The first hint to what to expect from the album is evident in the cover. It’s dark, cliché, but still appealing. Ever since Nas popularized the baby on an album cover, it kind of ruined it for other artists to do the same. Just like the cover, the album is repetitive and overdone. Boasting at 17 tracks, it seems like Trice just threw together a conglomerate of unfinished and repetitive ideas that don’t necessarily take fruition. Although the album is the most light-hearted works of Trice, it is still ridden with dark tones that are evident in his lyrics, and haunting production. But overall the album is a satisfactory effort. It may not be someone’s next favorite album, but definitely has some tracks that are worth listening to.

The album first opens up with, “Intro,” a humble ode and thank you to all of Trice’s supporters like Shady Records, his label mates, and fans. However it is not Trice’s lyrics that are the attention grabber it is Dr.Dre’s production. Granted, it’s not Dre’s best work, but the piano chords are simple, repetitive, and addictive. And unfortunately, Trice’s lackluster flow doesn’t do it justice. Instead of using his aggressive, hard hitting rap lines, his delivery is far too simplistic.

Although Dr Dre sets the bar high in terms of production, once the album progresses it simmers down to a small spark. The repetitive production of syncopated hand claps, palpating bass drums, and minimal piano samples all mesh the songs together, leaving the album as a rushed production. It seems that after six long years, Trice just gathered a few tracks together as an effort to finally put something out. It leaves the listener sifting through remnants of tracks in search of the next best song. However, the album is predictable and the listener gets what they expect from any good hiphop artist; aggressive hooks marked with a consistent flow, and adequate production with cohesive ideas. Trice isn’t taking risks and it works for him.

However there are a few songs that do shine not only instrumentally, but also lyrically. Eminem’s haunting delivery (with his staple Slim Shady accent) and Satik Selektah’s reggae influenced beat, make “Richard” one of the best songs on the album. The boastful nature, but whimsical delivery in the lyrics, “Just call me Richard, cause I’m a dick,” make the song’s concept hilarious, and fun. The light nature of the album is a breath of fresh air from the all too serious and almost pretentious approach most rappers take in their lyricism.

Bottoms Up is all in all an adequate project. It’s not subpar but neither is it innovative. But to be honest, it probably shouldn’t be. Even if it boasts the production from acclaimed producers, the label switch from Shady Records and six-year time span could have served as the culprits for a lackluster record.

Soxx’s fight to create has been ongoing since being dropped in ’98 by Warner all the way to the release of Season One. Having a hard time sustaining major backing by a label, he lent his talents to other endeavors until finding a home with Gilla House, his group Big Black Lincoln, and being a co-founder of Capitol Hill Music.

The total package could have done without a few tracks to make a more direct and less redundant approach, but after a long hiatus some fans may be grateful for the fleshed out and complete project. Tracks like “Say I,” “All the Way,” and “Save The Day” are uplifting and inspiring. “Iphone 4″ and “Drop it Down” feature uptime and hypnotic beats more suitable for a party or a club. The mix of these songs with added elements of story telling and electric melodies give the listener a unique journey. A mashup of rap, R&B hints, even electronica, give an array of sound to enjoy.

Being nominated twice for a Juno award first in ’96 then in 2000 this maybe Soxx’s chance to take one home. It appears that he has found his recipe for success lets just hope it’s not another decade before the next Saukrates project.

Electronic music has progressed immensely over the past decade, with acts becoming staples of festival circuits and standardized as soundtracks to more exhilarating film and television. The stereotypical DJ set up has also evolved, from your once upon a time DJ just with his turntables to MPC’s, decks, elaborate visual stage arrangements and considerably more.

France’s Jus†ice (scheduled to begin at 9:30) started bang on time, wowing their immense audience in Vancouver’s packed PNE forum. Their signature cross logo stood in the middle of a gigantic mixer, sandwiched between over thirty feet of subwoofers. Despite only having two album’s worth of their own material, remixes and simplified versions of their songs were spliced in between song’s original versions and mash ups of other hooks. Each song ended up submerged by pounding bass and a superb light show.

The concentrated energy by the crowd seeped throughout, even entering the washrooms where over enthusiastic fans couldn’t help but use the light switch to further the light show experience. Thankfully I was sober enough to know how to aim.

Although certain electronic groups translate their music into renditions with traditional instruments, Justice remain with their hardware; the two of them and an astounding technical set up. With that said, the duo have enough surrounding them to provide more than a little visual stimulation.

Of course the duo performed various versions of “D.A.N.C.E.”, “Civilization,” “Stress” and “DVNO,” but the personal highlight was “Genesis” – the entire lighting theme turned to infuriating shades of deep red and red screens, alongside of the cranked volume one couldn’t help but be hypnotized.

If you leave a Justice show with perfect hearing, you weren’t standing in the crowd or near the stage. These DJ’s put on a fantastic live show.

I was reluctant to listen to Tyga’s album. Because I know he is signed to Young Money, I expected his music to be similar to the more popular artists of the label like Lil Wayne, Drake, and Nicki Minaj. I am not bashing the label or the artists signed to it, but the last thing the music scene needs is another imitation of an already existing artist. Surprisingly, Tyga is not that at all.

No, Tyga is not what I would classify as an amazing lyricist, at least not quite yet, but this album shows his potential as an all-around artist. I admire the diversity of the music on the album. There are dance tracks like “Rack City”, but there are also tracks like “King & Queens” to make the listener think. There are even portions where Tyga gives a spoken word feel, for instance, the beginning of “Careless World”.

Though the lyrical content varies from song to song, one thing that is consistent is that every song on the album has a good backing track. Again, there is diversity, but regardless of how different each track is, the instrumentals are all good in their unique ways.

Perhaps the most surprising thing about the album is who is featured on it. Lil Wayne and Nicki Minaj are expected to be a part of the album, but the appearance of Pharrell, Nas, Chris Richardson, and Wynter Gordon, just to name a few, are a bit more unexpected and exciting.

On the other hand, it is hard to tell if this album shows Tyga’s talent as an artist or if it just shows his ability to choose talented producers and featuring artists. The use of so many features makes it hard to gauge Tyga’s actual talent. While it’s nice that he is able to be a musical chameleon, it would also be nice to see a stronger display of who he is as an artist. In the opening track, “Careless World”, Tyga says “I’m original and I show it” which to me summarizes him as an artist, but at the same time, I look forward to him making his voice and style known in future albums.

Overall, “Careless World: Rise of the Last King” achieves what the title suggests it is meant to achieve; it begins Tyga’s gradual rise. His broad choice of featured artists, producers, and song topics reveal his ability to be versatile which is a talent in itself, but it also leaves the listeners awaiting what he will do next, watching his rise, knowing that he is original and hoping that he will show it.

As a 34 year old who grew up in arguably one of the best Era’s hip hop has to offer I don’t get excited about the music these days but I still plod on in search of that excellence. Albums and expectations come and go, it’s been a long time since they were last exceeded. While most hip hop fans have been Watching the Throne this year they should have kept their eye on the Gold Chain with Ugly Ducklings fifth Long Player ‘Moving at breakneck speed’. The 3 man team proclaimed their love for hip hop on the opening track of their last album ‘Audacity’ when they said ‘I won’t let it die’ and after listening to this album they meant business!

We first heard UD when they dropped Fresh Mode back in 1998, it was a time I was still writing full time for this very website and the independent scene was flourishing. When they followed that up with ‘Everybody C’mon’ it cemented my love for their infectious hooks and throwback B-Boy rhymes over that warm timeless production.

The album is themed and plays out as an adventure story which unfolds with each track glued together by skits in the same way that 2003′s ‘Taste the Secret’ was. In an almost cinematic style they are trying to out run a gang who are keen to put an end to ‘Yudee!’ but the trio are always one step ahead, but only just. Andy Cooper & Dizzy Dustin return to wax to trade amusing verses and naturally bounce off each over the production and turntablism laid down my DJ/Producer, Young Einstein.

The sequencing on this album is top notch as it opens with ‘Keep Moving’, a track that musically picks up where ‘La Revolucion’ left off. This is how album intros are supposed to be by capturing your attention and imagination from the start. As the chase begins an infectious Mexican horn section triumphantly pumps out as Andy Cooper and Dizzy Dustin proudly announce ‘Party people hold onto your hats/ Ugly Ducklings coming back and we’re making big tracks/ No time to be timid/Better pick up the pace/ I’ma take it to the limit/Do whatever it takes’. It leaves you wanting more but before you can hit the back button to hear it all again they come flying at you with ‘Momentum’. The track has the signature Ugly Duckling sound we have come to expect which is also present on tracks such as the lead single ‘Elevation’ and ‘Run for the light’ where even Young Einstein spits a couple of lines.

The trio want the listener to be a part of every experience whether it’s taking you through a catalogue of global failed romances on ‘I wonder where she is now’ or reminiscing about the good old days on ‘How it used to be’. The latter oozes nostalgia and will hit a chord with anyone like myself who craves the good times in hip hop again. It’s a poignant verse from Diz : ‘I hear life gets better with age/but the older I am, the smaller the cage/I’m trapped and I wanna get loose and free… and get back to the way it used to be’.

‘Sprint’ is a high BPM throwback track that sounds like it could have been recorded in ’88, if it wasn’t for the reference to Usain Bolt you probably wouldn’t know any different. Diz and Andy rapidly fire lyrics back and forth leaving you out of breath while demonstrating an even faster delivery than they brought on the tongue twisting ‘Left Behind’ from the ‘Bang for the Buck’ album.

Young Einstein has really pulled out all the stops on the production; no one has been digging in the crates harder than this since about 1993. Handling the production duties he works the samples, constantly switching the loops up within the track to give the listener that extra dimension as Diz and Andy move back and forth and into the scenario’s they create. Whilst most producers would make a beat that may change up for the hook, ‘Stein decorates the beat from beginning to end to match the words being said. There is no better example than this on ‘Anything Can Happen (in the big city)’, we’re treated to a stripped down boom bap drum intro as it breaks down into a jazzy horn riff as each emcee goes back and forth about a trip to the big smoke. With the sound effects setting the scene, these two emcees demonstrate the essence of what hip hop is all about, clever wordplay and cool delivery without taking themselves too seriously. There’s also a piece of the story towards the end that makes you smile, as by coincidence, Diz and Andy stumble upon each other just at the right time.

But lets not forget that Einstein is also an amazing Scratch DJ and as usual he gets his own track, this time being ‘Einstein Buys a Monkey’, a tripped out instrumental piece that cuts up samples and vocal sound bites over a rambling organ.

‘Endless Summer’ rounds off the album perfectly, a laid back guitar lick carries UD to their own utopia, and you can almost smell the atmosphere as each emcee effortlessly writes you a lyrical postcard. The track doesn’t need a complicated hook, a chilled out Jazzy Sax does what it needs to and Andy paints a blissful backdrop: ‘Safe and calm / a Trademan shakes the palm / I’m encased on a Lawn getting baked to Bronze/ Smiling while I laze in the UV rays / Forget about the haze and the gloomy days ‘.

It’s truly an achievement these days to buck the trend and take you back to an era when it wasn’t important who did what and who was the high profile guest, it was about the music itself. And that’s where Ugly Duckling has succeeded with ‘Moving at Breakneck Speed’, they have put their all into creating what I can only describe as a classic. I felt a huge smile on my face appear as this album came to an end the album had been seamlessly woven together into a story that pieced together like your best Lego set.

A classic can only be really measured by its replay value, this album hasn’t left my eardrums since its first listen and it doesn’t look like its going to run out of steam anytime soon. ‘Moving at breakneck speed’ is easily the best hip hop album of 2011, period.

Phonte has clearly showcased his many lyrical and creative talents all through his career this album is no different adding that same content with his singing abilities. To top it off reuniting with power producer 9^th wonder is nothing short of genius.  Phonte hits some high notes in this album as the “OG” Original Gentleman with quotables galore.

On “Sending My Love” Phonte takes a journey into the mind of a man that ventures for a quick break from the everyday norm of the woman he loves.  (“ Just take it on home it’s about 4:30 ain’t nothing open this late but legs and hospitals”). “Not Here Anymore” is worth mentioning for the sample alone.  Who doesn’t love Rolls Royce – Love don’t live here anymore.  The song is a classic not to mention ideal for riding with the sunroof back anytime of the day.

Through “Ball and Chain” Phonte tells a story of a relationship so controlling to the point of being suffocated. (“She keeps me so secure/Until I can’t escape/ So unpredictable that it’s all the same/ So many nights I wish/I knew the moment when/Your anchor turned into a ball and chain”). “Who Loves You More” features Eric Roberson, or the dynamic duo as I like to call them. Ending loudly with “Always take care of home, because home is where charity starts.”

Phonte has truly showed that as a gentleman it is okay to talk about love, life and struggles all while still roaring on the underground scene.  In his own words Cuz I go off, yeah I go off /Negro spiritual rap, slave to the rhythm looking like I might go North/ Cuz I go off.  I love the “Tigallo flow” and am ecstatic that he is doing his thing. Outside of that Absolutely Foxx Approved.

Vivid melodic story telling is what Van is all about and this album is no different and still with his very clever stand out lyrics. Van explains about his familiar city and slides his instruction of “the fastest way to a man’s pocket is on his rocket” over a gusty guitar rift on “North Hollywood”. A song that I absolutely love is  “Plum” tells the story of a love of the untouchable booty, but  sounds like an ode to a lusty confused confession. He doesn’t stray away from ballads “Moving Targets” and the country twanged “Falls (Violet)” showcase the familiar voice and tunes of his self-titled 2004 album.  Jumping right back into the rock heavy gutsy “Cross Dresser” or “Designer Jeans” with solos to remind you he is a musician and damn good too.

Chances are if you’re a follower of Van Hunt like me this is exactly What You Were Hoping For!  Van never plays by the rules and always takes the listener on a new journey. What were you hoping for pushes the envelope just enough to take you to the next rock level and guiltily wanting just a bit more. Definitely Foxx Approved.

There is no doubt that the trio from Brooklyn, put their work in at the studio because the craft of each track are touched with various forms of perfection. It’s hard to pick a stand out song when the music is produced and written the way these guys did. Its remarkable to find music like this. Very unique production with “Out side the box” type bangers and crafty lyrics that make your jaws drop. Their first single off of “Relax”, Michael Jackson, is a total standout. The beat has you wanting to blast the song to the point of blowing your speakers out.

You can’t deny that these guys are a breath of fresh air. Another standout about “Relax” is the crafty lyrics they put together. How can you not hate the lyrics from the track Shut Up, dude. “They say I act white but sound black, But act black but sound white, But what’s my sound bite supposed to sound like?” Some of the best writing in the genre appears on this record. One more reason why to pick this record up. It is a very rare happening in the genre known for a lot of disappointments and garbage.

Relax is an album to pass on to your friends, acquaintances, family, and even complete strangers. Every fan of the genre needs to pick up this piece of musical treasure. There is nothing in the main stream that can compare to the musical genius of Das Racist. For those who never heard of this pool of talent, this is the perfect record to start with.

Saying that this mix tape is unique is an understatement. Listening to this record, you have to really enjoy the lo fi, chill music that comes with great rhymes. There is nothing really hard about this mix tape, but most of it is low key, and very easy to listen to. Lets just say…its ear candy.

The production is very top notch and very clean. Who ever put this mix tape together after everything was done, really did a good job with mastering it. The music is what draws you in. Like stated above, very lo-fi, very chill and down to earth. Its music like this that gives you hope for the genre.  Standouts like “Chosen”,  “Take 1”, and “Perfect Skies” give you an fitting soundtrack to just laying around, or doing something calm.

Again, this is a mix tape that doesn’t offer any clunkers. Though, “Vegetables” is a strange song but the production saves it. It’s a great track to nod your head to.  The hook is a woman’s voice shouting out Vegetables, just strange. Even though it’s strange, it is still a good track.

Main Attrakionz prove that indie hip-hop & rap is for real and not just a gimmick. In a world of fake artists, these guys stay true to the music and put out a quality full-length mix tape. It’s really hard to find quality these days, and it’s sad. The genre needs more music like this. Until then, to find any good hip-hop & rap music, you have to look toward the indie world. They know how to get things done.

808s & Dark Grapes II is now available.

Azari & III released something that can be only described as a blast from the past. Each track on the record is something you would find playing in clubs all over the world back in the 80s and early 90s. It’s not hard to really let go of everything inside you and dance your heart out.

The 11-track album is a stand out on its own. There is no single track that outshines the other. Each track offers its own odyssey into the night of clubbing. This is a perfect and fitting soundtrack to and from the city where you are dancing your tales off. The record makes you want to find a way to build a time machine yourself and travel to 1986 New York City. Big hair, bright clothes, 50 dollars, and a feeling of being free, this is how the record makes you feel.

The production is top notch. Nothing over done like some other recent releases from electronic artists. The collection of drums, keys, and vocals will have you dancing wherever you are. You can tell Azari & III are real dedicated to their craft. Their skills are proven to be well to par with the top artists of today.

Azari & III’s self-titled record is a masterpiece in itself. It doesn’t hide behind the boring, old, and cliché rules of music that we are use to today. It brings you back to a time where things were a lot different, and to a scene that was like no other. Its rare to find an artist that makes you feel the way these guys make you feel. If you are into great electronic music, beats to make you want to dance the night away, this is the record for you.