The Underachievers "Renaissance" (2017)

One of my favorite modern Hip Hop acts is the dynamic duo of AK and Issa Gold, the Brooklyn based act known as The Underachievers. I was drawn to them on their debut LP, Cellar Door, a spaced out collection of Trap influenced beats where the two exchanged fast spitting rhymes. Their followup Evermore was a tale of two halves that produced a handful of riveting, inspiring lyrics in the opening tracks. To my ears the pair have evolved in reverse lineage to current trends, their lyricism growing more depth in expression and the beats frequenting nineties vibes.

Renaissance continues on that path with a smokey, concurrent theme bordering on Jazz Hop as Soul and Jazz samples soaked in measures of reverb set a mellow, hazy, indulgent atmosphere for the beats to ride. The use of modern production styles holds an obvious mold between old and new, mostly a strength for the instrumentals. Every few tracks a darker, leaner numbers switches up the mood, the soulful sampling is dropped in favor of slicker synthesized instrumentals and the twos rhymes often shifting gears for gangster rap alike rhymes. It starts with "Crescendo" which has a line that made me chuckle, "I'm addicted to the green, yea that's a strictly veggie diet!".

This breaking of the flow doesn't indicate much overbearing meaning. The album opens with a quote, a powerful one from MLK about leadership and enslavement, the following tracks provide food for thought on the socially conscious, introspective narrative. The theme quickly dissipates as the tone and lyrical directions shift. The albums production is quite shaky and inconsistent too, varying volumes and mastering extends beyond beats to the volume of the duo's voices too. "Kiss The Sky" is massively compressed in comparison to what comes before it, their voices jump out over the speakers.

There's a lack of direction, or concept to tie things together here but the good moments do manage to jump out. The opening few songs are the track lists best but as the record draws on a few other moments stand out. "Gottham Nights" has a stand out moody pitch shift on the atmospheric sample. "Different Worlds" ties the Jazz Hop to the darker vibes and has beautifully gloomy sung vocal sample reminiscent of Chelsea Wolfe. Following it "Break The System" pairs a bombastic snare kick groove with a trippy spaced out synth sample drenched in echo effects.

The pair seem without guidance here. Good beats and rhymes prop the record up but as an overall experience its a mixed bag of tricks that loosely fit together. The opening theme fades swiftly and I also noticed they grouped the three stoner songs together in the midsection but they only server each other. Its not a disappointing record, there is plenty to enjoy but the bar has been set high and we know they are capable of putting something a lot better together than this.

Favorite Tracks: Eyes Wide Open, Crescendo, Different Worlds, Break The System

Rating: 6/10

Daryl Donald "Solitude" (2017)

From the northern chills of Edinburgh Scotland comes a producer with an ear for laid back, chilled out, summer breeze Jazz Hop. Solitude is Daryl Donald's debut record and what a fine, easily enjoyable and inviting experience is is. From the first listen one can instantly identify the vibes, smooth and mellow samples, steady grooving, temperate drum loops. The songs have a dreamy, ethereal edge drawn in through airy synths, production style and reverbs that give the record a cool, atmospheric indulgence.

The fifteen tracks just pass the thirty minute mark and even with an average duration of two minutes many of the songs end with additional loops and beats that have the experience breeze by, never a dull moment as the record chops and changes, yet firmly holding the same vibe from one track to the next. I can only say hats off to such a consistent and interesting production. Where the record becomes a point of contention is the accommodating vocal samples which seem to pull it in different directions and to what extent I am unsure as it certainly doesn't suffer from these additional layers yet they are quite different from one another.

Firstly, a lot of beats are abruptly moved on with lively vocal snippets of what I can only describe as Speedy Gonzales "Arriba" crys. They are unusual but I became accustom to them. Second, there are pitch shifted accapella raps, I believe from a De La Soul record, they add a fitting voice to the beats but given they only feature in one or two spots seems unusual. Other talking snippets from what I presume are old TV shows about music and advertisements are sliced in, again seeming unusual yet they work.

On reflection of writing out my thoughts, the short songs, continually moving forward and undergoing seemingly odd sample snippets are what made this record so great. It goes against expectations and that difference makes it stand out from regular records. I can only think of one frustrating moment, the end of "Still Life" ends with an interluding mini beat, a gorgeous Jazz piano starts to swoon and it ends all too soon, fizzling out with a swift fade out after the key change, I would of really liked to hear it fleshed out more. Other than that its a cracking, laid back listen to mellow out to.

Rating: 7/10

Kendrick Lamar "DAMN." (2017)

In his creative prime and swiftly moving forward from his instant classic "To Pimp A Butterfly", Compton rapper Kendrick Lamar hits us with a perhaps unexpected stark visual style, a picture of the rapper with a simple font in that brightest red shade. No conceptual art, polish or touch ups, just the the word damn. It would stick with me as the record opens, gospel singing and sorrowful string sections lead us to a sudden twist as a man is shot trying to help an elderly lady find her glasses. That and Kendrick going of on one at the end of "DNA.", the bass drops and Kendrick raps like fire, it had me literally thinking "Damnnnn". They would not be the only impressive moments of surprise and astonishment. There is a lot of creativity to be found here.

With the bar set so high, Kendrick does a fantastic job of moving forward, forging a new set of instrumentals to conjure a different tone. Far more electronics and lots of vocal manipulation fill the background of tracks between tight drum patterns and slamming sub kicking bass lines. Occasionally organic instrumentation comes into the fold however everything feels tinged in manipulation, acoustic guitars soaked in flange or beats cut together with reversed samples which seem to increase with frequency as the record draws on. "FEAR." has him rapping in reverse and the closing track "DUCKWORTH." reverses many vocal parts and beats like a tape playing backwards and speeding up. It ends up ending the record where it started off.

Instrumentally there's a lot of hands on deck, it plays through well but can sway in different directions, from dark futurist bangers, to old school beats like "FEAR." and a couple of pop tunes too. Although it offer a fair amount in places, its Kendrick who lights the tracks up with his flow and sharp lyricism, playing both direct conventional narratives and more artistic flavors too even throwing in a tribute to Juvenile's classic "Ha" where each sentence paints a scenario and asks a question with the simplistic ha? statement. He comes up with his own statement led rap with the iconic "I beat your ass" rap, painting a rather sorrowful tale of abuse in a broken home. Lyrically hes got relevant and smart introspections on his fame, role in his community, self perception and where things are heading and usually they unravel best in the faster of his flows.

 There is much food for thought but not everything is about thought provoking, which leads me to the weaker side of the record. For the moments he strikes gold there are equally some rather tame or uninteresting tracks, for me "HUMBLE." was a stinker. A couple of pop tracks, "LOVE." & "LOYALTY." don't raise the eyebrow much either. Its all preference and taste but I feel that Kendrick has put a firm foot forward and compartmentalized his current situation it a set of songs covering it from different angles. Which in turn means not everything follows the same path or relevance.

"XXX." is possibly my favorite track, moving through three phases we get very contrasting flows and instrumentals that gel together almsot seamlessly despite going from a raunchy cranking beat laden with police sirens to a smooth Jazz Hop instrumental with vocals from Bono. Its the shining example of what this album might have been but with its different aspects its as if the spell cast on the opening tracks gets chopped and churned on its way to the finishing line, spewing out many amazing moments between some relative mediocrity. I cast my mind back to how it took me sometime to really get into "To Pimp A Butterfly". I hope I'm late to the game again but right now it feels like Kendricks genius shines bright while a few clouds pass by.

Favorite Tracks: DNA., FEEL., PRIDE., XXX., FEAR., DUCKWORTH.

Rating: 7/10

Birocratic "Beets 4" (2017)

Hes back! Our New York based Jazz Hop producer is back with a tailored set of beats, hence the beets. Its the first release from Biro this year and the fourth installment of the Beets series and the longest of any release yet. At forty four minutes it feels like a full length record, something Ive been hoping on for a while and we certainly get those vibrations as we indulge into a smooth, chilled out selection of cuts with no surprises. "Beets 4" makes no strides into new territory but selects the best styles, techniques and tropes in whats been done so far, executing them with inspiration for a solid listen.

This will probably be short and sweet, Ive said much of whats to be said before about Biro's production techniques and moods reached with his breed of elegant, jazzy Hip Hop instrumentals. This fourth installment tones down the organic, sleek and charming chemistry of "Replaced" for more traditional cuts with obviously spliced samples and sturdy, rocking drum loops that form a classic stitched together vibe. Occasionally on songs like "Matlack" does Biro bring in the gorgeous, funky grooving synths that illuminate over the top of rigid sampling. Equally in other moments he reverts to the classic vocal splicing, using who I believe is the same singer, her effeminate voice is given time for us to decipher a few words on one song.

Consistently decent is how id summarize this release. No tracks I can think of stand out and in the same measure there are no weak spots. A few spices of culture cropped up here and there, some oriental sounds, others Latino. Simply some nuances that could of been more prominent. Its a simple record to enjoy, well crafted beats that one can chill out to, easy going and great for its entire run time.

Favorite Track: Tony's Beleated breakfast

Rating: 6/10

Common "Black America Again" (2016)

Socially conscious rapper Common is back with another charged record thats very much relevant given the social climate and resurgence of black struggles in American society. With the title alone the topic is made clear and through the fifty six minutes he barely takes a step of the path. It's certainly the time for music to reflect the atmosphere but that doesn't necessarily define a good record. "Black America Again" fails on many fronts, mostly its religious inspirations and Common's unchanging approach. As a 90s fan of 90s flows, Common is one who's barely changed a lick, an old rapper with an old flow and unchanged rhyme style. He was never a particular favorite, he has gems in his discography but what mainly appealed to me was the positive, intelligent commentary of his persona in the raps.

There is a ton of subject matter I agree with on the record but the music is spoiled where biblical themes and words of praise come into play. With all the problems addressed he frequently turns to prayer and god as a solution to them. I appreciate the warm intention but for a person who see societal issues as systemic, the call for praise of Jesus over engagement or practical solutions infuriates me. Another difference of opinion grinds me on "The Day Women Took Over", a song calling for an oversimplified ideal that Women's disposition to empathy and caring would make them better leaders. Considering there are many women in positions of power around the world it would again suggest that our societal issues are systemic, related to power, wealth and its corruptible qualities. What Common has is simply utopian, poetic statement that lack any depth or substance beyond a nice but ludicrous idea.

Behind my indifference to Commons lyrics a rather sweet and soothing record exists in the instrumentals. Toning down the bombastic nature of the beats, soulful influences and roots of black music are given room to shine with occasional string sections bringing subtle crescendos too. John Legend's singing on "Rain" tunes out the drums for a stunning piano and singer song that only resembles a Hip Hop track thanks to Commons verses rapped without a beat. His raps are steady and mostly solid but its a style unchanging. On "Pyramids" a bit of technicality comes to fruition but otherwise hes mostly stagnating on a un-progressing approach that disappoints without the lyrics to match. There are good moments in the record and I have tried to love this record but large sections of the raps just didn't work for me.

Favorite Track: Black America Again, Pyramids, Rain
Rating: 5/10

A Tribe Called Quest "We Got It from Here... Thank You 4 Your Service" (2016)

Its been eighteen years... and I doubt anyone saw this coming. The legendary ATQC, innovators of Jazz Hop and creators of one of Hip Hop's greatest records "The Low End Theory", played their last ever shows a few years back and with the sad passing of Phife Dawg earlier this year the groups fate seemed final. Turns out they resolved their differences after the runion tour and decided to record a new record in secret. So imagine the astonishment I felt when I got an email announcing its release, more so at how good of a record it is and what a blessing to hear Phife on the record. How much of this was created with out his input I'm not sure but he came up with the title and the rest of the group aren't quite sure of its meaning.

I can't help but think its a tip of the cap to show the old traditions still have value in today's music. ATCQ sound like a group in the moment, flowing in the waters of inspiration and reinvigorating their identity because "We Got It" feels as if their is no absence. No greasing of the gears, no rough edges, they are in sync and doing what they do best. This is no nostalgia trip though, fresh production ideas and choices dominate this record without deterring from that warm hearted Jazz Hop soul the group always had. They also bring a star studded set of features, from Kendrick Lamar to Kanye West. Andree 3000 of Outkast and even their old friend Busta Rhymes. Speaking of old friends, Jarobi White is on the record, who only took part in the groups their first record.

Split into two sides of eight tracks the record flows effortlessly as a sixty minute piece, due much to its drifting from traditional song structures into artsy organic flows of creative sampling between the verses and chorus's. Some of this manifests with bold intrusive sampling, electronic Kraftwerk alike noises beep away in the start and end of tracks as well as snippets from Willy Wonker and the classic Thriller evil laugh in the records opening track. Q-Tip's production has no boundaries, its as if hes unbottling held back creativity and so many of his choices work. On "Lost Somebody" he lets the drum machine rapid fire like its glitching out. Bold, off key and different. The song even cuts to silence before some guitar jamming noises through into the next track. These experiments are fantastic but between them a set of solid and expressive loops, from the boom bap beat of "We The People" to the Reggae Dub grooves of "Black Spasmodic" Q-Tip finds all shades of Soul, Jazz and R&B to keep the flavors flowing from start to end.

Much of that bottled up creativity speaks to Phife and Jarobi who toy with afrocentric accents between sets of inspired raps. Q-Tip is also on point as the group talk to many relevant issues in the wake of Trump's election, "Muslims and Gays, boy we hate your ways". Id have to hand verse of the record to Kendrick Lamar who drops a impassioned rap on "Conrad Tokyo", his words come so fast with so much weight I feel like each listen adds a new dimension to the wieght of his words. The rest of the track meanders in the echo of his words while a keyboard solo jams away. Its a fantastic choice to let the instrumental take steer of the ship for the rest of the song.

The record rounds up with "Donald" a Phife Dawg track, layered with sampling and snippets of news presenters saying the president elects first name. I can't help but think the songs design is a tip to Phife's classic line "I cash more checks than Donald Trump". It an remarkable record and more so for its exceptional circumstances. One things for sure the substance is there and we have been gifted a wonderful album that must be respected, fans like myself would love more of this I'm sure but the reality is this is a send off, a twilight special and how blessed are we to hear it. One things for certain, the tribe can kick it! Yes they can.

Favorite Songs: We The People, Solid Wall Of Sound, Conrad Tokyo, Ego
Rating: 8/10

Birocratic "Replaced" (2016)

Following up on the disappointing "Julien Solomita" we have are second Birocratic release of the year and one that marks a distinct move into new territory with the pitch shifting, chopped and re-arranged vocal snippets becoming a thing of the past. With "Replaced" Biro indulges us in summery calming instrumentals echoing touches of Jazz, Soul and feel good music fleshed out with layers of detail for a dense colorful experience. Maybe for the first time the five tracks don't feel like they are here to accommodate rapped rhymes but command our attention as instrumental beats that are gorgeous in their lonesome.

The five fit well together, a summery laid back theme courses through each of the songs which have chilled tempos, while perusing a strong rhythmic presence. Steady kick and snare grooves take a spacious path with many snaps and claps percussive noises lining their path forward. Bass lines swell and strut around them, on "Don't Leave" it goes on the prowl climbing the fret board with style and jamming within its own space. Above the rich backbone lush summery synthesizers shimmer and dazzle with cosmic sounds radiating the space they fill around the lead instruments.

These are no simple constructs but fleshed out ideas dense with chemistry and notation. Each of the songs have a way of breathing in and out, finding the right moments to spark into life as rich layers of music converge. Between these blissful culminations the music can tone itself down, unwind a little and build towards the next passageway where several layers of percussive sounds can be heard firing under the growing layers of synthesizer all charming with their own melodic harmonies, forming a single moment.

The chemistry is astounding, the production lavish and swooning. The distancing from sample led production has landed Biro in a truly creative spot where his vision for these songs is coming together like a treat through a more orchestrated union of instruments, with details like rain, and birds chirping gently lining the tracks. There's little to fault on this record, maybe my only criticism is length. A string of short EPs and halfway records leaves one yearning for a full length record to treasure and if ever its part of Biro's plans to get a proper record released there may have been no better timing than this. These instrumentals are simply killing it with the vibes!

Favorite Tracks: Don't Leave, Slipout, Layback

Rating: 7/10

Birocratic "Julien Solomita" (2016)

Back with another small release, American producer Biro is at it again crafting a few more beats in his particular flavor of easy going Jazz Hop. Lively sampled drum loops and soothing instrumentals come together for this short three track which has no surprises in store. The mid track continues the development of vocal eccentric sampling, chopping and pitch shifting a singers words into indecipherable snippets that make up warming melodies. The first and last songs are fairly straight forward beats with sampling of what sounds like a 40s singer, although I'm really unsure how to describe the source. The first tack "Burner" feels far more fleshed out with a gorgeous Spanish guitar lead shimmering as the focus of a beat with atmosphere and depth, the vocal sampling plays second fiddle in the background, coming of more like an instrument on a track that hits the mark.

The opening track has a bit of flair, otherwise its fairly mediocre. With his style established I'm hoping for a full length from Biro with flair and substance. For now its another micro record clocking in at six and a half minutes that doesn't satisfy the itch. The best track also seems a little unfinished with no break of progression and simply fading out before the two minute mark its all over a bit too quick.

Favorite Track: Burner

Rating: 2/10

Schoolboy Q "Blank Face LP" (2016)

The "Black Face LP" is American rapper Schoolboy Q's forth full length and an ambitious one. Dark, mean and uncompromising Q brings a large group of producers together for a seventy two minute ride. Despite many banging beats, sharp production and musical creativity the albums stretch strolls through some weak points in the start and end. Between the psychedelic, laid back "Kno Ya Wrong" and the catchy, ghetto whistles of "Neva Change" a string of eight songs illuminate with strong verses, brilliant hooks and fleshed out production. Either side of these tracks things aren't as focused. The opening "TorcH" starts with a myriad of Q's voices over a warm bass guitar, with "Blank Face" the theme is returned to as if signaling the end of a lengthy listen. It winds down, fades out and is then followed by two more mediocre songs. Its nitpicking but as a whole these songs don't flow of one another well, the whole things feels a little disorganized.

The album gets rolling with two introductory tracks, slowly unfolding before Kanye West hops onto the albums first defining song "That Part". The mood is slow, dreary and gloomy. The hook plays over and over between broken down verses, Q stating his successes and the Independence of his "bitches". Then Kanye drops in with an unusual lively, contagious flow making timely use of his pitch and a squeaky "ugh" to add rhythmic gratification to his bizarre and unfocused verses. Its a big guest to have on and the song... Its memorable but maybe for just being different more so than banging. Another dark street song comes through "Groovy Tony" and another big name, Jadakiss, on the track. The song has a great break in the middle with violent vocal stabs and heightened drums, they transition into a powerful vocal moment before Q brings the track back.

And then a string of my favorite songs occur,  "Kno Ya Wrong" shifts through three organic, jazzy, psychedelic phases with a joyful sampling of Kool & The Gang's "Summer Madness". The constant tone shifting happens again as we dive into a ruthless gangster track with violent lyricism, dark groovy layered beats, machine hi hats and the sound of guns firing between the banging hook. Halfway through his verse Q hands the mic to Vince Staples who drops heavy verse that gets better with each line. Unsurprisingly we sway to a poppy, "accessible" tune with light trance synths and a sing along "dollar dollar be-als" hook, lots of great singing on this track.

"Dope Dealer" gets dark, really dark as Q paints an ugly picture of the gritty life doing the illegal to survive. The drums really bring the spacious, paranoid instrumental to life and its another killer hook. "John Muir" might be my favorite, something about this flow and beat reminds me of the 90s. "Big Body" jumps in as the albums romp track with the tightest beat, thudding bass pedals, slick claps and a melodic bell instead of hi-hats. Its crowned by a timely roll of hard and swift sub kicks. Tha Dogg Pound, friends of Snoop Dogg, also make a great feature. "Neva Change" gets a little pop once again with a friendly instrumental and brilliant vocals in the chorus, topped of by a G-Funk ghetto whistle its another subtle banger. And that's where the magic ends for me. the album strolls out with what feels like a pre-outro, "Black Thoughts" are spoken thoughts over an experimental instrumental reminiscent of DJ Shadow.

Production wise its fleshed out with many ideas. A lot of songs come with breaks, big variations and an organic sense of instrumentation. The records flow though is all over the place with a handful of distinctively different styles not meshing together well. The features were brilliant and Q was on the mark with his fiery flow, his words had bite and wasn't short of creativity when writing hooks. Its interesting because even the weaker tracks had something to offer, but in the grand scheme of things it just doesn't play well between some tracks. Very ambitious but unfocused, more like a compilation than album.

Favorite Tracks: Whateva U Want, Dope Dealer, John Muir, Big Body, Neva Change

Rating: 6/10

Liam Looper "Mental Projections" (2016)

This young Australian rapper is a Patreon of mine who sent me a link to his debut record that took over a year to make. With an obvious passion for rapping Liam has been at it for eight years, now only just fifteen years old. Not knowing what to expect I was pleasantly surprised with the tone and vibe of this record. Laid back, introspective and thoughtful rhymes over jazzy beats is my cup of tea. The closing track was also produced by Birocratic who's music we have discussed here before. Its interesting to hear rhymes over beats so solidified in familiarity without theme. I must say it was the other producers worked with that made the record shine.

Mental Projections is an honest and personal record from a young man working through his issues with words and rhymes whos rapping ambitions have become a part of his internal struggles. Its raw, intimate, heart-felt and authentic. This record might have not charmed me as much if it wasn't for the instrumentals which fit snugly into the sort of beats I like. Their are moments where the vocal experimentation and flow don't quite come off but on the flip side plenty of captivating rhymes, word play and the easy going style of rhymes makes it effortless to follow along with the train of thoughts. Its not often I hear an Australian rapper and I felt initially, and still with familiarity, that the accent works well in the flows where it naturally dominates the pronunciation but there are weaker moments where the influences of American rappers can be heard and it comes off jumbled between the two tongues.

 The production behind the rhymes are solid and come in a variety of themes, generally on a moodier, introspective scale but always, melodic, colorful and jazzy. An easy record to chill out and vibe with. "Bonethebeathead" provides a couple of tracks reminiscent of Down To Erf and "Tom Misch" steals the show with loving warm piano samples and the records best moment on "Home" where Liam's emotional struggles climax through dramatic rhymes amplified by a gorgeous guitar solo which breezes with the beat. For a young person I was surprised to hear such thoughtful lyrics and ideas articulated on a concrete level. His ambitions are clear and shows a wealth of potential to make something of his dreams. A charming record!

Favorite Tracks: Hello, Rain, Vote

Rating: 6/10

Birocratic "BiroMakesABeet" (2015)

Back with an appetizer, a whiff of a record that clocks in at just under 10 minutes, Biro teases us with four of his finest beats to date. The charming Jazz Hop vibes flow in a stride of creativity and inspiration as Biro lets these beats swoon and groove in their moment, capitalizing on an excellent selection of samples and intertwining them with plenty of additional instruments to guide the songs through a few progressions that drown out a common sense of repetition. Gone are the trademark vocal cuts and missed they are not, where once the Nujabes similarities took hold there is now a great sense of individual style shining though the chemistry of lush whirly synths and jazzy piano driven samples.

With some great baselines and drum routines there is a strong undercurrent of jive and groove to move to under a dazzling array of jazzy, dreamy music. These songs are short in stature but maybe that's their strength? Biro has reinforced his loops with a pallet of instruments to keep the songs growing and evolving, but maybe it works so well because its in the shorter context. Either way its got charm, soul and is one of the best 10 minute records I've ever heard, although that's not many to compete with its got me hyped for what I hope will be a full-length release in the future.

Favorite Track: Next Stop

Rating: 5/10

Digable Planets "Reachin' (A New Refutation Of Time And Space)" (1993)

Reading a top 90s Hip Hop songs list cropped up an unheard of group at number two. Its somewhat of an oddity to find groups from this era that escaped my radar, but lo and behold here was Digable Planets and the super slick track "Cool Like That" with its big groove baseline and the Jazz Hop vibes similar to "A Tribe Called Quest" and the Native Tongues. They are a trio of Rappers from Brooklyn who signed to Pendulum in 92 and this is their debut, which had the hit single from the list.

The record's a smooth, gentle breeze of laid back jazzy vibes blowing in the wind as the trio deliver soft, warm and welcoming raps of expanded consciousness and social political awareness. The trio all have such friendly and polite tones with chilled flows that make for the most inoffensive rapping I may of ever heard. Lyrically its a little inconsistent, in some moments they nail the vibe with memorable lines "We be to rap what keys be to locks", smart and intelligent lines but often it doesn't come of with the same finesse. With a lot of witty lines to burn through it does tire a little as the record draws on.

The beats have a spark of magic, the epitome of the classic 90s sound with a current of cool jazz struck a nerve. Undoubtedly some of my favorite beats Ive heard this year, especially "Jimmi Diggin' Cats" sampling of Kool And The Gang's "Summer Madness", a song that's in two other I love, Ice Cube's "You Know How We Do It" and DJ Jazzy Jeff And The Fresh Prince's "Summertime". There's many terrific uplifting samples and a great selection of beats that aren't to overbearing. Unfortunately I felt the final tracks on the record drifted in mood and didn't have the same spark. My overall impression is that of a flawed classic. There's so much good to praise, but its also inconsistent and patchy too.

Favorite Tracks: Pacifics, Where I'm From, Rebirth Of Slick, Jimmi Diggin' Cats

Rating: 7/10

Birocratic "Beets 3" (2015)

NYC based producer Biro is back again with the third installment of "Beets" and the longest yet, clocking in at thirty three minutes it delivered a better listening experience than the previous two which were a little to short for my taste. Beets 3 isn't quite the strive forward I was hoping for. The unique vocal cutting is less prominent however Biro shakes it up with new techniques and ideas too.

In general Biro lets the Jazz Hop vibe shine bright on this one, letting the jazzy pianos, classic strings and smooth samples take the lead. The tempo feels faster but the beats, sequenced or sampled, have a spice of energy to them that steers this one away from feeling like a Nujabes clone. Spliced vocals often feature buried between the layers adding to the composition which did have a feeling of depth to it the others didn't. I could play these beats over and over and pick up on little nuances each time.

Mid way into the record "Formula Fun" introduces a virtual instrument lead, a vibrant chirpy ghetto whistle like lead with a buzz-saw undertone that gives this one an urban edge. On the follow up "Favela Beat" Biro explores it further with a prominent lead that helps define a casual track into a memorable one. "Disembark" puts in an experimental lead sound, a mix between drills and bells that dispelled the chemistry with its harsh and abrupt aesthetic mixed to loud for effect.

The production was solid, however I noticed on this record more than before Biro was a little ruthless with the cuts which could be very rigid and choppy at times. Its the sort of thing you see and can't un-see. The way the samples and composition flowed wasn't the issue, its the rigid cuts that stuck out like a saw thumb on occasions. Other than that qualm this was a really enjoyable record.

Favorite Tracks: Hurry!, Garoto, Formula Fun, Jon Gordo

Rating: 6/10

Birocratic "Beets 2" (2013)

Following up on the first "Beets" record I got exactly what I was hoping for. The first was short, too reminiscent of Nujabes and showed a spark of a unique sound which has blossomed on this record. NYC producer Biro has put together a second, short, installment of instrumentals clocking in at just seventeen minutes. "Frontusis" and "Ergo" two lush, melodic, sleepy Jazz Hop numbers that are decent but once again emulate the Nujabes style to the point of deception. They are great instrumentals, but the other six tracks all follow Biro's unique sound and further experiment with the vocal chops that made his tracks stand out on the first record.

Putting the best first, the record kicks off with two unforgettable beats, "Since You've Asked" flirts dangerously with compression as the baseline, kicks and vocal samples compete for volume, pushing one another back and forth, poised in an entrancing manor. Between the beat and bass two female vocal lines harmonize and play off one another as Biro chops and churns the lead vocals to end the audible lyrics with half cut words that play a charming melody with a quite genius touch to it. "Prismatic" follows with an upbeat moving track full of groove and jive with a zany melodic lead that hits hard like a hook. The song eventually breaks to a smooth, phased vocal cut that build the atmosphere up for one final kick of the zany lead before a seamless u-turn transition leads into "Round 1".

With the other tracks on this record Biro demonstrates more of his unique chemistry for matching chopped up vocals and samples. On "Herocratic" we get a taste of a break composed of chopped piano and synth to craft a new tune that sounds like a straight cut on first listen. These strengths are blossoming and Biro is showing much promise, the production was tight and consistent for a short collection of instrumentals showcasing his talent. Beets 3 is out, its longer and I'm now rather excited to hear what it has to offer!

Favorite Tracks: Since You've Asked, Prismatic, You Were

Rating: 5/10

Birocratic "Beets" (2012)

 

Beets, exactly what you can expect from this short record, just not the edible kind. The play on words, or word, sets a straight to the point tone that lets the music speak for itself on this small collection of instrumentals by Birocratic, an American Hip Hop producer from New York City. How I found my way to this project I am unsure, but no doubt it has something to do with the obvious Nujabes influence that takes hold of a couple of tracks on this one, feeling like carbon copies, emulating his distinctive mix up of bright, jazzy piano hooks and bouncy drum loops.

 As a whole this record is very much a short appetizer showcasing static instrumentals that for the most part have little progression or change beyond the initial samples and concept. It holds the listening experience back, but one is still to be charmed by the dazzling chemistry of loud punchy kicks and snares that bouncy back and forth with airy jazzed up samples. Biro shows two sides of himself on this record, "Merlot" emulating the styles of Nujabes with a choice of rigidity in the cut and splicing of piano samples, a touch that comes into its own on "Wants To" which makes a engrossing melody of female vocals cut to distort the words and craft a tune with the instances between the distinguishable while rocking a bold moving bass groove underneath. Its not an original technique but its executed to serve its purpose. Biro shows a lot of promise but the short release hinders itself from offering up more of his style and creating an engrossing listening experience.

Favorite Songs: Orientation, Wants To, Stay Gold

Rating: 3/10

The Diabetic Sandwich "MunchieZ" (2015)

This short three track record is a collaborative effort between four producers from across the globe, uniting under the moniker "The Diabetic Sandwich" to create Hip Hop instrumentals with a broad range of influences from Trap to Jazz Hop and a general Alternative vibe. The group is yet to define itself beyond its stark graphical output of cut n paste photoshop, neon colors and colossal hamburgers. The debut release a short one leaving much to be desired.

"Merlot" feels like the records only fully developed track at just under four minutes. Jazzy pianos, wordless vocal leads and subtle guitars collide with airy, alien synths, Trap hi hats and deep kicks in an unusual chemistry of oddity that displays a charm. The production is a little forceful, pushing the airy synths into the compound samples it feels a little clustered but the ears do adjust. The song moves through a structure fit for verse and chorus and could really be elevated by the presence of a rapper.

"Meatsticks" has a calmer, less ambitious tone. At two minutes it has an interlude vibe as a sturdy beat sample guides a gentle strings and a graceful piano to a quiet conclusion. The production is subtle, the samples work well together and apart from some obvious clarity difference, it all works.

"Cheese Whizzz" is the records most unusal number, throwing layers of lush sound subtleties into the beat with laser firing and explosion sound effects. The drum beat is a little dry and crispy, and there isn't much of a lead sample, just lush airy noises drifting around the beat that doesn't progress anywhere in particular. At 99 seconds it feels like an unfinished beat.

Rating: 2/10

Guru "Jazzmatazz II The New Reality" (1995)

And we are back with the second installment of the legendary Guru's solo career records, "Jazzmatazz". This second record takes of where the last one left, giving us another helping of socially conscious Hip Hop fused with a current of Jazz that feels natural and organic. Its a chilled out record that doesn't try to push any new boundaries, but create a collection of enjoyable tracks within the parameters of the two music styles joining together. It has the same strengths and weakness as its predecessor, which wasn't much surprise, but did pull out some better numbers without changing the formula.

Just like before the production builds from a traditional format of samples and drum loops with a pallet of jazzy sounds and instruments that include guest musicians who contribute inconsistently as some numbers rely on samples, and others on live musicians, ie "Respect The Architect" which has pianist Ramsey Lewis gently painting the entire track with feel good keys, adding a steady variety over the repetitive beats. The inconsistency between ideas probably contributes to a varietal, richer listen in a record that has a fair few distinctive beats, but mostly its the instrumentals that take the light, rather then the guest musicians who include Brit Jamiroquai and Reggae singer Ini Kamoze.

With a fair collection of strong instrumentals Guru's presence is calming and laid back, which is fine but often his rhymes and presence on the track drift into the background as the messages and lyrics he convey are delivered in his typically one dimensional flow. Guru's tone and flow is steady but lacks an excitement or spark that leaves much of the lyrics out of mind. Theres plenty of positive messages and social commentary, but none of it packs a punch or a thought to ponder, and although the message is a good one, its delivery is tame. Overall its a collection of warm jazzy beats and mediocre rapping thats exemplified on "Count Your Blessings", where Guru tells his story of developing a positive outlook, expressed without any resolve or understanding that can be gravitated towards. I'm not hating on Guru, I like his style and hearing him flow, but here its an aesthetic enjoyment, more so than being at the mercy of his words.

Favorite Songs: Living In This World, Looking Through The Darkness, For You, Nobody Knows, Respect The Architect, Young Ladies, The Traveler, Choice Of Weapons

Rating: 5/10

Down To Erf "Down To Erf" (1998)

In the mood for some chilled out Hip Hop I pulled this gem out from my collection, its an 8 track EP from Canadian group "Down To Erf" consisting of rapper Mathematik and a DJ who's name I am unaware of. There is very little information about the group on the Internet and this would appear to be their only release, one which we could consider a lost classic, however time tells a story. This was once a record I couldn't put down, it was at a time when I was rapidly expanding my discovery of the East Coast, listening to records like "Illmatic" & "Lifestyles Of The Poor And Dangerous". It served as a laid back, jazzier rendition of the classic early 90s sound. After a few years It hasn't quite the spark I remember, some of its flaws are more apparent, but its still a personal favorite, mainly for the jazzy samples and grooving beats.

Rapper Mathematik has a soothing flow, a steady pace delivering technical lyrics delivered in a consistent, yet tame manor. His style is approachable and indulging, easy to follow, and his lyrical ideas are on point, but he falls short in a important places. The calm and steady delivery is continually mechanical, leaving little room for variety, a spontaneous change of flow or any energy, charisma etc. From start to end Math follows the same formula which can often have him falling into the background as his style becomes monotone. His lyrics are clever, and serve a strength he couldn't do without. "When I fight, the weapons are the rhymes I write", "Hip Hop bath, cleansing in the words of Math". There are plenty of clever lines scattered throughout this record. There a pleasure, but the lack of variety and ideas beyond his typical flow held him back from doing something truly great.

The record starts off with an estranged mix of samples coming together with a standard beat that quickly fades out to a sub bass kick that brings in a steady beat accompanied by dreamy bass noise and scattered, distant instrumentation that comes and goes. The tone is set well as Math drops in and lays down the vibe for the album. From track to track choice samples of jazzy pianos, bass and trumpets are arranged with strong drum beats that create a great set of instrumentals that could compliment any rapper. The instrumentals are great, but like Maths flow, they do lack variety. Most tracks follow the formula of dropping the main sample or snare to add variety to the beat, never truly breaking up the track and fusing something different into these songs, but that does not take away from the chemistry the samples and beats achieve. A great, slightly flawed record that is still enjoyable and a choice listen for any 90s Hip Hop fan.

Favorite Tracks: Rhyme Training, To Each His Own, State Of The Art

Rating: 6/10

Guru "Jazzmatazz I" (1993)

In my exploration of Hip Hop music I'm somewhat bemused that I missed this record. Guru being one half of legendary Gang Starr, the fusion of Hip Hop and Jazz being a favorite of mine, this record somehow managed to elude me until recently. On this record Guru lays out an interesting approach to the fusion, brining in other established and respected musicians in the Jazz scene such as Donald Byrd to accompany him on the record. Initially I anticipated the Jazz aspect to take a bigger role in the direction of this record because of these collaborative artists, however it turned out not to be so.

The Hip Hop formula is prevalent here with drum loops, samples and verses carving each song into 4 minute tracks with the commonplace verse chorus formula. Many of the Jazz instrumentals feel sampled or looped, with only a few spare moments for the guest musicians to take the lead, not quite what i initially expected, but certainly not a problem, this is an enjoyable record, but one that utilizes the vibes and styling of Jazz into the Hip Hop mold.

Guru is average by his standard this record, theres many enjoyable verses and moments throughout, but nothing that quite sparks and sticks in the mind like some of his raps with Gang Starr. Theres also a great guest appearance from French Rapper MC Solaar. Despite not understanding a word he says, his voice and flow are indulging. The shine on this record comes from the beats and relation to the Jazz element, with the memorable tracks made by the instrumentals. Overall a very enjoyable fusion of to style I'm fond of, but far from being anything exceptional.

Favorite Tracks: Down The Backstreets, Le Bien, Le Mal

Rating: 6/10

A Tribe Called Quest "The Low End Theory" (1991)

Where has this album been my whole life? Right under my nose. I've had this Hip Hop classic for years, yet it was only earlier this year i gave it a proper listen. And oh my, what have i been missing out on? A lot. I also found out after getting deep into this record that Tribe played their last live shows last year. I had no idea they were still playing shows. I am sore but lets not dwell on that. Lets talk about this wonderful album.

Tribe are an upbeat, positive Hip Hop group from Queens, New York who broke out the year before with the classic "Can I Kick It". This album represents a fitting evolution in the groups sound that gave birth to one of Hip Hops greatest albums of all time, The Low End Theory has the trio bringing there very best to the table. Q-Tip's production on this album is inspirational, every song has fantastic chemistry between the beats and samples that make for some memorable jazzy, grooving tracks that will get you moving (Sky Pager). Theres many choice edits and breaks to keep the beats feeling fresh throughout, which is an art in itself considering the repetitive nature of Hip Hop beats. 

On the lyrical front Q-Tip & Phife Dawg are at the peak of there game with fantastic street wise & socially conscious story telling songs that have many memorable lines that will get stuck in your mind  (Yo! microphone check, one two what is this?) . Collectively there flow is just right for these beats and you couldn't picture having anyone else on these tracks... Saying that, Busta Rhymes makes an welcome appearance on Scenario, the albums darkest track. All in all the chemistry here is on point as a Tribe at there peak deliver a Hip Hop classic.

Favorite Songs: Butter, The Infamous Date Rape, Everything Is Fair, Sky Pager

Rating: 9/10