While far from flawless, Honkey Kong showcases that Apathy indeed has the artistic vision to expand beyond his comfort zone of dizzying braggadocio. Each release of his has shown growth in this direction, and Honkey Kong is no different. Though arguably a bit bogged down by guest appearances, the album showcases not only Apathy doing what he does best (obliterating verses with absurd rhyme schemes and hilarious one-liners) but also his willingness to push himself creatively, whether in the form of dabbling in self-production (as he executes exceptionally on tracks like “Holy Ghost” and “The Villain”) or presenting subject manner deeper than mere battle rhymes. Though the subpar tracks cause the album to drag a bit in places, the highlights are entertaining enough to make Honkey Kong a great purchase.

Of the best tracks, the one that initially stands out is the honest, self-deprecating, and beautiful “Check to Check” produced by Evidence. Instead of boasting about incomprehensible wealth and innumerable material possessions, Apathy instead comes with lines like, “I never made it ‘cause I never tried to make you dance/I’m makin’ ends meet, Diddy’s makin’ bands”. Very few rappers are willing to say things like, “I radiate being broke, you almost see me glow”, which makes Apathy’s rhymes all the more refreshing (and easy to relate to for anyone currently suffering economic hardships in this day and age). Branching out from the topic of money, Apathy also touches on issues such as the struggles of love (on the stellar “I Dedicate this to You”, which features a great use of a CL Smooth sample and great beat from Smoke The World) and over-enthusiastic fans who invade his personal space (on the brutally honest “It’s Only Hip Hop”). This variety of topics adds spice to the album and forces the listener to mentally shift gears away from dissecting Apathy’s normal barrage of battle-ready rhymes.

Of course, any long-time Apathy fans should welcome this aforementioned barrage. He does not disappoint in this regard, putting his talents on fully display on tracks like “Honkey Kong”, “The Villain” and “All I Think About”. Seriously, what other rappers employ alliteration as adroitly as he does in lines such as, “My jet’s on Jupiter, my mansion’s on Mars/I spend a Saturday on Saturn slow-dancing with stars,” or uses rhyme schemes like, “I’m a bastard, the after-effect of passionate sex/I came out the bassinet blastin’ a tech”? Apathy is also masterful at making pop culture references that are unique, whether he’s threatening opponents with a gun that’ll make them, “catch ‘18 and Life’ like Sebastian Bach,” or letting listeners know that he’ll, “have you saying ‘uncle’ like Jalen Rose to Grant Hill.” To quote every dope line would take eons; just know that the album is packed to the brim with them.

Yet as was previously mentioned, Honkey Kong is far from the masterpiece that Apathy is capable of. Besides Celph Titled on the DJ Premier-produced “Stop What You Doin’” and the slew of spitters on the posse cut “Army of the Godz”, almost all the guest appearances are a little lackluster, an unfortunate scenario since a majority of the tracks feature guest verses, and leave quite a bit to be desired (perhaps it isn’t that the rappers are weak, just rather that they sound second-rate when paired with Apathy). There’s also an issue with the beats, for while none of them are outright disappointing, only a few (like the aforementioned “Check to Check” and “I Dedicate this to You”) are truly stellar. This is especially a let down considering some of the names behind the boards: Premier, DJ Muggs, Statik Selektah and Da Beatminerz. While none of them give Apathy bad beats, none of them provide him with the classic bangers that any rap fan knows they are capable of producing. Considering the astounding heights that Apathy’s rhymes reach, beats that are as equally stratospheric would bump this album from “good/great” to “magnificent”.

Despite these detracting flaws, Honkey Kong is still a very enjoyable listen. A little trimming of the fat would make the album shine, but, that being said, there are no true duds to be found. Anyone familiar with Apathy’s awesome style of rhyming will be more than pleased, with this release as will listeners who are looking to see him step outside of the box a bit. As one of the truly undeniable lyricists in hip hop, Apathy’s rhymes never disappoint over the course of the near-hour running time. The fact that it’ll take most listeners multiple listens to decipher and decode every line gives Honkey Kong outstanding replay value, a quality which will surely land the album amongst the best releases of the Summer of 2011.

Known primarily for his work with Madlib as Dudley Perkins, Declaime has a very odd and off-beat style of singing.  Lots of stopping and going.  Lots of unexpected rhyme schemes.  Lots of smooth-yet-raspy soul.  In other words, a perfect match for Madlib.  As a rapper, Decalime utilizes some of these tactics, mostly the stop-go flow and the bizarre rhyme schemes, but is much different than Dudley Perkins when it comes down to it.  On his newest release, Self Study, rap takes precedence over singing, and it may not be for the best.  Whereas his previous work with Madlib brings emphasis to his voice at the perfect times, the vocals meshing smoothly with the samples and drums, as a rapper Declaime seems to have more trouble finding the sweet spot on the track.

Georgia Anne Muldrow, a Stones Throw artist (with whom Declaime has a personal relationship), reportedly handles the production on the record.  Overall, it tends to be uneven and way too reminiscent of Madlib’s signature style and approach.  Had Muldrow toned down some of the attempts to be avant garde, some of the beats may be easier on the ears.  This is not to say that the production on the whole album is a disappointment.  There are moments of excellence throughout, particularly in tracks like “Illicit Fonk”, featuring Prince Po and Illicit Child, and “Lifestyles”, two tracks that, production-wise, manage to highlight Declaime’s strengths and draw positive attention to his style and flow.  However, most of the time the snare comes a full few seconds before it is supposed to, or the hi hats are just too disheveled or botched, resulting in failed attempts at the soulful Dilla/Madlib-esque approach to hip hop production.  Whereas Flying Lotus can scatter his arrangements wherever he pleases, ultimately bringing them together with a unified sound or a few instruments that serve as the glue of the track, Muldrow’s effort makes the songs often sound uncomfortably cluttered and spastic.  More importantly, there is a certain charm missing that only hip hop vet producers like Madlib can achieve.  When this charm is duplicated in vain, it will only yield a sub-par product. Unfortunately, this is one such time.

However, much of this mediocre production is brightened by Declaime’s lyrical ability.  On “Dirty Dude”, he assumes the position of a policeman concerned only with violence and unjust accusations.  He raps “Don’t dare me, cuz I just might carry a revolver, that will solve all yall’s problems.  Probably pull my piece out, blow your rotten teeth out, cuz what we is about is the street route.  Murder on the mind, I’m not like you.  I’m a complete different kind.”  His rhyme scheme may not be easily deciphered from the lines above, but it is unique and patchy in a commendable way, and best of all, it works.

The album carries a conspiracy vibe due mostly to Declaime’s sometimes-out-there approach to lyricism.  On “Zoom”, he warns against the evils of religions and government with lyrics like “All religions are illusions filled with many lies, conspiracies and alibis.  The system gotten tied up and tangled to the point where our very existence is strangled, and its about to get worse until we do something about it.  Sleep minds stay clouded, until you’re dead in a hearse.”  Other tracks on the album reflect this sort of writing.  Declaime wishes to warn his listeners of the world’s lewdness and to make sure that his fans are present on his side.

The album, while not entirely satisfactory, is a good effort and does maintain a coherent sound and context.  However, when compared to Declaime’s previous work with higher-level production and a more broad lyrical range, Self Study seems inferior to his other releases.  It’s worth a listen, but will not likely show up on your newest playlist or in your car.  Hopefully next time Declaime teams back up with the Stones Throw golden lineup and comes up with another Dudley Perkins release.

From the first few bars onward, it’s clear the star of the show is going to be Roc Marciano. Debate has surfaced over how best to classify his style, with “throwback” seemingly being the (unsatisfying) consensus. He’s not the loudest rapper with the most ostentatious catchphrases or adlibs, but his hardened persona in conjunction with his knack for rhyme patterns is more than engrossing. When he locks into a syllabic scheme, it’s astounding how far he can stretch the rhyme, nearly always carrying on for multiple bars. These skills are showcased on the opening track, which is produced by Marciano himself. As anyone familiar with his lauded solo effort Marcberg can attest to, Roc’s style of beats and rapping are a perfect pair; he gets into autopilot mode and drops gems like, “The after effects of harsh livin’, turn hearts frigid/Thank the Lord I’m artistic with dark pigment/Palm biscuits, cut butter, but still its no picnic.”

Of course, while Marciano sounds comfortably at home over his own beats, the truly intriguing aspect of this EP is the question of how he fits over the production of Oh No and Alchemist. The answer is pretty obvious from the start of “Hoard 90,” the Alchemist-produced second track; this combination is a match made in — as opposed to heaven — definitely the grimiest of sewers. Roc absolutely demolishes every beat he comes across, an accomplishment that must be partially credited to the top-notch quality of the production he’s given to work with. The ominous, yet catchy “New Shit” is a perfect example as to why the medley of Roc and Gangrene works. Oh No, the talented younger brother of Madlib, sticks true to the family business of blending an array of sounds and vocal samples together that in the hands of any other producer would result in cacophonous disaster. The end product here, however, is the perfect type of dark and gutter beat that Roc can absolutely smash out of the park.

While there’s no doubt as to their talent as producers, the MCing abilities of the Gangrene duo are definitely a wildcard. Alchemist, though he won’t be winning any MC battles anytime soon, is serviceable on the microphone. His presence is a little lackluster, especially compared to the icy and captivating Marciano, but his lyrics and flow are always solid if not astonishing (he shines on “Jet Luggage” but comes up a little short of spectacular on “Sewer Gravy”). Oh No, who, it must be noted, is a far superior rapper than his more-famous older brother, is a little more talented. Though his flow isn’t as in-the-pocket as Marciano’s, he’s no lyrical slouch and his appearances never detract from the overall quality of the songs he appears on. Neither of the two steals the show from Marciano at any point, but both do well enough so as not to lessen the listening experience.

At less than twenty-five minutes, Greneberg is over far too quickly. The album doesn’t really have a shining, defining, “must hear” track, yet is consistently strong throughout without — with the exception of the news report outro on “Sewer Gravy” — a wasted moment. It’s a quick album to digest, which may be an indicator of a lack of staying power in your CD changer, and one that you’ll certainly find yourself nodding and scowling to but never falling in love over. As a sampler as to what this talented trio can accomplish, however, Greneberg is an excellent testament to the idea that grimy hip hop, void of poppy sheen, can not only survive but thrive in 2011.

$18/20

-Stu White

That is, as much variety that underground hip hop allows. There are no southern-style bangers, no singalongs, no radio-friendly material, just underground production at some of its finest.

“Haven’t You Heard” features gritty verses from Sadat X, John Robinson, and ID4 Winds, over an eerily twangy beat, punctuated with horn blasts and a short, high-pitched vocal wail. It is basic at its best, and if the elements of the song were altered, it might be disastrous. However, he struck the perfect balance, and that is what makes Headnodic so gifted. He knows just how loud the drums ought to be, just how many effects to pile on, precisely when a beat drop is necessary, and just how to pace the track so it doesn’t lag. The problem with these gifts is that they can and sometimes do result in disinterest. Formulas work and that is why they are used, but when utilized too often they can result in another “A Milli”.  Luckily, what Headnod may lack in originality he makes up tenfold in (proper) diversity.

Another reason to enjoy this album is an odd nostalgic factor that does not seem entirely on purpose, but is still delightful nonetheless. “The A M”, sounds like a Pharcyde song from Bizarre Ride II. Subtle vibes, shaker, simple drum track, and verses delivered in old school fashion make the track undeniably 90s. Known for his incredible partnership with Moe Pope in the form on Megaphone, Headnodic employs Moe for several tracks on the album. “Red Line Radio”, and “Dirty Diamonds”, both feature aggressive bass lines and punchy bass drums, giving the duo of songs a brotherly vibe, and Moe shines on both. However, he could bring it a little more on “The Mush”, which features a repetitive loop and verses that don’t stand out as much as they could.

Some of the greatest moments on the album come with no rap on them. “Carpe Noctum” is a relaxing track late in the album that may very well inspire you to write a retrospective verse over the blank canvas. “These Days Ahead” features lovably sloppy drums and phasing synths as well as supporting arrangements and a bass line that could have been provided by MF DOOM. “Peppers Lullabye” may very well be the track behind an NYU film student’s montage about a couple frolicking in a grass field. The outlier of the album, “Lullabye”, is a refreshing departure from the other songs and showcases Headnod’s ability to transcend genre boundaries and explore new territory.

“Surgeon General” is a very well-done replication of a song produced in People Under the Stairs fashion. The track features PUTS themselves, and both MCs make us feel at home with a comfy and warm summer track.

Another standout track would be “Truth”, featuring vocals from Destani Wolf and additional instruments from Jazz Mafia Horns. The collaboration aspect of this track is remarkable. You can hear exactly where each contributor fits in. Destani makes it the soothing R&B track that will no doubt give you chills, Jazz Mafia Horns provide the vintage and completely necessary horns that give the song the soul it thrives off of, and Headnod provides everything else, record static included, bringing the song together in a way that still plays like a hip hop track.

Overall a very impressive effort, Headnod could have gone a little wilder on this release. The variety is most definitely satisfying, but when listeners get a taste of his work in other genres like “Truth”, and “Pepper’s Lullabye”, it is hard not to wonder what else Headnodic is capable of. Perhaps the next release will settle my hunger for genre bending, but I’ll be bumping Red Line Radio for a while until then.

The difference between the Chicago-born MC and all competitors is not that he is the most unique or “out there” in terms of style, content, or song making. Instead, he takes the basic elements of emceeing and performs them impeccably. His arsenal of skills is fully stocked: nimble flow, sidesplitting punchlines, insightful commentary, vivid depictions of street life, multi-syllabic rhyme schemes, and creative storytelling. There is no category that he is anything less than preternaturally gifted in; no, if you pardon the predictable pun, chinks in his armor. While many MCs may boast about not having to write anything down, Vakill is the irrefutable proof that taking time to meticulously handcraft raps creates a finished product that is far more memorable.

From start to finish, there is not a single moment when Vakill lyrically takes his foot off the gas pedal. Though he’s clearly adroit at tackling any topic, Vakill is at his best when he’s proving that, bar-for-bar, he is one of the most skilled wordsmiths in hip hop. Whether he’s claiming that “this is I, fill in the blank: Lord and Master, bitch, I’m Self centered” on the album’s title track or threatening to “EA curse the Source covers” on “Appetite to Kill”, its clear that Vakill is in full take-no-prisoners mode on this album. The latter track epitomizes what makes Vakill such a phenomenal and rare MC; very few rappers can make a four-minute song sans chorus that makes you want to instantly hit the rewind button (I nearly fell out of my chair around two minutes in when he says, “In Chi you got options/Either all is well for a G, spit bars, or sell you a ki/My diction is like Satan’s crucifixion; I got being a beast nailed to the T”). By the time he reaches the last track, “Proof,” and is still in full boastful mode with lines like, “Sick with the pen stroke, kinfolk, please don’t invoke/I go hard ‘til bone through the skin poke/The best punchlines the ones they don’t see commin’, catch the end joke/9 months when your bitch’s water been broke,” its nearly irrefutable that he deserves to be mentioned amongst the lyrical elites.

Of course, it would be a disservice to Vakill to depict him as a purely punchline-oriented battle rapper; he’s in reality a much more multi-faceted MC than that. “The Apology” is a creative song of repentance dedicated to the streets in which Vakill, embodying an aging, former gang leader, reflects back upon the violence and anguish he brought upon his community. One of Vakill’s most underappreciated strengths is his story-telling, as fans familiar with previous tracks such as “Fallen” and “Acts of Vengeance” can quickly attest to, a gift he showcases on the chilling “Sick Cinema”. He is also masterful at describing his home city in incredible detail, presenting both the good and the bad of inner city Chicago life with unflinching realism and with intelligent analysis as seen on songs such as “Endless Road”. What’s especially impressive here is not just that Vakill can touch upon such a variety of topics, but that he can do it while maintaining staggering rhyme patterns and without sacrificing his acerbic wit or intensity.

Since it is a given that his bars will be of the utmost impressiveness, the only trepidation that fans may have going into Armor of God is that if the beats are of equal caliber to the verses. The extremely talented Jake One produces the aforementioned “Armor of God” and “Proof,” as well as the single “Armorgeddon (Shit On You)”, providing Vakill with head-nodding beats that are a nice break from the dark grittiness of his usual in-house Molemen production. This is not meant to be a slight at Molemen, since Panik’s contributions to the album (he produces eight of the tracks) are stellar. I’ve found myself especially drawn to his beautiful yet chilling piano playing on “You Don’t Know”, which provides a melodic juxtaposition to the darkness of Vakill’s rhymes, and the adrenaline-shot-to-the-neck nature of “I Came 4 U” that makes me want to go out and fight someone. There is great contrast between these more foreboding tracks and ones like the previously mentioned “Endless Road” (produced by MGI), an excellent summertime beat that manages to be melodious without sounding soft, and the soulfulness of Bluntologist’s “Wild Wild” beat (which makes perfect use of a Big L sample for the chorus). It is this diversity of moods and sounds that keep the dense lyricism from making the album drag or seem repetitive.

As you can see, it’s difficult to find any major flaws with Armor of God, yet there are still minor imperfections that are worth addressing. Though by no means a lackluster MC, longtime Vakill collaborator Vizion isn’t quite of the same abilities as his bretheren and his guest appearance doesn’t bring a whole lot to the table. The posse cut “Beast Ballad”, featuring a slew of lyrical dynamos (JUICE, Rhymefest, Nino Bless, and Cooked I) looks better on paper than it sounds, for while Bless and Crooked both absolutely destroy their verses, the beat isn’t engaging or dynamic enough to sustain the five minutes of uninterrupted bars. These complaints are nitpicky, however, considering the immense quality of the rest of the product. Though it has been a long, frustrating, and sometimes demoralizing wait for Vakill fans, Armor of God is worth every excruciating bit of patience. He manages to take both a step forward sonically by employing a wider variety of beats while at the same time staying grounded and sticking to what has drawn fans to his work since The Darkest Cloud: Exquisite rhyming and a menacing demeanor. It’s been a few years, but it’s clear the time off has allowed Vakill to sharpen his skills hone his craft to mind-boggling levels.

-Stu White

What plagues attempts at musical mastery such as these is that the artist is expected, perhaps unfairly, to excel in both mediums, and more often than not one aspect lags behind its counterpart. For every virtuosic duel-threat such as Q-Tip, there are innumerable producers who sound stilted and unimpressive on the microphone and MCs who shouldn’t ever step foot behind the boards.  Thankfully Willie Evans Jr., former member of the underground group Asamov, is skillful enough to avoid such pitfalls. While he may not currently be in the upper echelon of rapper/producer hybrids, his performance on his short but sweet High Water Music debut Introducin’ indicates that he has every necessary skill to reach that pantheon.

Anyone familiar with Evans’s YouTube videos in which he chops up classic music videos and turns the resulting product into a beat (I’m especially partial to his reinterpretation of “Strawberry Fields”) already knows how talented of a producer he is. His ear for samples is impeccable, as showcased on tracks such as “Take 2” in which he manages to create a surprisingly catchy chorus out of a vocal sample that is equal parts slurred, soulful, and sad. “Nerd English”, one of the standout tracks, is car-system-ready with head-nodding bass and drums that are guaranteed to curl your lips into a mean-mug sneer.  “What? Is this the whole beat? Where’s the freakin’ hi-hat at? I don’t get it,” an incredulous onlooker asks at the beginning of “Mega”, yet any fears about the song being incomplete become quickly palliated within the first 30 seconds as Evans once again demonstrates his ability to create a funky beat with minimal components.

While clearly exceptional on the MPC, Evans is also far from a slouch on the microphone. The aforementioned “Nerd English” not only calls out the faux-ghetto personas adopted by an inordinate amount of aspiring (and current) rappers (“It’s okay if you’re just workin’ 9 to 5 my boy,” he says, “actin’ like you in the streets ain’t fly boy”), but does so while working in references to Soul Calibur, Aqua Teen Hunger Force, and Magic: The Gathering. “Moon Foot”, the best display of his pure rapping abilities on the album, begins with the bars, “The moon foot returns from a planet that is famous/Without a rap other cats pull from Uranus/I land sideways, strange pile of great pages/From a tattered book rappers shook bars into cages/And stare into a sea of angels with a dirty face/Throw a thought bomb Haily Mary that is full of grace,” and maintains that quality for the remaining two minutes. Other such quotable lines are scattered throughout the album, including the tongue-twisting “anyway that cats that front/be happy that blunt’s masked in sadness/their hats be dunce caps, they bum raps is garbage” (with the last word fit into the rhyme scheme thanks to the slight Boston accent delivery) on “Sidewalk Shit”, clearly indicating that Evans can hold his own on the mic.

While the beats and the rhymes are stellar for the most part, it would be remiss to overlook the flaws that, while not totally derailing the listening experience, slightly lessen the overall quality of the album. For one, Willie Evans Jr. isn’t blessed with the most distinctive voice or riveting style (I would venture to say he vocally resembles MF Doom, minus the wacky and head-scratching content of course). This unfortunately impedes the ability to focus on and absorb his lyrics, a frustrating issue since he’s clearly a talented writer and drops gems in every song. Too often did I find myself unable to pay necessary attention to the lyrics of tracks upon my first listen (a problem I never have with top-notch rappers). Instead, I was far more focused on the beats and his use of samples than on interpreting and dissecting his words. I also have a gripe regarding the length of the album, for while I normally enjoy things to be on the shorter side of the spectrum there were too many excellent songs that never went past the 2:30 mark. At a little over 35 minutes long, Introducin’ could have easily been a fuller 40-50 minute listening experience without sounding inundated with filler.

Yet these criticisms do not outweigh the plaudits. Introducin’ is a good and cohesive album that flows well from front to back. Even the intro and outro serve a purpose beyond bookending the album; both tracks tell the story of young Willie, an aspiring musician who struggles at first to learn instruments before finding inspiration and achieving the accolades he deserves. It is little touches such as these that separate Introducin’ from other albums and showcase the craft and care with which it was obviously created. While I can’t say that the album is a masterpiece or that Willie Evans Jr. already belongs amongst the best rapper/producer double-threats of all time, it is irrefutable that Introducin’ is a quality listen that I’m sure you’ll want to continually revisit.

However, they must be tired of working outside of their comfort zone, because the Asian-influenced, classic RZA-esque production is employed throughout the album, but no one should be complaining. There are enough factors within the album to separate the release from any old Wu-Tang record. First of all, the guest spots are top rank as far as underground MCs go. Verses from AZ, Roc Marciano, MOP, Action Bronson, and Termanology are all premium cuts. Action Bronson, who has made a career while sounding eerily similar to Ghostface Killah, almost out-Ghosts the man himself. The two share the track “Meteor Hammer,” with Termanology, and if this track isn’t considered some of the best raw hip hop in the last decade, then I’m not sure what is. Termanology may seem like the underdog of the triplet of artists but his verse is most definitely the strongest. His delivery is combative and exhilarating, gradually getting rougher as his verse progresses. “When I step up in the spot with the rock you see the popular pop rappers go into their pocket and pull out their wallet when I click clack, now. Get up on the ground, cuz I Onyx-Pete-Rock-Chuck-D shut em’ down. You know Term, I’m the kid with the Preme beats, Butter Pecan J-Lo with the mean cheeks.”

Sadly, there are no other tracks that achieve the level of hardcore-ness that they seem to be striving for, but that is not to say there are no other great tracks. The song “Legendary Weapons,” could have been a radio hit in ’94. Ghostface, AZ, and M.O.P. fill the verse slots and do so with surprising vigor and youthfulness. Perhaps it is just by comparison to other rappers from the golden age who are still churning out worthless crap, but the rappers on “Legendary Weapons” sound comfortable yet aggressive on a soft, stringed-out, classic Wu-style beat.

In traditional Method Man style, he outdoes everyone on the beat he graces, which is called “Diesel Fluid.” Most might say it is not difficult to out-rap Trife Diesel and Cappadonna, but the fashion in which Method does so is like watching Real Madrid play the LA Galaxy. The Galaxy are a great team, but that doesn’t mean the authentic Europeans didn’t school the American boys without lifting their feet. Meth raps “Now I don’t slip when I’m down in the dirt, cuz by this time I done seen life and figured the amount that it’s worth. It’s the first, cops looking for work. Got my niggas all cuffed up, sweating like a hooker in church.”

Other tracks to be noted include “Start the Show”, an aggressive funk attack complete with fantastic percussion and unparalleled verses from Raekwon and RZA. Another dope track is “Laced Cheeba”, which demands to be played with the bass turned all the way up in an Escalade somewhere. The track is also produced in the classic Wu Tang style, featuring quick guitar strums accompanied by ringing guitar notes and ride cymbal, and of course some prime Kung Fu film sound clips.

It’s no 36 Chambers, but Legendary Weapons is much more gratifying than say Iron Flag, or 8 Diagrams. It’s great to see that these rappers still care about the group that made them who they are, the same group that they obviously do not need anymore. The absence of GZA is felt, as his bare-bones, rugged style would have been much appreciated over one of the throwback beats on the record, but the given verses are plenty satisfactory, as is the production. Though they stay in familiar territory this time, there’s no place like home.

Kyle Rapps’ debut EP “Re-Edutainment,” is a Transformers action figure, and a fine debut, but it is not likely to turn every head in the industry like how Chiddy Bang or Wiz Khalifa did. Strictly underground, Kyle’s flow does not translate to a mainstream audience. In the same realm as Aesop Rock, Louis Logic, or Akrobatik, Kyle has that sort of obscured and well pronounced voice-of-the-underground flow. This would be fine if it wasn’t already so commonplace. Rapps provides plenty of quotable verses, but never thinks outside of the neatly packaged box. Rappers often use their debut as a showcase of their range, showcasing varied production and multiple different approaches to rapping.

Jay Electronica, on his first hit “Exhibit C,” does all sorts of lyrical flaunting. Flashes of alliteration, raw imagery, and a relentless energy fill the track, throwing him into the hype club, and featuring him on every blog in existence. Kyle Rapps does not bring the fiery energy that is often necessary for a successful breakthrough. Instead, he raps in a laid back, informative tone, focusing on lyrics rather than flow. As far as lyrical content goes, Rapps is on the right track. On “Bully” he provides the recipe for the perfect asshole, in the first verse as a youth, but in the following verses as an adult. “First find a cause, arm it with religion. Make sure your cause spread division. Now go on a mission, force your way of living on anyone who acts different or won’t listen. Listen, God hates Yellows, Browns, Blacks, Jews, Gays, learn to quote the doctrine, every chapter and phrase.”

Rapps never gets too crazy with imagery or detail in description, allowing the listener to lose interest easily. However, he generally tells a story or takes a linear approach to the song, reinforcing the listener’s desire to hear more. The production by Kev Brown is uneven and not very imaginative, but is overall adequate. There are no bangers, no slowed down smoothed out tracks, no flashy commercial beats, just a bunch of sincere and straightforward hip hop tracks. Tracks like “Me” could be compared to the Blueprint-RJD2 sound.

RJD2 will usually provide some upbeat, percussive, horn-punctuated track for Blueprint to tell a tale over, and “Me” has the same impact as a brag rap from Blueprint. Another track reminiscent of RJD2 would be “Prom.” The drums are hard hitting and with ample hi hat like RJD2 tends to favor. The rap on “Prom” however, is different from a Blueprint verse. The track is fairly goofy with lyrics like “Grass is green baby, word is born. You’re so hot I would kiss your mom. I wanna hit it like a gong, I can take you to LA or Hong Kong. I wanna hit it like a bong, high off of life, problems long gone.”

Plenty of tracks on the album have a lyrically scattered sort of spastic vibe. Kyle could be rapping about one subject, ignore any sort of transition, and be on another completely unrelated subject 3 words later. Rapps has it in him. He’s witty and fun to listen to, his voice is low but not too low, and he’s quite funny overall. However, “Re-Edutainment” is not a breakthrough, nor very unique. Maybe he’ll up the ante some on his first official album, but for now Kyle Rapps is a Transformers action figure.

$14.33 out of $20.00

-KJ Glauber

Now ten years after their debut, Cunninlynguists, having survived a seriously revolutionary decade in hip hop, have released Oneirology, a unique departure from their typically southern influenced, fight-for-the-underground sound. The production varies, but often takes Cunninlynguists to the future, where synthesizer loops fill the air, every sound echoes, and everything reminds you of a funky spaceship. “Enemies with Benefits,” uses reverbed out bells and operatic moans, a futurized talk box hook, and a synth bass to stand on top of. Think Deltron 3030 meets PeanutButterWolf meets an astronaut. “Dreams,” on the other hand, wouldn’t be out of place on a Hot 97 countdown. It sounds much more commercial than the rest of the album, which only serves the album’s eclecticism.

There’s a hook to sing along with, and easy-to-follow verses, which could make it a favorite for new listeners who need a song that is simple and easy to remember, featuring a variety of verses each carrying a different tone and style. Tracks like “Get Ignorant,” and “My Habit,” are among the more straightforward hip hop songs on the album. Both tracks feature slightly grainy drums with ample hi hat, which allow the rapper to hold the song for themselves and put focus on the verses instead of battling the production for attention. Kno, who produced the entire album, deserves praise for creating a mood that carries throughout. Heavy use of reverb, loud snare drums, and several elements within each song prove to invent an epic and enjoyably un-crisp overall sound. Often Kno will put one or two long recurring notes from a violin or a mellower synthesizer under the main element of the song to fill any blank space, which gives the album a fuller and more complete sound. There are few times where there is any silence between notes.

The lyrics on the album are definitely entertaining and thoughtful enough to satisfy the audience, but don’t get on any other level. Cunninlynguists have never been the flashy rap type of mc’s, but have gone deeper on previous releases. On “Enemies with Benefits,” Natti raps “She might literally love me to death, we had a stairway to heaven till I fell down the steps. Now I’m left with a pain in the neck….”

One of the more aggressive tracks on the album, “Get Ignorant,” features great lyrics from both Natti and Deacon the Villain. Natti raps “I’m about to just break bad like Malcolm’s dad be Meth Boy-R-Dee with a lab and a yellow cab. So I can get the white picket fence and yellow lab that American dream makes me wake up and scream.” Deacon comes after with a verse to support Natti’s stance on conforming to different expectations. He raps “I’m early everyday, never took a vacation through mandatory overtime I always stayed patient through all the petty dramas I’m calmer than a sloth but the shit don’t change like if Obama would’ve lost.”

Cunninlynguists are well prepared to show their versatility on this album, as both rap and production varies between each song, all while staying within the same territory. Growth is important for a group that has been in the game for a decade, and every member shows their maturity by bringing something distinct to offer.

$18.60 out of $20.00

-KJ Glauber

In recent interviews with him, Bronson states that he only just began rapping around 3 years ago, however the ease with which he flips and conjoins rhymes at breakneck pace and surgical accuracy would suggest that he’s been doin’ it since he was 8. More than anything that’s what sticks out when you hear Bronson’s music; that unmistakable talent and voice that screams “I stand out from the rest”. Many make comparisons to Ghostface Killah, which is enough of a compliment in itself, but I tend to think that Bronson’s skill is far more than any flash in the pan attempt at imitation.

Dr. Lecter jumps off with two potent jams in “Moonstruck” and the awesomely titled and performed “Barry Horrowitz”. Bronson delves quickly and adeptly into that rapid fire delivery but nothing is lost in translation. His gift for enunciating every piece of his dense verbiage absolutely glows. By the time the third track, “The Madness” ensues into it’s first minute listeners have got to already be conceding that yes, this cat is not just another mixtape phenom kidding himself…In fact, Bronson in my estimation is next up to blow and has a great deal of staying power.

Besides the razor sharp wordplay that Action doles out en masse throughout the album it’s important how dope the production was conjointly. Featured alongside his cuspate lyrics are a bevy of beats entirely produced by newcomer Tommy Mas of Team Facelift that play exactly to Action’s strengths. Whether it’s the sinister keys that layer over lush horns and a thudding boom bap construction on “Suede”, or the perfect soul-skipping flute and drum break loop on “Shiraz” most Hip-Hop production purists will find huge appeal in Dr. Lecter’s sound bed, as most of it is a respectful and highly skilled nod to the care and precision that Hip-Hop production once was as well as the fact that most of the production isn’t simply just music that any cat can hop on and experience success, but rather real tests of an emcee’s technical aptitude.

As you dig through the myriads of fine cuisine, weed and street references on this LP it shouldn’t become too difficult to single out a few things. One, Action can at times get sort of formulaic with his subject matter and two, that’s actually okay for him at this juncture in his career. It’s his first album, he’s flexed his skill on us in a big way, unless your a fool or slow you should have recognized, okay, okay, we got it. However, even while joints like “Chuck Person” and “Larry Csonka” seemed to momentarily find Action attempting to attack verses in a different manner, eventually within them he reverts to his tried and true canon of just flipping vivid metaphors.

I think that perhaps the next time out it would suit Action a good deal to further develop some of that charisma that he clearly possesses. He’s a hilarious cat that is able to exude a lil’ bit of his humor through his work (see “Ronnie Coleman”), a lot like the late, great Big Pun used to do on a larger scale…Pun found room for that in his music and was still able to maintain his status as ya favorite hardcore rapper’s favorite hardcore rapper. Also like Pun, Bronson isn’t afraid at all to petition the ladies in spots, despite not at all fitting the profile of a R&B crooner. If Bronson finds a way to tie those other two facets of himself onto the gifted hardcore rhyme wrecker persona that he prominently works off of now it’s gonna be problems.

$18.50 out of $20.00

-Dominick “BIG D O” Ledezma