Straight, No Chaser offers a number of standout tracks, touching on a wide variety of topics. “Autographs”, with its Beastie Boys sample, causes some misty-eyed nostalgia early on, but quickly switches gears thanks to REKS’ grateful tone.  “Power Lines” has a sample-heavy beat including a Snap! cut, as REKS passionately delivers his political yet hopeful message. “Parenthood”, as its title indicates, is about being a parent in the hood.  “Regrets” is a sentimental ballad that pins the MC’s heart to his sleeve and adds some needed vulnerability to the album.

The title Straight, No Chaser is a spot on reflection of REKS’ unapologetic honesty; he attacks the mic with intelligence and force as he slowly unveils a personal story.  Selektah understands his role, but his production misses the mark in intensity on a few tracks.  His side of the LP warrants a more appropriate title: Whisky With Water.

The overall tone and atmosphere of this album is great. Roc displays a wide range of talent in each track. Generally, the mood is fun and uplifting, something that hip-hop all too often lacks. What makes it better is that it’s evident throughout that the artist is thoroughly enjoying his craft. This alone certainly adds something special to his already-smooth delivery.

In addition, none of his rhymes are forced out at any point and each track enjoys great continuity from beginning to end. Roc Doogie has a love and knowledge for hip-hop culture which is evident when you start rocking this album. His lyrics display a clear and exceptional consciousness of not only contemporary hip hop, but the world at large. There is really nothing bad that comes out of this album; it offers a great listening experience from front to back.

Production throughout Roc, Paper, Scissors maintains flavor and variety. Every beat overflows (not in a bad way) with character. They work well with the rapping, never overshadowing, just enhancing. They remind you of a better time in hip-hop. The sometimes-funny rapping can make you laugh, but somehow some parts in the production will have you chuckling. The beat for “Micro Management” includes a kind of cartoonish, Dick Dastardly, Pink Panther sound and makes any part of the rapping that is funny, funnier. With production from a wide variety of producers (Deto 22, Dirt E. Duthch, JK1 the Supernova, Defnyshn and Intrikit) there is definitely something that will catch any hip hop lover’s ear – and that’s if you don’t just like the whole lot.

To round up this album – and Roc Doogie’s debut – it is undoubtedly a success. Its versatility in beats and in rapping, without sacrificing quality is a great achievement. As an entire album it is great to listen to as a finished work. It keeps you engaged with its differing styles and subjects. However, even with the variety, it is definitely a complete album as opposed to a collection of singles. Whether you check out one track or all ten you will be glad you have. Each track you listen to will leave you feeling as if you have gained something. No doubt am I looking forward to future Roc Doogie releases, and hoping and praying that the next will be as good as Roc, Paper, Scissors.

From the jump, Time To Get Lucky evokes memories of a better time. The euphoric and mellow “I Been” changes pace several times, serving as a great opener that arouses the senses before plunging the listener into the rest of album.  “Whatuptho?” is a hype track over an Exile beat, both artists showcasing their expert timing.  On “Gots Ta Know”, Lucky and The Grouch take a journey back in time over heavily synthesized ‘80s-esque production.  Mid-album, “Curveball” reinvigorates with an always-appreciated old school vibe.   “Bang-Bang” is hard, both in its message and composition, and Lana Shea, who’s featured on the track, fits in perfectly.  The fourteen track LP closes with “Usele$$” an ideal farewell that speaks to Lucky’s experience (and track record) in creating an all around enjoyable album for his fans.

Lucky’s charming flow and distinct, nasally voice still hits the same way it always has when he holds a mic.  Longevity and veracity, though revered in hip-hop, are a rare find, and Time To Get Lucky represents on both counts.  Lucky may not be changing the game with this release, but in this case, that’s not a bad thing.

The theme of Trophies recognises a modern fascination with physical trophies and awards. However, the subject is not limited to this. O.C. shows masterful wordplay, using “trophy” to reference a range of things, from superficial earnings, prestigious awards, fancy cars, to jewelry and women. We’re all familiar with the music that idealizes the pursuit of riches — trophies — and, having a counter-point to that superficial message is a refreshing change of pace.

Everything about O.C.’s rapping is appealing. He is a great story teller and has the ability to get his point across with great ease, painting a vivid picture of his subject. He is one of only a select few rappers that can make a “smoking” track appealing to me personally. Hehas the ability to take something common and transform it into a great, finished article. He displays this in “Anotha One” with great skill. O.C. has a smooth flow and strong, crisp delivery that gives his rap the fullest impact. He, like the whole album, is consistent throughout. There are no down sides.

All of the album’s production is expertly handled by Detroit’s Apollo Brown. He shows immense talent from start to end. If I were to pick a stand-out beat from Trophies, I would instead hand you the complete album. Every beat is so precise, and works fluidly within the body of work, it would be impossible to single out a particular achievement. Clearly no corners have been cut in production. Apollo’s powerful sound helps to magnify the already-incredible flow of O.C.. The D-town producer shows great versatility; he creates both exquisite low-tempo beats as well as high-impact head-nodders — a truly masterful showing for the beatsmith.

Now for the weakness of Trophies… Umm… Err… There are none. The combination of rapper and producer has created something special. It is a captivating album from the beginning of track 1 to the end of track 16. If this is the best album you hear in 2012 it wouldn’t surprise me in the slightest.

Illmaculate’s, Skrill Talk for the most part focuses on the rapper and his experiences within music. He talks about desires and his path, what he does within the music, rarely offering opinion. The album doesn’t feel like a complete package. The tracks do not engage the listener as you might hope. Overall, the album feels fairly repetitious and lacks variety that would allow Illmac’s talents to shine outside of the battle circuit.

Technically, the delivery throughout feels as though it’s plucked from a battle. Each bar feels like a slow build up to a final punchline, which creates a monotonous, up-and-down style that becomes exhausting for the listener. This is no doubt a direct product of Illmac’s extensive battle history; he seems to have difficulty in finding a style that works well for this album.

Positives of the album are the variety of featured artists and producers. Eight individual artists make appearances on the album, in addition to a posse cut with the Sandpeople collective. Most notable are Tech N9ne and Inspectah Deck on “How You Do That” and “Go Study”. The production is handled by a total of nine different producers who create a mellow atmosphere for the most part with a few aggressive exceptions. The production and rapping go together well. Neither is out of place. No beat particularly stands out, but never overwhelms Illmaculate.

Throughout the 15-track album I was disappointed to not hear anything that caught my ear. It is not a terrible album, however. It sticks to safety, never venturing into the unknown but lacking creativity. Skrill Talk often feels as if it is a Hip-Hop/R&B hybrid that is increasingly common in music today. Illmaculate knows how to rap, however I don’t think Skrill Talk showcases him at his best.

Why put myself on the line like that? Listen to the first track off of his new release, Careless. What you get is an effortless flow that is still content-rich, backed by a beat that has horns and outstanding supporting vocals. This one sounds like real music — rich and original — instead of some computer generated sequence of blips and assorted noises.

On “Pilgrimage”, J. Pinder does something I’m a big fan of. He actually sings on the hook, and does it well. Rappers who can do this (Z-RO and Big KRIT are good examples) immediately make their music more entertaining. Not much better than hearing a guy shred a verse and then croon a chorus.

Beyond vocal talent, one song in particular makes me think that J. Pinder has break out potential. “Some Kinda Star” features heavy guitars that give it more of a rock feel. Artists have been screwing this style up for ages (sorry Limp Bizkit fans) but J. Pinder pulls it off. He put dope verses between an arena rock hook and the end product is stellar. My favorite song is the title track. The vocal sample and drums really make this one a standout. It also closes with some horns that are a perfect ending to the project.

Pinder’s style is reminscent of Lupe Fiasco, and artist that paved the way for artistic MCs to make a statement while enjoying huge commercial success. His smooth delivery, serious themes, and an ear for engaging beats make him a natural heir to the throne. With a little time I think this guy could reach Lupe-like heights in hip hop. Get your hands on “Careless” so you can tell people how you knew about him before everyone else did.

BETTERMAKEROOM begins strong. Steddy P’s rapping embodies the term “conscious” — his raps consist mostly of stories about the things that surround him; he talks about a range of subjects and about rap music in general. His flow is very consistent and his delivery is strong. Most of the tracks include a chorus that’s repeated frequently throughout the track and can sometimes become a bit repetitive. However, the rapping and production go together nicely and usually compliment each other. The first handful of tracks in particular are very well-produced and knitted together neatly.

Steddy P displays versatility in his style as does the album’s producer, Indyground affiliate Matthew Sawicki. There is an assortment of styles from one track to the next and, to begin with, the album is great to listen to and keeps you heavily engaged. P is very knowledgeable about hip-hop. It’s easy to tell in his music. The tracks of BETTERMAKEROOM include memorable verses from and references to the golden age of rap. His lyrics often include experiences that some listeners can easily relate to. This album displays Steddy P’s knowledge and skill.

The first 5 tracks of BETTERMAKEROOM are great. Awesome flow, great beats that complement the rhyming, and some interesting lyrical content.

Unfortunately, the exceptional tracks that comprise the first half of BETTERMAKEROOM begin to fade as the album draws to a close. You can’t help but feel that some tracks have been paid great attention to and others have been thrown together.

Somewhere around the sixth track, the PREACH and Godemis (CES Cru)-assisted ”SIC”, the album begins to falter.

The second half of the album focuses on subjects that include chasing a woman and weed, which aren’t exactly something you haven’t heard before on a rap album. The heavily-used subject matter contributes to what develop into some of the larger holes in the effort. While not necessarily outright bad tracks, many of the songs that fill the latter portion of the album feel uninspired. Many lack any great aspects that help the opening cuts truly shine. In a word, they simply feel forgettable.

That’s not to say that the entire last half of the record isn’t at least worth a spin. The beats are generally very good throughout, with Sawicki showing his ability to produce head-nodders in a variety of styles and compositions. BETTERMAKEROOM is also laced with incredible scratch work by Indyground’s stellar DJ Mahf.

On the whole, Steddy shows immense talent in the opening of the album, which unfortunately only helps to illuminate some of the weaknesses in the tracks that fail to deliver. However, BETTERMAKEROOM is still very much worth listening to. It displays some moments of true brilliance, and still creates an enjoyable listening experience. This album has a lot to offer, and with more consistency, it would have easily been one of the better releases of 2012.

Some tracks stand out more than others on this 13 track LP, and merit repetitive play.  The album opener, “The Feel Reel” with Sly 5th Ave has an eclectic beat with soulful saxophone, purposeful reverberation and a slow tempo.  “Backboards” featuring Blu, a cat with an equally distinctive voice, is a perfect mash-up of talent that plays out over a haunting beat.  “It’s Been Said” has a sample heavy beat, but it’s Sene’s lyrical ability that makes this track noteworthy:  “They oughta pinch me/I be having dreams, I’m a latter day Da Vinci.”

Sene’s intelligence is prevalent throughout Brooklyknight, and with it he tells an interesting story that is all his own.  Though each track has a different feel, speed and style, it’s all brought together by Sene’s rare rhythm and sound. Brooklyknight may take more than one go around for the listener to appreciate the character that in holds, but if given the opportunity, the uniqueness of this project will stick with you.

Sample heavy with live drums and other mixed-in instruments, Joe’s production manages to be both interesting and soothing. Insanate’s flow is deep and almost sluggish, but his word choices are deliberate and succinct. The outcome blends each musician’s unique style into one harmonious sound.  

The lively album opener “Nice” starts the LP off with some needed energy, but it is quick to mellow out with “Fearless” and remains sedated throughout.  Joe & Insanate’s Excellent LP is the kind of album that you can kick back and relax to, no party music here.

The Hartford, CT rapper is known for his hardcore rhyme style and “no-sellout” attitude. His rapping keeps it vividly real as he paints a strong picture with his words. He has become a well-known and well-respected name in the underground hip-hop scene in the past few years and shows no sign of slowing down. He honed his skills after spending a period in prison for drug dealing, and emerged with his signature style. His first mixtape release in 2007; Me Against the Radio has become something of a cult classic. He has since, until The Master Builder II, stuck with his own style of underground hip hop.

The Master Builder II is delivered in Blacastan’s usual hardcore rhyme style. His lyrical content is, however, not always aggressive. Blacastan paints you a picture of his subject, telling you of experiences not so much as opinion as much as fact. The lyrics are almost hyper-real. Nothing in the album is sugar coated. Far from it. He gives you the world in his own mind and definitely in his own words, holding back nothing, no hesitation or dancing around a subject.

One particularly creative track is “Shareef the Bank Teller” which finds Shareef telling his story of a gang robbing the bank he works for. Blacastan’s rapping ability is displayed perfectly here. He paints the story so vividly it creates an image in your head. The story has characters and back stories, it is truly an exceptionally rhymed track. Blacastan follows this vivid explanatory style throughout, and it makes for an expertly polished album. The Master Builder II also displays an astonishing amount of variety. You are given no shortage of featured rappers and the production is even more diverse.

The beat making falls into the hands of 8 different producers including: ChumZilla, ColomBeyond, DJ Doom, Frank Dukes, Mr Green, Paul Poundz, Sherm LaRock and Silvamore. The beats tend to set the tone of the track. There are no weak links in this album, whether rapping or production. Care has been taken on each track and it is evident.

The production doesn’t follow any sort of trend or formula. A diverse sound emanates from each track and creates its own listening experience. Standout beats are hard to choose. One that might leave its mark is “Concrete”, which is produced by ColomBeyond. The beat is satisfying to listen to in its simplicity and its flowing style. It, as most of the beats do, compliments the rapping beautifully. Another great beat is “Sand Storm”, which sets an intense tone to the track, it helps the lyrics have a bigger impact and enjoys some great sampling. The beats throughout are well produced and the variety definitely is what defines the sound of the album.

The production on this album is impressive. The rapping is better. Blacastan’s style of rapping cannot get old. His storytelling ability is simply mesmerizing. The listener is kept engaged in the track and, as a result, the entirety of The Master Builder II. Blacastan’s newest release marks another great in his catalog of impressive album after impressive album.