The Best Hip-Hop Mixtapes of 2012

The Best Hip-Hop Mixtapes of 2012
An Excerpt From 2012: A Year In Review
By Nathan G. O'Brien on Scene Point Blank

When listing the best hip-hop releases of the year, why add a separate list for mixtapes? What is a mixtape exactly? What makes a mixtape different than, oh, I don’t know, an album? And shouldn’t mixtape be spelled as two different words—mix and tape—or, at the very least, have a hyphen in it like, say, mix-tape? These are questions a rap novice might ask. Hell, these are questions a rap scholar should ask. But like many things in the universes of rap music, there is really no good answer; it’s just the way it is. In case you begin to ask yourself another question—“Why the hell am I still reading this?”—I will do my best to answer the question that opens this very paragraph—why a separate list for mixtapes? This straightforward answer is that basically it’s a way to include some more (or in this case, double the amount of) notable releases. The slightly more convoluted answer, which also addresses the second question—what makes a mixtape different than an album?— is that typically (and I want to stress the importance of typically here) there a few key elements that distinguish them from each other, lest they should not be judged by the same criteria. While albums are official releases on record labels with a price tag, mixtapes are by and large available for free download. Albums are slimmed down to artist’s best songs, while mixtapes are normally collections of twenty plus songs; many of which are freestyles over recycled beats and/or tracks that didn’t make the cut for the album. In fact, often times the sole purpose of a mixtape is to promote the artist’s upcoming album. Furthermore, some artists only do mixtapes because that’s just how they like, keep it real ‘n’ stuff. So, in the interest of keeping it real ‘n’ stuff, here are the 20 Best Hip-Hop Mixtapes of 2012…

Action Bronson – Blue Chips
This project—which borrows its title, imagery, and some key samples from the 1994 Nick Nolte, Shaq, and Penny Hardaway basketball film of the same name—brings together Brooklyn producer Party Supplies and the Flushing-Queens emcee-on-the-rise Action Bronson. At his brightest moments Bronson sidesteps his oft-scatterbrained lyricism, to shine some light on his storytelling ability. On “Hookers at the Point” he weaves a misogynist-leaning tale of the street-level sex trade by assuming the roles of a cast of characters—pimps, johns, prostitutes, etc. Peculiar movie samples and Party Supplies’ near-harrowing beat lend the song an authentically disturbing feel. Although Blue Chips came as a free download via all the normal outlets, it plays more like an actual album than it does a mixtape.

Action Bronson & Alchemist – Rare Chandeliers
Bronson’s first verse on Rare Chandeliers, his collaborative project with journeyman producer Alchemist, and his second album-worthy mixtape of the past year, is indication that he’s not about to stray far from the eccentric word-association rhyme style he’s perfected in the short period of time since he abandoned a culinary career in favor a shot at the rap game—“All I wanna do is buy boots, ride Coupes, hide loot, flick chives in the soup, stick knives where you poop, backflips of the ledge, hang glide of the roof.” In a year that already saw him release his solo record, Russian Roulette as well as collaborative projects with Oh No and Domo Genesis, Alchemist continued by churning out another druggy soundtrack for the finest emcees to rap on—Roc Marciano, Mayhem Lauren, Evidence, Styles P, and Schoolboy Q all make appearances on here. One of the tape’s standout tracks, “Blood of the Goat,” features Bronson, Big Twin and Sean Price, going all ‘90s-gorilla-rap on a hard-knocking beat that will remind old-heads of the cypher-ish parts from Company Flow’s Funcrusher Plus.

A$AP Mob – Lord$ Never Worry
Harlem’s A$AP Rocky broke out in 2011 with his LiveLoveA$AP tape, so it’s appropriate that while the release date for his first official album, LongLiveA$AP continued to get pushed back into, well, sometime in 2013, that he would appease eager fans with a crew tape in 2012. Lord$ Never Worry shines the spotlight on other emcees in his collective, the A$AP Mob—A$AP Ferg, A$AP Twelvy, A$AP Ant, A$AP Nast—as well as a handful of producers; the majority of which apply a liberal amount of Southern hip-hop worship in their methodology. While the best songs are the ones in which A$AP Rocky and his cohorts are featured prominently, some of the more memorable ones feature members from outside the A$AP Mob. “Coke and White Bitches: Chapter 2” features oddball Danny Brown and mixtape regulars Fat Trel and Gunplay, while Flatush ZOMBiES show up on “Bath Salts.”

Domo Genesis & Alchemist – No Idols
While Tyler the Creator seems to get all the press, it’s Odd Future’s lesser-known members (see: Mellow Hype, Earl Sweatshirt) that turn in some of the crew’s finest work, and Domo Genesis, perhaps their best-kept secret, is no exception. Teaming up with beatsmith Alchemist resulted in No Idols, an album-worthy tape that not only features SpaceGhostPurrp, Action Bronson, Smoke DZA, WWE samples, and a song called “Elimination Chamber”, but the following line: “I’m raw like Monday nights.” Even if pro-wrestling isn’t your thing, likely—seeing as how you’re still reading this—rap music is. And you needn’t look any further than “Til the Angels Come,” the final song—guest starring Freddie Gibbs and Prodigy—to find a perfect example of some supreme rap music in 2012.

Eric Sermon – Breath of Fresh Air
Whether it be one half of EPMD, a solo career or behind the boards for other emcees, The Green Eyed Bandit has somehow managed to remain one of the more pivotal people in the rap game for twenty plus years. Breath of Fresh Air is not entirely all new stuff—some of it is rarities and unreleased tracks from previous projects—but it is still an aptly titled tape. Aside from his recognizable voice, it’s got all the signature Sermon production you’ve come to expect—more or less, traditional East Coast boom-bap. And as per the usual , it is ripe with guest spots—KRS-One, Method Man, Too $hort, Rick Ross and Def Squad alums Redman and Keith Murray all make appearances, as do newbies Twone Gabz, the mysterious Lockness Monster. 

Fat Trel – Nightmare on E Street
Washing D.C.’s Fat Trel is a heavily-tattooed sorta fat guy who calls himself, ah, Fat Trel, rarely wears a shirt, and has a photo floating around the Internet of him tossing the proverbial salad of some random girl. If that doesn’t automatically make him one of your favorite people ever, the fact that he also puts out exceptional mixtapes, in which he raps really well over Harry Fraud, Big K.R.I.T. and Lex Lugar trap beats should do it for you.

Flatbush ZOMBiES – D.R.U.G.S.
Closely affiliated with A$AP Mob, Flatbush ZOMBiES blew up the underground this year, ripped to the tits on forties, LSD, Molly, kush, and any other mind-altering substances that were within’ arm’s reach. D.R.U.G.S. is an impressive outpouring of blunted, trap-tinged, psychedelic horrorcore.
Tracks like “S.C.O.S.A.” and “Remember, I Got Money” are downright creepy, thanks in part to their eerie beats and molasses-slow screwed vocals. “Laker Paper” has an undeniably sing-a-long-able hook: “Purple in the blunt; Swishers be the paper. Mouth full of gold; I’m feeling like a Laker.” And of course, there’s “Thug Waffle”; the song whose video almost broke the Internet last summer.

Freddie Gibbs – Baby Face Killa
Gary, Indiana’s Freddie Gibbs is a hip-hop chameleon. That is to say, he easily adapts to any beat and drops verse after impressive verse on top of them, cross-pollinating without a hint of the gimmicky-ness that oft-befalls other rappers who attempt a multi-regional approach to rap music. “Kush Cloud” is a hazy ode to the herb, in which Gangsta Gibbs brings along SpaceGhostPurrp and Krayzie Bone for the ride. Young Jeezy and Gibbs go the Molly route on “Go For it”, while Gibbs is in full-on trap mode for “The Diet”, “Bout It Bout It” and the Z-Ro feature “Boxframe Cadillac.” Frequent collaborator Statik Selektah laces Gibbs, Jadakiss and Jay Rock with one his signature laid-back boom-bap beats for “Krazy.”

Gigs510 – I Need Food, Swishers and Papers
While Oakland rapper Gigs510’s I Need Food, Swishers and Papers does have its faults—it’s twenty songs long, has a few amateurish rhymes (Like putting two words together in a song just because they sound the same.), some R&B-ish hooks, and questionable beat selection—it still makes the list because the things it has going for it outweigh those going against it. Mainly, when he’s focused, he’s an able-bodied emcee on par with many of the other highly applauded emcees on this list. (See: Joey Bada$$) And when he blatantly indulges the exemplary Bay Area sound, he does it really well. Stripper pole-ready bounce tracks like “Throw it”, “Go Girl” and “Ass Cheeks” are the type of thizzle/hyphy songs that predated (and subsequently outlasted) the jerkin’ movement.

Guccie Mane – Trap God
Guccie Mane is determined to stay relevant to the game, even if he has to do so one ubiquitous trap beat and Waka Flocka Flame feature at a time. And here’s the thing: it’s kinda, sorta, OK, pretty much is, working. (See also: Trap Back mixtape, I’m Up mixtape, Free Bricks mixtape w/Young Scooter.)

Gunplay – 601 & Snort
Perhaps more famous for off-mic antics like going one-on-four against members of G-Unit at the BET Awards and delivering beatdowns to his accountant, Maybach Music Group's Gunplay shows he’s a force to be reckoned with on wax as well. 601 & Snort is a short ‘n’ sweet, yet impressive collection of freestyles, remixes and new songs. It’s been said many times, but that doesn’t make it any less worth repeating, that Gunplay is the Old Dirty Bastard of MMG. I can’t take credit for that realization, but I certainly endorse it. And apparently Gunplay does too, or at least recognizes it, as he goes over the top of a classic Wu-Tang beats for a few tracks, including “Criminology Freestyle” and “Gullitine Swords Freestyle.” While the runtime on this tape is brief, it leaves a lasting impression, thanks in large part to Gunplay’s wildin’ out approach to rapping and the fact that he's oozing personality. (See also: Bogota Rich mixtape)

I Self Devine – Culture Series
In the months leading up to the release of his album The Sound of Low Class Amerika, Rhymesayers veteran I Self Devine released a succession of mixtapes known as the Culture Series. Featuring production from a number of producers, including Vitamin D, Alchemist and Oh No and guest spots from the likes of Twin Cities mainstays Budda Tye and Muju Messiah, each tape tackled a different subject matter of cultural significance. LA State of Mind, The Uplift Struggle, Reports From the Field: in the Trenches, and The Shining Path proved I Self to be not only a prolific artist, but a man with a lot to say. Not surprising considering it had been seven years since the release of his last solo record, the excellent Self-Destruction. (See also: The Sound of Low Class Amerika album)

Joey Bada$$ - 1999
Early on 1999, Joey Bada$$ states, “I’m tryin’ to go global…tryin’ to be a mogul” and later, “I won’t stop ‘til I meet Hova and my moms is driving a Rover.” And if this tape is any indication—as well as extramural things like calling out Kanye on his current mediocre-ness and (purportedly) beefing with Odd Future—it may not be long before he finds himself sitting in the front row of the BET Awards with a Kardashian on his arm. The Brooklynite, at just 17 years old, has crafted a surprisingly remarkable mixtape that recalls some of the most revered hip-hop in history. Over the course of fifteen tracks, Joey, along with his rhyme partner Capital STEEZ and the rest of the producer/emcee/artist conglomerate Pro Era, breathe new life into the tried and true ‘90s NYC rap formula. 1999 isn’t just the name; it’s the whole style—featuring production from J-Dilla, Statik Selktah, MF Doom, and Lord Finesse to boot. This cat has all the potential in the world to be H-to-the-UGE. (See also: Rejex mixtape)

Mayhem Lauren – Respect the Fly Shit
Action Bronson’s running mate and fellow foodie, Mayhem Lauren’s tape Respect The Fly Shit comes with no purchase point, but at only twelve songs and with the majority of the beats handled by a singular producer—Harry Fraud— it presents itself in album format. It also boasts an impressive guest list—Action Bronson, Heems, Roc Marciano, Sean Price—connecting the dots to what’s really exiting about current NYC rap. Regular Harry Fraud collaborator Smoke DZA tag teams with Lauren on “Radioactive Tuna”, one of the tape’s standout tracks. (See also: Mandatory Brunch Meetings mixtape)

Mill – Dreamchasers 2
In anticipation of his solo album Dreams and Nightmares, Maybach Music Groups’s Philadelphian cornerstone Meek Mill dropped the second installment of his Dreamchasers series. The tape features production from Jahlil Beats, All-Star and a number of other beatsmiths. Beat Bully lays the foundation for the “House Party (RMX)”, which is the first time in recent memory that I can recall being able to actually tolerate Mac Miller. Meek goes the emo route a few times with personal stories of struggle and whatnot, but it’s most enjoyable when he unabashedly indulges the listener with sex raps and stereotypical gangsta shit; such as “Str8 Like That” and the Sam Sneaker-produced “Facedown.” (See also: Dreams and Nightmares album)

M-Phazes – Phazed Out (Mixed Version)
This is a playlist of tracks from Coalmine Records’ recent catalog that have been remixed by Australian producer M-Phazes. The whole thing has been superbly beat-matched and scratched into a non-stop party-rockin’ joint by DJ Rhettmatic of the World Famous Beat Junkies. Veterans like Heltah Skeltah, Inspectah Deck, Phil Da Agony, Masta Ace, and CL Smooth rap alongside up-n-comers Torae, Bekay, Saigon, Skyzoo, and Termanology. This reminds me of the ‘90s when mixtapes were actually cassette tapes of various rap songs mixed together by a DJ without the use of Serato. That’s not to say there isn’t some sort of mixing software at work here—I literally cannot tell—but if there is, it’s cleverly disguised by Rhettmatic’s impeccable turtablism. Fans longing for the days of hip-hop live-mix radio shows will dig this.

Showbiz & AG-Mugshot Music: Preloaded
Bronx vetarans Showbiz & AG returned this year with both a new album, Mugshot Music and the precursory mixtape, Preloaded. Riding on the strength of Show’s signature boom-bap and AG’s poignant and complimentary flow, this tape proved these Diggin’ in the Crates crew members still maintain a reputable presence in hip-hop some twenty-two years after first debuting on Lord Finesse’s Funky Technician album. In some ways, especially due in part to the R&B hooks that dictate the official album, Preloaded is the superior release—it’s straightforward East Coast rap music. (See also: Mugshot Music album)

Tree – Sunday School
Sunday School is a labor of love, detailing life in the poverty-stricken neighborhoods of Chicago, entirely written and produced by the emcee known as Tree. Despite being a Midwesterner, his beats are crammed with mournful soul, rigid bass line and multi-layered samples that recall the bounce ‘n’ roll of classic Southern hip-hop. In stark contrast to his production are his vocals. He has an odd pitch to his voice that might not immediately grab the listener, but given time it works its way into your conscious and sets up shop, demanding your full attention. He effortlessly switches from hostile patterns to churh-esque crooning, to raspy barking, and back again.

Various Artists – Closed Sessions Vol. 2
Preseted by Chicago’s Soundscape Studios and rap & culture blog site Ruby Hornet, the second volume of Closed Sessions (named after the small record label run by Soundscape's owners) dropped this last summer and it has held a favorable place on my iPod ever since. Recorded from the spring of 2010 through the winter of 2012, this tape features an impressive cross-selection of present day underground hip-hop. Each track features a meticulously-selected paring of emcees and producers. Among the many unique combinations, you’ll find L.E.P. Bogus Boys, Action Bronson, Raekwon, Mr.MFN eXquire and Freddie Gibbs tag-teaming with beatsmiths The Olympicks, Thelonious Martin, DJ Babu, Mike Jaxx, and Million $ Mano. The most pleasantly surprising result comes courtesy of Ninjasonik, Million $ Mano, and Hollywood Holt (whom I personally hadn’t heard from since his ‘07 ode to mopeds, “Throw a Kit”)—and producer Roofeo on the club-ready bouncer, “This Is How We Treat ‘Em.

Various Artists – Rock the Bells
Rock the Bells is a mixtape sponsored by DatPiff, Guerilla Union, Boost Mobile, and the Soul Assassins (Did I miss anyone?) that was put together to promote the annual traveling summer hip-hop festival of the same name. The tape features mostly new and unreleased tracks from artists spanning the spectrum of indie hip-hop. This artist selection is literally all over the place—KRS-One, Supernatural, Murs, Sick Jacken, Chali 2na, Tech N9ne, and Everlast are all on the title track—but it works well, thanks in part to the continuous playlist mix courtesy of DJ Muggs. While it is beset with the type of between-song shoutouts that will sound familiar to listeners of ‘90s Funkmaster Flex or DJ Honda tapes, it’s not to the point where it disrupts the feeling of a live mix. Some of the most bracing verses belong to Cassie Veggies, Sean Price and Atmosphere, whose song “Millenium Dodo 2” features a return to form for Slug, as he goes harder than anything on 2011’s The Family Sign. Also of note is surprising appearances from Deltron 3030 and Keith Murray.

Top 5 Hip-Hop EPs of 2012: Freddie Gibbs & Madlib - Shame, Gangrene - Odditorium, Mr. MFN eXquire - Power & Passion, Quelle Chris - 2 Dirt 4 TV, Smoke DZA - Cuz I Felt Like It

Please check out Scene Point Blank's entire 2012: A Year In Review here.

The Best Hip-Hop Records of 2012

Best Hip-Hop Records of 2012
An Excerpt From 2012: A Year In Review
By Nathan G. O'Brien on Scene Point Blank

Now in its fifth decade of existence, hip-hop is, and has been for many years, the most culturally impactful and socially relevant form of music in the entire world. Whether you’re fan of the art form or not, it would be foolish to deny this absolute truth. But perhaps what’s even more foolish is to attempt to narrow down a list of the past year’s best hip-hop records to a manageable size. Yet, that’s what I, lover of rap music, self-proclaimed know-er of it all, and apparent seeker of self-inflicted punishment has haphazardly volunteered for once again. (And this time around I’ve even tossed in a second list of just mixtapes to follow.) Clearly I love this stuff. Clearly I hate myself. And with that, I present to you The 20 Best Hip-Hop Records of 2012…

Apollo Brown & OC – Trophies
D.I.T.C. crew member OC returned alongside up ‘n’coming producer Apollo Brown with an outstanding album that might just be the sleeper of the year. The premise is as alluring as it is basic: Apollo produced simplistic sample-based boom-bap and OC blessed it with his conciliatory no-frills delivery. You won’t find any traces of crunk, trap, thizzle, #swag, or purple here. Trophies is 16 tracks of pure unadulterated East Coast-style hip-hop, and it’s outstanding. The next time you hear someone loosely throwing around a term like “real hip-hop,” play them this record.

El-P – Cancer 4 Cure
Whether on the mic himself or behind the boards for Cannibal Ox, Aesop Rock, Murs, Mr. Lif, or Cage, El-Producto has been consistently creating stellar hip-hop music for nearly twenty years now. In 1997, as part of the now legendary trio Company Flow, he was responsible for one the most important rap records of the ‘90s, Funcrusher Plus. And in five year increments he has dropped a solo album that is not only one of the year’s best records in hip-hop, but the best in all of music. (See Fantastic Damage , '02 and I’ll Sleep When You’re Dead, '07.) The same can be said of his third, and most recent, Cancer 4 Cure. Intact are the recognizable distinctions El-P has spent the last decade perfecting: meticulously-crafted futuristic sound collages and densely congested beats—sci-fi-informed and bass heavy—balanced with hard-hitting lyricism that zigzags between paranoia, self-deprecation, braggadocios chest pounding, and metaphorical witticism. Cancer 4 Cure isn’t just good hip-hop; its good music. Like the hook in the lead-off single “The Full Retard” goes, “You should pump this shit like they do in the future.”

Gangrene – Vodka & Ayahuasca
According to Wikipedia, “Ayahuasca is a brew of various psychoactive infusions or decoctions,” the effects of which are “massive spiritual revelations regarding (your) purpose on earth…a spiritual awakening and what's often described as a rebirth…access to higher spiritual dimensions and making contact with various spiritual or extra dimensional beings who can act as guides or healers.” In layman’s terms, or rather, in terms that most rap fans would clearly understand, it’s some shit that gets you really fucked up. Forming once again as Gangrene, Alchemist and Oh No dropped Vodka & Ayahuasca; a sample-heavy blunted cornucopia of movie, TV and druggy interview clips, psychedelic acid rock, and ghostly organ and string arrangements. As a duo, the two fuse their production styles in an impressive fashion, but when it comes to rapping, the best verses come courtesy of guest spots from Kool G Rap, Roc Marciano, and Evidence. (See also: Odditorium EP)

Guilty Simpson & Apollo Brown – Dice Game
At this point it’s probably safe to anoint Apollo Brown the new king of boom-bap. Perhaps recognizing that the greats (Pete Rock, Lord Finesse, Large Professor, Showbiz, DJ Premier, J-Dilla, etc.) didn’t have to go great lengths to layer their beats, Apollo flexes an uncanny ability to create incredibly enthralling bangers from basic sample flips—organs, strings, and brass are his modus operandi. Guilty Simpson is a hulking presence on Dice Game. He doesn’t attempt any lyrical mathematics; rather just straightforward rhyming. “Dear Jane” is a metaphorical ode to the herb and one of the album’s best tracks. It’s here that he shows his growth as a lyricist; sticking to the subject matter throughout the entire song rather than going off-topic or playing the word-association game as he has in previous work. The next time you hear someone loosely throwing around a term like “real hip-hop,” play them this record. (Sound familiar? I did that on purpose.)

I Self Divine – The Sound of Low Class Amerika
I Self Devine is not only the unsung hero of Ryhmesayers Entertainment, but in many ways, underground hip-hop as a whole. As far as RSE goes, he’s the most traditional street-level rapper on the label. Setting himself apart from his peers, I Self takes a utilitarian approach to songwriting; largely skipping the misogyny, homophobia and gun-clapping subject matter that plagues most street-level hip-hop. Instead he takes it upon himself to narrate the current state of “lower-class” society and provide a historical telling of how things got this fucked up. The Sound of Lower Class Amerika is the latest in an impressive catalogue—one that includes several Micronauts records, a superb outing with DJ Abilities as Semi-Official, and the underrated, yet unforgettable Self Destruction. Against a backdrop of beats provided by Jake One, Vitamin D, Benzilla and others, I Self conveys messages of community, class warfare and social injustice in the United States. (See also: Culture Series mixtapes)

Kendrick Lamar – good kid, m.A.A.d. city
People seem to feel very strongly about Kendrick Lamar’s rap oeuvre, good kid, m.A.A.d city—they either love it, or, they hate it. And you can’t really fault either side, as that’s just how polarizing a record it is. On one hand it’s a superbly crafted concept album with meticulously-written lyrics and pacing; and on the other, it’s a self-righteous, self-indulgent vanity project with twelve-minute rap songs. Personally, I wasn’t about to allow an album to be called “instant classic” when it hadn’t even been released yet. So admittedly, I went into the first couple spins with some trepidation, and truthfully, wasn’t all that impressed. But now, after having spent a considerable amount of time with it, I can no longer deny it; good kid, m.A.A.d city has fully grown on me. Am I ready to concede that Kendrick is “the savior of hip-hop,” as many fly-by-night critics are implying? Emphatically, no. But did he indeed create one the best rap records of the year? Without a doubt, yes. That being said, I believe the best songs on the album are the ones that fall in line with traditional rap music—“Backseat Freestyle”, the MC Eiht feature, “m.A.A.d city” and “Swimming Pools.”

Killer Mike – R.A.P. Music
Released only one week prior, and playing like a companion piece of sorts to El-P’s Cure 4 Cancer, R.A.P. Music shows the Atlanta based Dungeon Family veteran as an invigorated and fresh-breathed emcee on verge of finally breaking through. Over a backdrop created entirely by El-P, Killer Mike spits a potent mix of politics, personal tales and hardcore G-talk. Aside from appearances by Bun-B, TI, El-P and a couple lesser-known emcees, Mike goes at it alone, and the result is unified and striking. Considering El Producto’s on the beat, it’s hard to call this Southern rap. That being said, in the aptly-titled “Southern Fried”, Mike lays down Dungeon Fam-esque rhymes about Killer Hill and strip clubs, while El does his best to direct the beats appropriately—not exactly ‘playalisticadillacmuzik but close enough.

La Coka Nostra – Masters of the Dark Arts
Masters of the Dark Arts marks the return of La Coka Nostra, a rap supergroup who had originally assembled sometime in ’05 as a much larger entity than they are today, boasting members of Nonphixion, Special Teamz, a reunited House of Pain, and misdirected “rappers” from DMS. (The NYC crew normally associated with thug-ish metalcore.) Since then, they have trimmed the fat so to speak—Everlast has departed, presumably to go back to making less than mediocre acoustic-guitar-folk-blues-rap or whatever, and Big Left’s (of DMS) contribution is limited to a singular verse. That is not to say there aren’t an few key guest spots (Vinne Paz, Sean Price, and Thirsten Howl III all make appearances) but it’s primarily the group’s core—DJ Lethal and emcees Ill Bill, Slaine and occasionally Danny Boy—making most of the noise this time around. Master of the Dark Arts is a pluperfect union of bombastic boom-bap, record scratching, and realism-based hardcore rhyming. Head-banging is absolutely required.

Large Professor – Professor @Large
Large Professor, at twenty plus years in the rap game—including being a decisive emcee and production presence on Main Source’s 1991 classic, Breaking Atoms—has created beats for a number of hip-hop’s most revered acts, including Nas, A Tribe Called Quest, Slick Rick, Big Daddy Kane, Eric B & Rakim, and Mobb Deep. So it should come as no surprise then that Professor @Large sounds like a product of the Golden Era NYC. The entire album was produced by Large Pro, and on the majority of the songs, he’s the only rapper, save a few notable appearances by guest emcees. Specifically Cormega and Tragedy Khadafi on “Focused Up.” Cormega also appears on the album closer “M.A.R.S.” alongside Action Bronson, Roc Marciano and Saigon.

Lil Flame & Termanology – Fizzyology
Lil Fame of M.O.P., going by his producer moniker “Fizzy Womack” and Boston emcee Termanology originally intended to work on a Termanology solo album but at some point midway through the recording process Fame had ended up spitting verses and hooks on nearly every track. They realized that hewing an entirely collaborative project as a duo could result in a milestone record, benefiting both artists. And thus, in the new-ish trend of combined names, Fizzyology was born. Anyone that’s familiar with M.O.P. knows what Fame is all about on the mic—cotton-mouthed gangster-isms straight from the dark alleyways of Brownsville—and there is no shortage of it here; he comes as hard-rhymed and imposing as ever. But Termanlogy turns in some of the record’s most impressive verses. During his best moments, Term has the uncanny ability to make the listener feel weirdly uncomfortable. Songs like “The Greatest”, “Lil Ghetto Boy” and “It’s Easy” make you feel guilty for being privy to his bumpy life story. And all the autobiographical details of his painful upbringing come to head on “Family Ties.” (See also: 1982 (Statik Selektah & Termanology)-2012) 

Masta Ace – MA_Doom: Son of Yvonne
MA_Doom is the latest offering from veteran NYC emcee Masta Ace. All of the beat selection comes from MF Doom’s instrumental mixtapes series, Special Herbs. So while none of the beats are new, it’s fresh to hear Ace masterfully breathe new life into them. Be warned though; those looking for a return to the furor of Slaughtahouse, this is not it. Son of Yvonne is a tribute to Ace’s departed mother. Over the course of the album Ace raps stories of his upbringing under her watchful eye as he weaves his way through a life immersed in hip-hop’s developing years—from DJing, to graffiti, to rapping, to touring and all parts in-between. MF Doom does make one appearance on the mic, alongside Big Daddy Kane on “Think I Am.”

Meek Mill – Dreams and Nightmares
Although Dreams and Nightmares is billed as Meek Mill’s debut album, the truth is he’s already a household name in the rap world. This comes on the strength of some very solid, financially-backed mixtapes which have produced radio hits, and a high-flying presence on the Maybach Music Group's Self Made compilations. So instead of judging this by the outdated standards of debut albums, consider it the latest in an already impressive body of work—this one just happens to have a price tag on it. While the majority of the production would fall in line with trap music, it’s what Meek is actually saying that really sets him apart from the pack. No, he doesn’t do much to distance himself from the negative stereotypes associated with rap music, but he balances it with numerous moments where the listener gets to see his vulnerable side. On the album’s most distressing track, “Traumatized” he details the murder of his father at a young age, and how he struggles with the desire to avenge his death. Meek's raps are the strongest when he flexes an anxiousness in his cadence. The sense of urgency on songs like “In God We Trust”, “Real Niggas Come First” and the second half of the title track is—and it sounds strange saying this—classic Meek Mill. (See also: Dreamchasers 2 mixtape)

Oh No – Ohnomite
Ohnomite is the result of beatsmith and emcee Oh No—the younger brother of Madlib and son of singer Otis Jackson—being granted unmatched right of entry to the Rudy Ray Moore/Dolemite audio archives. This included legendary material from The Human Tornado, Petey Wheatstraw, the Dolemite Soundtrack and a multitude of previously unreleased and alternate acapellas and instrumentals. Oh No was given free rein to sample and manipulate it any way he see fit. The end result is a trunk-rattling chaotic burlesque of witty lyricism and gritty beats assembled from the nastiest fragments of funk, soul and Blaxploitation. Carrying the familiar resonances of Gangrene, Evidence and The Alchemist rejoin forces alongside Oh No on “Real Serious." The track piggybacks on some of the best moments of Vodka & Ayahuasca. And perhaps sponging worthy collaborators from his brother, Oh No also brings aboard a few emcees that contributed to some of Madlib’s finest moments; with MF Doom, Guilty Simpson and Phil Da Agony from Strong Arm Steady all featured on separate tracks. (See also: No-Ashes w/Chris Keys.)

P.O.S. – We Don't Even Live Here
It’s questionable whether what P.O.S. does can even be called hip-hop anymore, inasmuch as his music transcends across genres. It’s not on the same level of mass appeal as say, the Beastie Boys, but quite similar in that he employs a multifarious approach to art. The Twin Cities veteran emcee describes his fourth album We Don’t Even Live Here as “an anarchist dance party.” And that’s pretty much on point, as this record is bursting with anti-establishment lyricism and beats rooted in punk rock, techno, trap, and, well, yeah, regular hip-hop too. The hook to the lead-off single, “Fuck Your Stuff” pretty much sums the overall feel of the album: “My whole crew is on some shit/Scuffin’ up your Nikes—spittin’ on your whip/Kickin’ out your DJ—rock it, then we dip/We don’t watch the replay.”

Reks – Straight, No Chaser
Where Reks’ previous albums have featured beats from a variety of producers, Straight, No Chaser is produced entirely by longtime collaborator Statik Selektah. The Lethal Weapon-inspired “Riggs and Murtaugh” shows Action Bronson and Reks trading verses against a RZA/Wu-like backdrop. On the title track, Reks and guest emcee Slaine spit bars over a twisted downbeat that's been looped with minimal keys, recalling DJ Premier’s work with Jeru the Damaja. And the same can be said of the posse cut “Such a Showoff”, which features Statik scratching across hard-hitting boom-bap, while Kali, JFK, Termanolgy, and Reks channel the rap ruckus of the ‘90s. On that note, Statik also deserves credit for keeping alive a key ingredient of hip-hop that has been all but abandoned by the current crop: turntablism. Even when his beats are substandard, he keeps things stirring by showcasing his scratching ability. And as usual, he has an unsullied skill for crafting hooks made up of clever samples and cuts. Key notables on this record include the Beastie Boys in “Autograph,” Common in “Sit/Think/Drink”, and 50 Cent in “Cancel That.” (See also: Rebelutionary)

Roc Marciano – Reloaded
Reloaded is one of those albums that, despite months of me patiently anticipating the release of, still took me completely by surprise. And in turn, I find it difficult to explain to people what exactly it is about this record that makes it so damn good. A Google search will result in numerous 500+ word essays on it, but from my standpoint, it’s a disservice to the genius of Roc Marciano to try and spoil this for those who haven’t heard it yet. Roc has the type of vocal accent and flow that pulls you in, demanding your astute attention. Pair that with his alluring production and the end result is an hour’s worth of engrossing headphone music that sticks with you long after it’s over. Reloaded is faultless soundtrack to a train ride through the city—managing to sound experimental while still exhibiting evident nuances of classic New York hip-hop.

Sean Price – Mic Tyson
Amidst a period of rap music that could be theorized as “in transition” it’s clear that Sean Price is confident and comfortable in his, let’s say, non-transitioning role. And that’s not surprising, seeing as how his emergence in the rap game came in the early ‘90s as part of the rough ‘n’ rugged supergroup, Boot Camp Clik. It was a time when emphasis was placed more on mic prowess rather than personality and marketability-driven hooks. Over beats from the likes of Evidence, Alchemist, 9th Wonder, and Khrysis, Price spits street lyricism with a poignant and venomous deliverance seldom heard these days. Mic Tyson isn’t so much a statement, as it is an affirmation: Sean Price doesn’t make rap songs for the MTV Jams/BET set. Also, he'll smack the shit outta anyone actin' like a rapper. On “Pyrex” he raps, “A whole lot of shots will follow after I bust your snotbox with the Ciroc bottle.”

SpaceGhostPurrp – Mysterious Phonk: The Chronicles of SpaceGhostPurrp
While lyricism may not be SpaceGhostPurrp’s greatest strength, his YOLO-esque black male self-awareness, laughable ignorance and misogyny-laced rhymes only distract mildly from the overall feel of Mysterious Phonk, as it tends to one of hip-hop’s chief qualities: escapism. Production wise, Purrp’s beats are Southern-tinged, foggy head-nod-ers that borrow heavily from DJ Paul or anything chopped-n-screwed, and fit nicely alongside contemporaries like A$AP Ty Beats—they are, for lack of a better term, purp’d the fuck out. To people who loved hip-hop before sippin’ syrup and blowing back hydro became the norm, Chronicles probably doesn’t scream “best of”—and traditionally speaking, no, Miami’s SpaceGhost isn’t the most gifted rapper—but as a dual-headed monster—his real prowess is as a producer—he has created one of the year’s most cohesive, and I’ll just go ahead and say it, best hip-hop albums of the past year.

Strong Arm Steady & Statik Selektah – Stereotype
Returning to the singular producer formula they last used on 2010’s Madlib collabo In Search of Stoney Jackson, Krondon, Mitchy Slick and Phil Da Agongy,—the California cliq known as Strong Arm Steady—teamed up with Beantown production workhorse Statik Selektah for Stereotype. Although the title may imply otherwise, the contents therein which are not as formulaic as one might expect; which is not surprising in regards to SAS, as despite a steady work rate, they come different every outing. With Statik cruising by on autopilot throughout a few other recent releases, it’s nice to see him step away from Preemo-esque boom-bap for a change. Here he steered into a vibrant soulful direction that mirrors the laid-back West Coast approach taken by SAS and various guest emcees.

Wu-Block – Wu-Block
While there are appearances from other members of Wu-Tang Clan and all of D-Block (also known as The Lox,) Wu-Block is first and foremost a Ghostface Killah and Sheek Louch project. Fairly free of any surprises, Wu-Block finds Ghost and Louch delivering all the crack-bagging, gunplay and material goods-based rap you’ve come to expect from these two veterans. Wu-Block are at their thuggiest on the Method Man feature “Pull the Cars Out.” The three emcees spit gutter-worthy rhymes over a molten-hot banger co-produced by The Furturistics and Phonix Beats. Ghostface raps in typical fashion, “Every hood spot, they know me/Loyal females who can’t just give me the twat; they show me/Like I’m a big stock broker on Wall Street/I said ‘Naw, I’m that big drug dealer from 4E.’” Despite guest spots from the likes of Masta Killa, Raekwon, Inspectah Deck, GZA, Cappadaona, Jadakiss, and Styles P what’s most impressive is how well Ghost and Louch work as a duo; clearly claiming ownership of the Wu-Block name and guiding the direction of the album.

Honorable Mention: KRS-One – The BDP Album, Showbiz & AG – Mugshot Music, Skyzoo – A Dream Deferred, Smoke DZA – Rugby Thompson, Vinne Paz—God of the Serengeti

Please check out Scene Point Blank's entire 2012: A Year In Review feature here.

HDD Radio #12

HotDogDayz Radio returns with our first show of 2013! Some mindless late-night Midwestern drawl-y chatter but mostly music. Sets include: '80s metal-punk demos, random stuff from the '90s, The Cult, and few selections from the '83 Metal Blade comp Metal Massacre #4. Hope you enjoy... Tracklist:
Unhuman Death Society - Bad Society
Prime Evil - Kill For Me
Tyyranicide - Facing Reality
Damad - Wordless
Cows - How Dry I Am
Fudge Tunnel - Grit
Fudge Tunnel - Hot Salad
Dinosaur Jr - Don’t
The Cult - Rain
The Cult - Outlaw
The Cult - Fire Woman
The Cult - Full Tilt
Sceptre - Taken by Force
Zoetropes - Speed Zone
Abattoir - Screams From The Grave

Subscribe in iTunes here. Direct download here.
Leave us some feedback please!

Record Review: Lil Fame & Termanology-Fizzyology

Lil Fame & Termanology-Fizzyology (Brick)
By Nathan G. O'Brien on Scene Point Blank

Lil Fame of M.O.P., going by his producer moniker “Fizzy Womack,” has crafted soundscapes for the likes of Kool G Rap, Cam’Ron and the Wu-Tang Clan, as well as a number of songs in M.O.P.’s catalog. So when Boston emcee Termanology set out to start work on another solo album he linked up with Fame to be his main man on the beats. At some point midway through the recording process Fame had ended up spitting verses and hooks on nearly every track. They realized that hewing an entirely collaborative project as a duo could result in a milestone record, benefiting both artists. And thus, in the new-ish trend of combined names (see: Liknuts, Wu-Block, MA_Doom, a million others.) Fizzyology was born.  ...full-length review continued here.

Record Review: Crystal Castles-III

Crystal Castles-III (Fiction)
By Nathan G. O'Brien on Scene Point Blank

Aptly-titled, III is the third album by Ethan Kath and Alice Glass, the Canadian experimental electro-noise duo collectively known as Crystal Castles. They are everything you wish you could be: shadowy, ingenious, skinny, and punk as motherfucking fuck. With percussion that thumps like a persistent authoritarian finger-tapping your congested chest and searing, agitated synths that spike into the backs of your eyeballs with the ease of a hot knife through warm butter, it’s the best dream you’ve ever had and your worst imaginable nightmare colliding face-first deep in recesses of your brain matter; erupting into a tepid, saccharine goo that flows through your body in a hurried uneasiness. I’ve never done heroin, but I’m guessing this is what the first taste is like. III is mood-altering, strangely danceable, and most of all, frightening yet beautiful vandalism. ...Read full review after the jump.

Record Review: Vinnie Paz-God of the Serengeti

Vinnie Paz-God of the Serengeti (Enemy Soil)
By Nathan G. O'Brien on Scene Point Blank

Paz enlisted a number of beat-makers for Serengeti—Havoc, DJ Lethal and C-Lance among them. Things get heated early with a DJ Premier-laced banger, “The Oracle.” Preemo’s hard-knocking boom-bap, turntablism, and sample-based hook provide the platform on which Boxcutter Pazzy spits his signature hard-rhymed lyricism: “My hands are made of stone, cut from that Madusa shit/Big gold chains, we was on that dookie shit/Still roll with the kids I stole the Gucci with/I punch you dead in the face, so fuck the music shit.”

Similarly, Marco Polo’s beat for the Blaq Poet feature, “Crime Library” unabashedly annexes the familiarity of the East Coast’s hardcore rap history, with chest-thumping drums, looped eeriness, record scratching, and a hook comprised of the oft-used Onyx “Throw Ya Gunz” sample—“One gun, two gun, three gun, four/Yours, mine, it’s all about crime!”  ...Read entire full-length review on SPB.

HDD Radio #11: All Hip-Hop (and some reggae) Mix

Welcome back! This is the eleventh episode of HotDogDayz Radio, and the second edition of our all hip-hop mix. This time we tossed in a little reggae to warm things up. It’s an hour of ‘70s reggae, ‘90s goofball hip-hop, and some brand new raps. No talkers—all rockers. Thanks for listening! Enjoy… Tracklist:
Dillinger - Fountain on the Mountain
Junior Byles - I’ve Got a Feeling
Derrick Harriet - Train to Herbsville/Crash Dub medley
KMD - Suspended Animation
Redman - How to Roll a Blunt
Pizza Boys - Simp Phonie (feat Andrew Broder & Mrs. Mucho Iglesias)
Quasimoto - Discipline 99 Pt. O (feat Mr. Herb)
Guilty Simpson & Apollo Brown - Dear Jane
Showbiz & AG - I Luv Her When I’m High
Meek Mill - Believe It (feat Rick Ross)
Kendrick Lamar - m.A.A.d city (feat MC Eiht)
Strong Arm Steady & Statick Selektah - L.A. Blues
Sean Price - STFU pt. 2
Vinne Paz - Cheesesteaks
Lil Fame & Termanology - Fizzyology
Freddie Gibbs - Go For It (feat Young Jeezy)
Gucci Mane - Servin’
Action Bronson & Alchemist - Rare Chandeliers
Dillinger - Natty Kung Fu

Subscribe in iTunes here. Direct download here.  Leave us some feedback please!

TSK #1 back cover

Restore The Power samples

HDD Radio #10: Old Stuff - '80s and '90s

And we're back! After another lengthy hiatus, HotDogDayz Radio returns to the air waves. (I feel like we're saying that every episode now.) In this edition our fearless DJ spins a bunch of old CDs of records that came out between the early '80s and mid '90s--punk, post-punk, new wave, alt, etc. Some of it you've probably heard, and some maybe not. Heavy on the Sugar and even heavier on the Soul Asylum. (Don't be frightened. Did you know they used to be a punk band?!) Thanks for listening! Enjoy... Tracklist:
Billy Bragg - Train, Train
The Smiths - Death At One’s Elbow
R.E.M. - Get Up
The Cure - Love Song
Happy Mondays - Hallelujah
E.M.F. - Unbelievable
Sugar - Good Idea
Sugar - Tilted
Sugar - Explode and Makeup
Sugar - All Roads Have Led to Nowhere (live)
Soul Asylum - Draggin’ Me Down
Soul Asylum - Do You Know?
Soul Asylum - Whoa!
Soul Asylum - New Feelings
Soul Asylum - No Man’s Land
Soul Asylum - Crashing Down
Public Image Ltd. - Bags
Sonic Youth - Inhuman
Bauhaus - In the Night
Joy Division - Atrocity Exhibition

Subscribe in iTunes here. Direct download here.

Record Review: Skyzoo-A Dream Deferred

Skyzoo-A Dream Deferred (Duck Down)
By Nathan G. O'Brien on Scene Point Blank

Much like its predecessor The Salvation or, say, Torae’s For The Record, this album is more along the lines of this-is-my-story (see Kanye West’s College Dropout) and less I-am-who-I-pretend-to-be (see anything Kanye West post-Late Registration.) It wouldn’t be a stretch to draw comparisons to, for lack of a better term, the emo rap days of the early ‘00s when Atmosphere, Blueprint and Sage Francis were the face of indie hip-hop. That is to say, Skyzoo’s approach to songwriting is more about providing personal insights and allegorical mind-benders than it is about providing escapism or furthering the negative stereotypes often associated with rap lyrics.  ...read full-length review right about now.

Record Review: WAR//PLAGUE-On A Darker Dawn

WAR//PLAGUE-On A Darker Dawn (Profane Existence)
By Nathan G. O'Brien on Scene Point Blank

Minneapolis’ scene veterans WAR//PLAGUE have finally released their debut full-length LP On A Darker Dawn.  They are veering in a slightly different direction while still snarled up in their crust punk roots. The conglomeration of styles and genres is varied enough though that it makes it difficult to put a solid label on them. Sure, in simplest of terms they are crust, but they are also quite a bit more than that too. (I used to call them post-ambient black metal crust-core or something like that. But let’s be honest here, what the hell does “post-ambient” even mean?)

Much of the band’s progression in sound has to do with a new drummer coming aboard for this record. The D-beaten barrage is still aggressive as ever, but there are noticeable tempo shifts and double kick rolls abound, resulting in a fierce convergence of percussion. You need not look any farther than “The Holy Blood” as an example of how good death metal-like pummeling sounds when given the crusty treatment.  ...read full length review right about here.

Record Review: Oiltanker-Shadow of Greed/Crusades

Oiltanker-Shadow of Greed/Crusades (Southern Lord)
By Nathan G. O'Brien on Scene Point Blank

Hailing from Hartford, Connecticut, one of the oldest and wealthiest cities in the United States, on the surface doesn’t exactly scream crust punk, but Oiltanker’s existence is further affirmation of one of the most appealing aspects of crust, that it subsists virtually everywhere bubbling under the surface: angst-ridden, socio-politically conscious, and in stark opposition to the surrounding affluence and excess. And on Shadow of Greed/Crusades Oiltanker accurately conveys the infected scabbiness of fringe society one Dis-beaten track after another.  ...read entire review here.

ZINES FOR FREE OR TRADE

Yo, its time to clear out some space around HDD HQ as we prepare to put out a couple new issues. If you're interested in getting some free zines, or, preferably, trading for them, holler at the email address.

HotDogDayz #1 sold out
HotDogDayz #2
The Soda Killers #1
The Soda killers #2
Restore The Power #1 sold out
Restore The Power #2
Restore The Power #3
If You Stink At Getting Ladies, Call Me #1--4 sold out
If You Stink At Getting Ladies, Call Me #5
If You Stink At Getting Ladies, Call Me #6

Scene Report: UFC on FX Live at the Target Center

UFC on FX live, Target Center, Mpls, MN, 10/5/12

There were a couple reasons I didn't want to go to this show tonight. First of all, it was a total waste of a card. Perhaps I"m spoiled because last time the UFC came through town we had GSP and Brock Lesnar on the card. Even so, I can't imagine anyone would really want to watch this on TV either. That, and I would no doubt end up being seated in front of some arm chair MMA fans (most likely from rural Wisconsin) that feel its their duty to call the fights move-for-move ("Oh half guard...oh, back the full guard...and back to the half guard...oh, almost got full mount.") and announce how they would have scored each round. ("Dude, I had that at a 10-8, bro." "Bro, are you kidding me, dude? That was totally a 10-9 round. He had cage control--come on, bro dude.") Well, I said fuck it and went for it anyway...

I grabbed an $80 ticket from a scalper for $20 and entered just before the main show on FX started. Upper deck was blocked off. Lower deck was three quarters full at best, but probably more like half full. I sat in a section where there were no idiots in front of me or behind me for several rows. They couldn't have made a lot of money on the gate. Dana was papering the show the day before at the weigh-ins, and in the days leading up to it, there were several opportunities to get free tickets around town. Lackluster enthusiasm in general. Lots and lots of booing. Say what you will about booing, but tonight I must admit--and I'm not a fan of booing fights--it seemed totally warranted. Dudes would not engage.  Even with the quick tapout in the first fight and the two knockouts later it's a more or less a shit show--shit card to begin with, followed by shit fights, equals shit show. This is something anyone could have predicted by simply reading the lineup. Lots of grumbling in audience during the whole thing, and especially on the way out. Sounded like people are pretty pissed about paying full price for it.  I would have been too. As unfortunate as it is, really the most exciting fight of the night happened in the crowd during the Ellenberger match in the section I was in. Aside from the fact that a poor gentleman of small stature got beaten bloody by two Jersey Shore-esque steroid monsters--seemingly unprovoked, I might add (wrong place, wrong time for him)--it was more action than anything on the main card. To his credit, Dana White did his best throughout the breaks (which were very, very long) to take photos and shake hands with as many fans as possible. Although it looked at times like he was more interested in chatting with Vikings defensive end Jared Allen than he was watching the fights. Who could blame him? Ronda Rousey was there too.  I'm fairly certain she and Dana are fucking.  You can tell by body language and the way the look at each other.  (If this news breaks, you heard it here first.) Overall, it was a completely underwhelming experience. Even the spectacle of live UFC couldn't save this one. It's really too bad that the UFC is so over-saturated and/or watered down that people don't get excited--even at a live event--for fights that don't feature big names.  Shit was totally lame.

-Nathan

Record Review: La Coka Nostra-Masters of the Dark Arts

La Coka Nostra-Masters of the Dark Arts (Fat Beats)
By Nathan G. O'Brien on Scene Point Blank

Although LCN worked with a number of underground producers for this album, the selection of beats they chose work well alongside one another—most of them sinister, hard-knocking and ripe with cuts and crossfades—giving Masters of Dark Arts an interconnected texture.

La Coka Nostra’s pluperfect union of bombastic boom-bap, record scratching, and realism-based hardcore rhyming conjures up imagery of hip-hop before skinny jeans and hook-anchored club anthems took over the mainstream—those days when packs of thugs stood outside the corner store, in over-sized sweats and hooded parkas, smoking on Phillies Blunts and trading verses in the cypher, while Gang Starr instrumentals blasted from a nearby Jeep. Head-banging is absolutely required.

...Full length review can be found here.