to song writing pulls together his ideas well. With a meatier rhythm guitar dropping back to focus on power chord foundations, the lively lead guitar and bold Casio/Korg style keyboards get a balanced roll in shaping the albums melodic sound. Despite being dark in nature, his brazen melody style gives the whole experience a constant stream of color, as one tune bounces to the next with the occasional eruption of big moshable riffs.

For all its merits, the peaks and valleys are closer together. A fun experience, easy to engage with but lacking in exceptional tracks. Wedged in the middle, Fall Of Man and Captives Of Humanity have always been the highlight. The first is a competent stride by the synths into a dark dungeon atmosphere. The second brings a roar of sea bearing, swash buckling melody, brought on by a great opening instrumental symphonic section, Strongly reminiscent of Stormlord, who I am yet to write on.

 Ill-Natured Spiritual Invasion is decent but had the potential to be greater. Galder really progresses the cohesion on the production front as gives a unified sound a go however at thirty five minutes, short fo the times, it seems he may have been lacking in depth as its last two songs tend to whimper out on recycled ideas.

Rating: 6/10

Dimmu Borgir "Godless Savage Garden" (1998)

In the imaginative realms of "what could of been", Godless Savage Garden always haunts me with its utterly majestic, fantastical offerings. One can only dream of what a full length may have sounded like. Wedged between Enthrone Darkness Triumphant and Spiritual Black Dimensions, the two original songs of this mini-album are remarkable. Both in tone and composure, its slower pacing, drenched in esoteric symphony, the dynamic and spiritually memorizing guitar solos of Astennu. It all marks a band advancing boldly into new territory. Although recorded in the ETD sessions, to my ear they lean towards my all time favorite record, SBD.

Chaos Without Prophecy is an utter delight, its slow beefy power chords and altering drum intensities let the synths set a darkly atmosphere. Shagrath storms in with phenomenal screams on the back of bouncy guitar riffs, resonating with a glorious bell chime. In its lengthy seven minute duration, the back end of the track embarks into a slow brooding drudgery of mysterious intent. Its haunting, creepy and rife with witchery. Moonchild Domain has a comparatively upbeat tone, more of a colorful voyage through dark arts and cryptic magics as the ride is punctuated by glorious pianos and bursts of lead guitar. The drums its housed in batter hard at times with big pedal grooves and lots of complimenting intensities. This all leads to a gratifying guitar solo, blazed by Astennu and his ponderous nightly character.

The other tracks consist of two fine re-recordings from For All Tid. They do an inspired repurposing of the bands once glum and odd atmosphere to this mighty powerhouse sound of rocking Metal and satanic darkness. A cover of Metal Heart by Accept plays a fantastic tribute to their influences. Although the song is not their own, parts of it feel very fitting for Dimmu. Beyond lies live recordings. Not in the greatest fidelity, they are a fun insight to the live experience but sadly feel like filler. Perhaps plundered around obligations to release a record.

As described, Godless Savage Garden brings two of Dimmu's finest songs at the crossroads between records. The particular spirit they share is defined enough to create a glimpse of something special that could of taken place. Maybe in another universe. Who knows. Anyways, I think that about raps up my tangent back into the origins of the band for now. Someday I will get around to the other three or so records I'm yet to cover on this blog. I look forward to it!

Rating: 8/10

Covenant "Nexus Polaris" (1998)

From The Kovenant to Covenant, as we roll the years back you undoubtedly noticed the change in name. This is down to a dispute with an equally named Swedish EDM artist who won the usage rights. Upon their next effort, that transition was made alongside a rebranding in image and presentation. Nexus Polaris, the groups sophomore effort, would then be re-released under the new and handy renaming. Interestingly their debut would receive an peculiar re-recording that attempts to shed the original music of its genre cast tone and rewrite much of the synths to try and capture the genius that first erupted here. Perhaps the magic was in that original record but this is the moment where a unique brilliance emerged from the cast mold of the then young Symphonic Black Metal sound.

As hinted at, the magic lies in a more elaborate sense of what the symphony could be, similar to Arcturus on paper, yet arriving with a different alien personality. The records eight tracks blaze with the roar and bite of ferocious Black Metal, mostly propelled by the rumbling barrage of Hellhammer's legendary percussive style. He debuts with the band here, unleashing his busying three arm style to propel the aggressive side with a dense layering of drum and cymbal strikes. Alongside him the vocals too deliver howling and wretched screams atypical of the genre but most notable is Lex Icon's withdrawing to a snarling throaty growling of his cosmic unworldly lyrics. This toned down temperament aids the balance of extremity and musicality the songs exude.

Snugly fit between the battering drums and gleaming synth work sit these subtle distortion guitars tinged by a Thrash Metal pacing. Arriving with melodic inflections and the occasional blistering guitar solo, they act a keen bridge between forces, the unifying element to give rise to the symphonic theme and anchor the aesthetic in aggression. Rarely are they the main focus but every riff chugs away choppy rhythms and grooves to see the theatrics on there way.

Front and center is the symphonic aspect. Where the genres artists once mirrored the general direction of their darkly music with gloomy and majestic Casio keyboard tones, Covenant strode to bring a cinematic experience. The awe and wonder can be felt in an instant, as The Sulphar Feast warms up with its shimmering acoustic guitars and it plunges into blast beats, Sarah Jezebel Deva, once of Cradle Of Filth, lends her wicked voice with an operatic presence that signifies much of the compositional genius to come. Rather than complimenting tonal aesthetics, the keys take charge as the lead direction of these thematic songs, often tinged with a carnival flavoring.

 Along the journey many keyboard instrument sounds feature, from the expectant choral synth tones to bright pianos and even an accordion on one song. It orchestrates wonderfully with an astral sense of wonder and touch of madness to tie it keenly to its extreme delivery. Its keen writing that packages big themes into simple repetitious melodies rolled off one another to keep that galactic sense of scale. Also featuring a few "electronic" tones in brief stints it does signify where the band may go but in this instant sits with me as a wondrous piece of music its hard to find fault with.

Its been such a long time this record has been with me, blowing the dust off again the magic hasn't weathered a fraction. Appreciating it once again I am particularly fond of Chariots Of Thunder, the first from the album I heard. The song has a leveling of elements as all its instruments feel integral to one another where the rest of the record dove heavily into its wonderfully bizarre and cosmic orchestration. Its a fair temperament to close on and always gives me an emotional stiring that the end of a powerful movie might do. I love it, a true classic!

Rating: 10/10

Xzibit "40 Dayz & 40 Nightz" (1998)

Ive seen this sophomore record of the famed West Coast rapper Xzibit often hailed as his best work. My adventure into these eighteen tracks has been both fun and insightful. It would seem there is a significant tone heard in mood and production style that would be a precursor to Dr. Dre's masterful 2001 and Eminem's generation defining Marshall Mathers LP. Released a year earlier there is a undeniable stylistic similarity. 3 Card Moly would slip easily into 2001without the blink of an eye!

The only apparent link is Mel-Man who handles production on Los Angeles Times, a stand out track with a crunking groove and sparse bassline for X to bounce his rhymes off. Sir Jinz, Xzibit himself and a few others put together the rest of the songs. Given their worlds would collide over the next few years, I'd never thought it was mister X to the Z with the apparent weight of influence on that era that helped define my youth.

Onto the album itself, X is far more pronounced and assertive than his previous effort. His aggressive energy is channeled into his flow well, making for explosive strings of rhymes that click with the beat. Nobody Sounds Like Me's opening verse a great example of stars aligning. Bringing on a helping of guests keeps the records pace interesting but its not all gold. A disappointing feature from Method Man on Pussy Pop pulls together a disposable track with a flimsy hook from the Wu-Tang legend.

Xzibit can't help but let a little of his humorous nature through. Ironic rhymes, amusing interludes and bizarre tracks like Shroomz crop up for relief in places. He also has a very serious side too, not shy of addressing topics often challenged in conscious Hip Hop music. His story telling is elevated too, Inside Job is a brilliant word by word ride of a high stakes incident playing out through his swift rhyming. Vivid song!

One of my favorite track has to be Let It Rain, bringing together again his liquid crew for everyone to run through with a series of solid verses. Its got such a fun groove and vibe to it and summarizes my overall experience, its a really fun record that doesn't get too deep into any of the variety it offers. The main surprise was the similarity with musical landmarks yet too come. Xzibit is a talent but even on his "classic" work I don't feel like we see the best of him.

Favorite Tracks: 3 Card Molly, What U See Is What U Get, Nobody Sound Like Me, Focus, Los Angeles Times, Inside Job, Let It Rain

Rating: 7/10

Fatboy Slim "You've Come A Long Way, Baby" (1998)

This record has been my recent obsession, revisiting one of the very first albums of my youth, a time when I started to develop an affinity for music. It was just before the massive singles Praise You and Right Here, Right Now were to take off. The latter is still a staple song at sports events over twenty years on. Norman Cook, aka Fatboy Slim broke ground with this, his sophomore record and thrust the emerging Big Beat sound onto the masses alongside acts like The Prodigy and Basement Jaxx. It's not just this record alone I've enjoyed, digging around on the genre has really scratched an itch for the break beat eccentric sound that was all to short lived.

The sound is lively, its energy grooving and this hour of music slams through stitching of samples that still feel massive all these years later. Pushing the limits, Norman's ear for beats flirts with the harsher, almost Industrial breaks. The percussion is very involved, textured and layered as the drums stack up. Its dense, heavy and a key component that plays the line well, never going to the extreme. Alongside this back bone, Norman lines the songs with obscure sampling, flourishes of electronic melody and best of all an abuse of vocal snippets on high repetition which he manipulates with a variety of effects. A subtle genre bending flows throughout as its source samples bring a range of vibes together under its power percussive persuasion.

Powering its way through its breaks, the album pivots at the end as the colorful, piano led and toned down Praise You transitions us into the final two songs. They are built up with fresh Tencho melodies on its own electronic synthesizers. The slamming beats and drum grooves still accompany but these two tracks stand out by composition as they don't pivot around a core sample, freeing the music up to more progressive structures that move through some dramatic phases and layering. Its organic, less constricted as the electronic instruments open up to more masterful manipulation.

This actually speaks to one of the records downsides, not a major issue but something that does tire after many listens. With a repetitive nature at its core, the draw backs of sampling and great chemistry can get stuck on how to add variety and progression to the music when trying to break out of the verse chorus mold. This manifests into speeding up, slowing down, a lot of tempo phasing and rapid sample repetition. Of course obnoxious snare drum riffling fires off too, that usually links back into the main beat with a little spice thrown on top. It is perhaps emerging production techniques of the time being over utilized and thus now sounding a little dated. The execution on Kalifornia however is stunning, both its build ups lead to booming amped up breaks.

All these years later its still fantastic but as an album It fails to feel like more than the sum of its parts. Its not to say there are any stinkers or songs holding it back but as an execution of the Big Beat concept, it feels very much like the best experiments have been plucked from the crop, lumped together and polished to shine. There is no doubt to the longevity of its singles however, still a common one to hear on radio and television as its woven itself into the cultural British fabric. Its a fun record that jumps all over the place with that powerful percussion holding it all together. Adoring this sound at the moment, I think I need to dive deeper into this yet another 90s sound.

Favorite Tracks: Right Here Right Now, The Rockafeller Skank, Build It Up Tear It Down, Kalifornia, Love Island, Acid 8000
Rating: 8/10

Bolt Thrower "Mercenary" (1998)

I was vaguely aware of the now retired Bolt Thrower from Coventry England. Somehow I had it in mind that they were a Power Metal outfit? Well Bæst and their cover of No Guts, No Glory turned me onto this record and oh boy have I enjoyed it! Mercenary is a moderately simple yet very effective riff led expedition into a torrent of punishing mid tempo grooves. The band's sound borders Death, Thrash and Groove Metal, mostly the first. Its a melting pot of styles swaying between cruising low end melodies and surges of muscular guitar work with momentous persuasion.

The production is admittedly a hurdle to pass, requiring volume as its thick, dense guitars bleed into the consciousness. Its a tad muddy and monotone but serves its purpose as the groove and grind gets to resonate through this burly heaving sound. The drums plays a fantastic roll in illuminating the rhythm guitar, often hammering out steady grooves that pivot to alternates, making the same riff bounce with a renewed energy. Its not flashy and certainly doesn't overbear with blast beats and the like. They simply guide everything along its path with a powerful and effective chemistry.

Like an inconsequential layer of gruesome sound, Karl Willetts shouts his meaty groans and growls with a brutish demeanor. Its a rather atypical guttural performance that rarely breaks stride. It adds little to the music other than a reinforcement of variation over the looping riffs below him. I could take it or leave it. Given the discernible nature of the 90s Death Metal vocal style there was little of the war themed lyrics that came across with any solidity. Some of the easier understood hooks had rhyme and reason to them, especially on the aforementioned No Guts, No Glory.

The best aspect of Mercenary are the riffs, an arsenal of power chords, chugging grooves, low string grinding all spliced with darkly melodies to forge a riveting atmosphere. Its heavy on repetition with short bars being looped, the drums helping them along as the patterns often pivot to revitalize. The heavy is momentous and crushing, the melodies dark and foreboding and their pace moving together is perfect for that infectious head banging a metal head loves. Its the sort of Death Metal I enjoy most, not strictly but with a spice of other sounds. Great record, gotta check out more!

Rating: 7/10

Strapping Young Lad "No Sleep Till Bedtime" (1998)

I thought I might pass this record by as I often do with live albums but seeing the the additional two tracks left over from Heavy As A Really Thing, I figured why not? Pretty swiftly was I reminded of how brilliant live recordings can be. It kicks off on a sweet note as Devin sings us into the madness with a choral arrangement to lead into the opening two from City. Its as vibrant and vivid as the studio records. The guitars, drums, bass and vocals have an exuberant energy, making a ferocious racket! Their performance is swell and behind them a dense layer of synths and industrial aesthetics seem firmly intact, probably the same tracks lifted from the studio. Its hard to imagine that level of nuance and required cohesion working in the live setting.

Our god Devin Townsend's singing is phenomenal. Now a lone voice without production magic at his aid, his fierce screams, leaping roars, soaring cries and immaculate clean singing feels both immediate and necessary as the performance drags you into the heart of the emotional experience he draws from. As the show progresses Devin never tires and between songs when talking to the crowd his comedic nature and ridicule of the spectacle shows fondly with humorous lines and jokes for the crowd. Its most so on Far Beyond Metal, a track from The New Black I forgot used to be a live only track. It is the least Lad sounding of all but clearly more suited for them than his solo material and a vessel for his cheese.

After a riveting seven songs it ends with that song as the tape runs out. A fade out without talk of goodbyes and audience cheers is a bummer but it would been more of a shame to of ruled out the release of this excellent live set. To fill the void Japan and Centipede revere their heads as songs clearly a peg lower on the frenetic, chaotic scale that Dev rammed to the max with the first SYL record. Both are sprawling atmospheric types that subvert their bombastic riffs and sustain a sense of heightened atmosphere. Centipede is the chunkier of the two with a bigger guitar presence and moments of elevated intensity but they both suffer from poor quality as static and peak clipping plagues the crowded moments. Its not too much of a bother, so overall its a really great listen for any SYL fan! Shame the live show was cut short.

Rating: 7/10

Gothmog "Medival Journeys" (1998)

Continuing our exploration of the dark and dingy Dungeon Synth realms, I found this solo record by Ral, one half of the German Depressive Silence duo. Working under the moniker Gothmog, an Orcish creature from the JRR Tolkien realm, Ral brings us this cassette release limited to 300 copies, that makes a firm shift in direction from previous ambitions. Its cheep and cheesy Casio synth tones are a fond reminder of Lord Lovidicus's Trolldom but despite the Lord Of The Rings inspired name there are no hints of this being an early example of Tolkien inspired Dungeon Synth.

It does however have all the hallmarks of that classic sound. Bold, punchy and dated synth tones work their charm through the mysterious nostalgia of low fidelity recordings harboring a stream of fantasy melodies. The music often drifts into calmer settings as it gets going with bells and flutes sprinkling some charm over otherwise gloomy organs than dominate the undertone, giving it some pull to the dark side but mostly Medival Journeys is humble, pleasant at times dreamy and mysterious... And yes it is misspelled!

 The varying quality of the tracks makes for an interesting listen, the atmosphere doesn't shift to far but its fidelity sways when bright acoustic pianos punch in fiery chords and choppy melodies over energetic string sections, it can get a touch blurry. With frequent progressions and shifts in the pallet of instruments the music is continually engaging and its final proper track Night Passion includes some rather plastic, vibrant Synthpop tones to great effect, alluring to the Depressive Silence style.

The inclusion of a bonus track before the outro is a poor decision. Its opening notes don't prepare you for the dirty, gritty and completely muddy snarls that are about to drop in. After a few minutes the already weak song starts to mess around with a very peculiar phased distortion sound that buries what sounds like gothic chants. It grows in presence and starts to sound like a guitar but more so a wreckage as more ugly, filthy screams groan in dissonance. Its a poorly executed song that butchers the balance of fidelity and sours the ending of an otherwise solid listening experience... The outro track, just a minute long is fantastic tho.

Rating: 6/10

Equilibrium "Farenheit 813" (1998)

How did I find this obscure 7" vinyl release? I can barely remember, it was over a decade ago I first heard the Florida trio Equilibrium and found a download on some random, probably now defunct website but the reason I'm writing today is because another record I'm currently enjoying has a voice vaguely reminiscent if not matured and grown up. Then in the middle of a verse reciting his history over the years, rapper Celph Titled drops the name Equilibrium and it all clicks into place!

This four track release comprising of three unique songs and a remix is no gem but it is a fun release with a distinct 90s character that a pair of youthful rappers put there mark on. With young voices and enthusiastic attitudes they bring a plethora of smart, clever rhymes that may not rise to the top but you can certainly commend them and get behind their passion on the mic. The track Windows 98 embodies the charm of their inexperience as they string together all sorts of computer hardware and operating system references into a nonsensical narrative based around the latest OS of the time. The beat made from system sounds is a fantastic touch too.

The other two songs pair bombastic beats with lively samples as the duo rap impressive strings of rhymes with a snappy pace, clever rhyme schemes and intelligent word play. Critical Conditions dives deep into paranoia and government conspiracy theories that makes for an entertaining theme. The remix of that track uses the opening sample of Nancy Wilson's famous Ain't No Sunshine, a classic sample Ive heard used by Method Man & Redman, M.O.P & Lords Of The Underground to name a few. Farenheit 813 is a short but sweet record Ive enjoyed many, many times over the years, a fun listen for a Hip Hop fan.

Rating: 7/10

DMX "It's Dark And Hell Is Hot" (1998)

After starting with DMX's sophomore record "Flesh Of My Flesh, Blood Of My Blood" we rewind to his debut released earlier the same year. Its widely regarded as his best, a commonality for Hip Hop debuts. Hearing X's wild and ferocious flow for the first time would certainly give listeners a strong attachment to this record but Its the records production and beats that give it more juice, not to mention the banging "Ruff Ryders' Anthem" kicking off the album and X's debut track "Get At Me Dog" beefing up the track listing with two of his best. They both showcase two sides to this record caught between the early and late 90s sounds, some sampling oriented beats and a lot of programmed instrumentals.

The album really comes into its own with "X Is Coming", a dark and harrowing song where X says some very sketchy things in the name of blowing up his persona and extremities of his rap style. It introduces slick drum arrangements with mafioso string sections, creating an air of powerful, menacing criminality. The following "Damien" introduces a character who features on the following record. Its a narration between X and his thoughts, or better yet the evil voice in his mind that leads him to bad places and situations. He gives Damien his own voice, a hazel, high pitched inflection that has the tone for malicious intent and we follow the two talking back and forth in conversation.

Between his vibrant WHAT!s, alarming barks and menacing growls, X's flow is energetic and easy to follow. The words roll effortless and come at a hyped pace. He's more impressive with the energy he gives and the knack for fiery hooks than his lyrical word play. A notable trait is to change the tone of his voice when shifting back and forth in the narrative. His story telling is fluid, blunt and raw, sound effects of screams and sirens painting a hellish criminal vision on the cinematic "ATF".

Hes no wordsmith but its the unleashed, unfiltered character that really sells it and with the nefarious instrumentals the elements feel in the right place on this record although its production is a little mixed in the beginning. There's a cover of Phill Collins' "In The Air Tonight" which is a very memorable re-imagining of Phill's timeless hit. As great as this record is, I do feel like X could deliver a little more, hes got such a great style but his lyrics fall flat when unfocused and drifting into foul mouthed, violent braggadocio. Either way I loved this record, I'm sure it will grow on me more with time.

Rating: 7/10

Favorite Songs: Ruff Ryders' Anthem, Get At Me Dog, X Is Coming, "Damien", Stop Being Greedy, ATF, For My Dogs, I Can Feel It

DMX "Flesh Of My Flesh, Blood Of My Blood" (1998)

I don't know why DMX never sparked my interest before. From 98 to 03 the New York rapper killed it with a string of five records debuting at number one, making him the fifth highest selling Hip Hop artist of all time, of course commercial success doesn't equate to taste. Once again it was youtube suggesting a performance of his at Woodstock 99 that drew me in. Its one of my favorite festivals and I had no idea he performed there. I was blown away by his stage persona, owning every word, flowing and spitting with that wild hype he has on the track. It might be one of the best rap performance out there, rocking a crowd of four hundred thousand without a backup crew, just him and his DJ. I wanted to start at the beginning but a while into this record I realized it was the second of the two he dropped in 98.

"Flesh Of My Flesh, Blood Of My Blood" is a typical industry record of the era, a loaded compact disc with tracks and skits filling the seventy minutes without an over arching concept. Swizz Beats, who made his name with DMX, handles a lot of the production with tight programed percussion and MIDI instruments arrangements. They leave a lot of space for X to flow, just a couple of additional strings and keys looping short melodies over tight thumping bass lines and grooving drum patterns. Its not to crowded, yet packs a punch in the better tracks.

DMX strikes me as a logic step forward from the likes of Tupac in terms of mainstream appeal. He has that crisp, fluid, coherent delivery making for easy following. His tone a little deeper, lyrics nastier and of course brimming with anger and energy that spills out in his legendary wild barks and "what?" background shouts. He even growls like a dog too, its a remarkable, confident burst of energy that sparks up the tracks. With a distinct style X doesn't drop the smartest set of rhymes but with a reasonable vocabulary he has the craft to story tell and walk you through his thoughts, an internal dialog or scenario like a pro. His style elevates on tracks like "Slipin'" where gang life and violence take a backseat to emotions and introspection.

There's a fair bit of mediocrity in the track listing, a few features mix things up, The LOX sound great on these tracks and Marilyn Manson gives a chorus to the dark and gloomy "The Omen". On occasions things gel better and produce banging tracks like the opening "Bring Your Whole Crew", thanks to a wicked hook from "P. Killer". X's personality is loud, pronounced and in your face, he spits like fire and in fairness its a big draw for this record which he carry's a long way. I don't expect this one to hold up as I get used to his discography however it has been a really fun introduction to one of Hip Hops biggest names.

Favorite Tracks: Bring Your Whole Crew, Keep Your Shit The Hardest, Slippin', Flesh Of My Flesh Blood Of My Blood

Rating: 6/10

Mac "Shell Shocked" (1998)

Coming from the No Limit music factory, Mac's "Shell Shocked" is another from the year of 98 when No Limit Records pumped out 23 record from 20 different artists. Going for quantity over quality it would be hard for many of the artists on the hyped label to stand out and Mac is one of those who didn't sell as well at the time but this record is respected as one of the labels best. It's also got the most sensible album cover Ive seen of the over shopped and sometimes tacky southern style.

Its a typical record fitting Master P's formula. 73 minutes of solid beats stretching the format, compact disc, limit. On first listen it felt like Mac was being smothered by other characteristics, being another voice in a large crowd of No Limit artists it was the presence of Master P that seemed over the top with a barrage of over enthusiastic UGHs and Tupac pronunciations, emulating his delivery style and using similar lyrics, best head on "Money Gets" or "Memories". Getting used to Mac's voice I heard solid and steady flow more reminiscent of the east coast sound than southern. His lyrics flowed tight from word to word and sounded best when double tracking or using reverb on particular tracks.

Beats by the pound provided another set of sturdy beats with the typical range of styles and themes expected of this era. "The Game" recycled a beat from Silk's "Aint My Fault", nice to hear, and "Be All You Can Be" uses the classic melody from George Michael's "Careless Whisper", might sound odd but it works. I always enjoy noticing these entities in Rap music, as well as recycling beats the "Tank Dogs" would be reused Silk's "Southside Niggas" along with components to its beat. The records title track has some weak gun sound effects at the end, including the shotgun sound from the classic game Doom! "My Brother" also uses a sample from the eJay music composers that were popular at the time.

These quirks were fun to notice but the most important point is the strength of the beats holding the record from start to end, there maybe a few tracks you'd want to skip if not in the mood but it has what a good record needs and although nothing special happened in the lyrical department it still made for a great listen, one that's continuing the itch for more of Master P's brand of Hip Hop.

Favorite Tracks: Murda Murda Kill Kill, Tank Dogs, Can I Ball, The Game, Memories, Beef, My Brother

Rating: 6/10

Juvenile "400 Degreez" (1998)

Returning to the dirty south again I picked up this record from the Cash Money crew that's been hailed as a classic. Fronted by one of the better heavily shopped covers it has Juvenile surrounded by fire, golden frames and a sprinkling of sparkling diamonds. Coming from New Orleans Juvy brings a weight of localized slang and pronunciation to digest as he spits with a limp, twisting words to his style, moving syllables, slacking on fidelity in favor of a southern rawness. Production is once again handled entirely by Mannie Fresh of Big Tymers who delivers a solid collection of beats with one or two distinct numbers.

The record opens up with a classic track "Ha" that could turn many a listener away with verse after verse of raps with a single rhyme, "Ha". Juvy shows his skills in other tracks but on this one poses a bunch of questions that creates a range of scenarios relevant to his environment. His flow is lethargic, in a laid back way, pronunciation loose and casual while keeping to the tempo. His charm comes from the subtle grooves and tone shifts as his delivery works like an instrument chiming in with the music. His deliveries trump his rhymes time and time again with the exception of "You see me? I eat, sleep, shit and talk rap! You see that 98 Mercedes on TV, I brought that!". Classic opening verse on the title track.

Its a standout track, and its production brings a dark and gritty vibe to an ethereal and spacey chorus as morphed vocals sweep through the spacious atmosphere, saluted with a subtle roll of bells in the mid. The tracks are mostly composed of electronic instruments typical of the era but in the rhythm department the kicks, snares, hi hats and stabs bring a distinct bounce and southern groove. Doubling up on the beat the songs often drop in shuffling hi hats and harsh 4/4 claps onto the beat. Its raw, and sets a president for further experimentation, which would have an influence on Trap music. Overall its a great record but between its better tracks the 72 minutes does feel stretched. Unlike B.G. these Cash Money rappers don't keep me captivated on that side of Hip Hop music as much as the instrumentals do.

Favorite Tracks: Ha, Ghetto Children, Follow Me Now, Welcome 2 Tha Nolia, Back That Azz Up, 400 Degreez

Rating: 7/10

The Lox "Money, Power & Respect" (1998)

The LOX (Living Through eXperience) are an American trio from Yonkers, New York who signed to Bad Boy records in 1995. Impressed with their feature on the track "Last Day" from Biggie's "Life After Death" I decided to check their debut record out which came out the following year. It struck me as a record lost in the flood of records that made up the bling era, but one with substance and character that could stand on its own two feet and still sound great today.

Initially I was a little slow to get into this record. The production comes off as being caught between two eras. The vibes of these tracks fall in line with the styles of the late 90s where money and success was the image most rappers tried to portray, but the sampling, loops and instruments didn't have the clean cut sound and had the rawer early 90s fidelity about them. Across the 21 tracks their are a few great beats, but most of them sit a mark above average, making for a record that does little to offend, but often falls a touch short of being great. Some of the best moments come from the numbers that embrace RnB influences through calmer vibes and harmonious guest vocals that flesh out the choruses and hooks.

The trio of rappers are clearly talented, possibly the best Puff signed alongside Biggie. Each bring a distinctive tone and style but Jadakiss a mark above his counterparts Sheek Louch and Styles P. Puffy's appearance on the record was once again irritating as he makes affirmative remarks in the background of tracks, but its to be expected on Bad Boy. The album is probably a little lengthy at 70 minutes, but it personalty gets better as it progresses, moving away from success oriented, boisterous tracks in the beginning and developing uplifting vibes in the later half. It's an interesting debut that very much fits the mold of the time and comes across as a little disposable but theres some substance to be found here.

Favorite Tracks: Let's Start Rap Over, I Wanna Thank You, Can't Stop Won't Stop, All For The Love, So Right

Rating: 5/10

Outkast "Aquemini" (1998)

Southern Hip Hop duo Outkast are a pair of musicians I'm growing an immense amount of admiration and respect for. I've been impressed with their intelligent approach to Hip Hop, showing strength and maturity with cerebral introspections and social commentaries, combined with charactered production that distinctively sets them aside from other acts. On this record "Aquemini", their third, the duo seem completely in sync with one another. Whether its lyrically, instrumentally, or conceptually, the two deliver a riveting and eloquent experience for the listener on a record thats filled to the brim with fine instrumentals, enticing rapping and an array of cultural interludes that tie the songs together. Good raps and beats is always the formula, but here the two transcend the genre with expressions and themes that create an air of expectational quality reflected in the album covers blaxploitation rendition of the two.

Aquemini is a rich, fluid listen thats stimulating from start to finish. Despite this, its surprising diverse in production, with different themes accompanying the stylish, charactered beats Outkast have put their mark on. "Slump", "West Savannah" & "Spottieottiedopaliscious" feel like throw backs to "Southernplayalisticadillacmuzik", a fair few numbers have the spacious and darker, paranoid instrumentation of "ATLiens" and with songs like "Rosa Parks", "Synthesizer" and "Chonkyfire" the duo break the mold with supreme instrumentals that make use of live instruments like the harmonica, giving them a vibrant edge over the traditional sampling technique. The array of guest musicians contribute purposeful sounds that expand their pallet with guitars, pianos and marching band horns, creating a rich and lasting experience when combined with the sharp and crisp drum machines.

Beyond the illuminating instrumentals the duo deliver solid raps and killer hooks on a thought felt record where every word feels relevant. The themes expand on ATLiens socially conscious commentaries with the heart felt "Da Art Of Storytellin", themes of technological paranoia on "Synthesizer" and the pairs duality on the title track. Most exciting is the delivery which isn't afraid to expand with sung hooks and gospel vocals, in general breaking the monotony with catchy ideas of which all seem to work without fail. It can be felt in the vast array of guest musicians who add a layer and depth to many songs with vocal hooks working in the background behind the raps and the audacity to enhance the flow with layered lines and powerful, yet subtle reverb effects, empowering their rapping voices. I have nothing but praise for this album. Never a dull moment or skipped track, I thoroughly enjoy it in its seventy four minute entirety and can't praise it enough. Although relatively new to me, I can't help but feel I'll call it a classic with time.

Favorite Songs: Rosa Parks, Synthesizer, Slump, Mamacita, Spottieottiedopaliscious, Liberation, Chonkyfire
Rating: 9/10

Napalm Death "Words From The Exit Wound" (1998)

Here we are again with another Napalm Death record to consume and digest. Having recently covered their newest release "Apex Predator - Easy Meat" I continued, based on a recommendation from a friend, with another record from their 90s era of experimentation with incorporating elements of Groove Metal and Hardcore into their sound. Just two years after "Diatribes" I was expecting a dose of groovin grinds, slamming blast beats and head banging hooks, which the opening track "The Infiltrator" delivered like a hit to a fiend. Excited for the rest of the record, I found the mood and pace to shift direction, and within a few tracks and this album had a harder substance to divulge and after several listens I've grown fond of this record, which although feeling similar to Diatribes, its quite a different beast.

By the third track "Next Of Kin To Chaos" the tempo is calming and a slow grinding tremolo picked riff guides the song too discordant notation and progressive leads that focus on developing a mood and builds up an intense atmosphere thats not orchestrated by dizzying blast beats, or pummeling aggression. From this point forward Naplam feel co-ordinated and expressive through guitar riffs that contain tempered grooves and chugs, instead of blunt force brutality. Theres a subtle Hardcore vibe at work in the guitar rhythms that resonate tightly with themselves as the drums keep pace. This feels especially emphasized on "Devouring Depraved" as the orcherstrating drums build up suspense by crashing down on the toms with tribal instinct, for a subtle, powerful and chugging riff to slam in with the songs climax.

As the record plays out the group play through a variety of ideas that let the guitar speak for itself, aswell as bring in some "clean-ish" vocals in places. "Incendiary Incoming" is a track worthy of mention that sees Napalm step to a southern vibe with slick pinch harmonics and a bendy, shuffling groove rhythm guitar reminiscent of Dimebag. The tighter guitar and composed attitude of this record makes for one that offers more than "all out heavy". The mood and vibe of each track becomes bigger than its peak or "break out" moment, and an array of interesting compositions emerge in the quieter moments, many with a subtle Hardcore tinge to them. A strong album that does not show its colours without several listens through.

Favorite Tracks: The Infiltrator, Next Of Kin To Chaos, Cleanse Impure, Devouring Depraved, Incendiary Incoming, Thrown Down A Rope

Rating: 7/10

Meshuggah "Chaosphere" (1998)

Meshuggah, Swedish for "Crazy", are one of the most important and innovative bands in this modern era of music, especially in the context of extreme metal, a genre which hasn't undergone much evolution over the last decade outside of Meshuggah's massive influence in the context of rhythm and the "Djent" tone. Chaosphere marks the inception of Meshuggah's ascension into their own stratosphere of sound, one unlike anything that came before it. Previously this band were a group inspired by the American Thrash sound of the late 80s, introducing odd time signatures and experimental rhythmic approaches with their debut "Contradictions Collapse" in 91. They followed up with "Destroy Erase Improve" in 95, a classic Post-Thrash record that saw the band home in on their approach to rhythm and timing, executing polyrhythm guitar riffs and bass kicks against 4/4 arms on the kit. The result is a landmark record, but one that would not deter the band from progressing to bigger peaks. I decided to write about this record after catching them in London, where they put on a phenomenal show. I completely lost my sense of self to the mercy of their rhythmic tribal onslaught.

On this record Meshuggah take their sound to the extreme, ditching the power chords and taking their guitar tone into a new dimension unheard before. The "Djent" tone captures the crunching lows and powerful persuasion of distorted guitar picking textures, amplifying it to create a monumentally abrasive and uncompromising sound. Alongside the guitars, the bass receives a tonal depth and distortion that has is wavering around the guitar tone, further adding to the intensity that is put to effect with a simply genius approach to rhythm that appeals to the primitive and tribal rhythmic instinct inside oneself. Meshuggah's genius here is in their ability to execute two distinct rhythms simultaneously. The polyrhthms are elasticated and magnetized by their relation with the 4/4, sounding impulsive and sporadic inside a measurable pace that in its best moments bleeds a relentless and uncontrollable rhythmic energy that mesmerizes the listener with its infectious tribal instinct.

Although the concept may sound simple, many inspired bands have popped up over the years and it has to be said no one does it like these guys. Their riffing and compositional choices are sublime. Drummer Haake has to be complimented for his double brain. Playing 4/4 with his arms and varying unique time signatures with his feet, the man is a drumming machine and complete legend! Singer Yens also plays an important roll in their sound, his monotone and forceful shouts add to the chromatic texture of their sound and serve as a compliment to the 4/4, adding strength to one half of their timing make up. His lyrics also come with a unique approach, see "New Millennium Cyanide Christ". Much is also to be said about this bands overall "sound". At first they may sound somewhat one dimensional and tonally aggressive, but this simplistic and colorless sound just further emphasizes the importance of the relation between rhythm and polyrhythm. Fully aware of this aspect of their sound, the band blows the dimensional door wide open with Thordendal's alien lead guitars that burst into fold out of the void with an expansive and colorful tone as he shreds through the most unusual arrangements of notes at lightning speed. See "The Mouth Licking What You've Bleed" for an example. This unique almost sounds as if hes trying to hit every note arrangement that isn't in a scale. Its just another beautiful dimension to their sound which is also executed in the opposite fashion with his leads often being extreme or completely minimal. See "Corridor Of Chameleons" for both. His style is most comparable to Avant-Guard Jazz music.

Chaosphere is where it really happens for this band, from this point on they only expand their horizons and evolve their sound. This isn't a perfect record. I feel like the best of Meshuggah is found across multiple records and on this one their a few moments here and their where, if not in the mood, the constant onslaught can be tiring. My favorite way to describe this band, "being grabbed by the ankles and having your head slammed to different sides of the room to uncontrollable rhythmic madness". If this band intrigues you but you can't get into their music I would encourage you to persist. Their is something genius, tribal and totally unique at work here.

Favorite Tracks: New Millennium Cyanide Christ, Corridor Of Charmeleons, Neurotica, The Mouth Licking What You've Bled

Rating: 7/10