We Don't Even Live Here

by P.O.S.

I've been a fan of POS for years - since I first heard him on Audition, his second album, and I am constantly impressed with the way he refines and refocuses his vision and his approach to each new project.

We Don't Even Live Here, his fourth solo album, is a very tight shot across the bow of the zeitgeist.  This is a post-Occupy album, which has Stef stating plainly his position on 'stuff', and the materialism and greed of North American culture.

At first, it seems that Stef is good and pissed off throughout the album, but I don't think that's really true.  I find it clear that he doesn't like where things are going, and he's refusing to accept it, but I don't hear a lot of anger in his tone - it's more like frustration.

Stef uses this album to call a lot of groups out.  'Bumper' the fantastic opening track, contains a screed against clueless rappers who continue to support the money-making aspects of music to the detriment of using their voice to spread a message.  'F*** Your Stuff' could be a post-Occupy anthem, as he proudly proclaims his freedom from materialism.  The beautiful 'How We Land', featuring Justin Vernon of Bon Iver, mourns the ease with which people accept things they don't like as inevitable.

Other tracks continue these themes of self-reliance and change from below.  There are tracks with titles like 'Lock-Picks, Knives, Bricks and Bats', 'Fire in the Hole/Arrow to the Action', and 'Wanted/Wasted', which all neatly sum up Stef's position.

POS continues to be a stunningly talented lyricist, and he is joined on this album by Doomtree crewmates Sims and Mike Mictlan, as well as his Marijuana Deathsquads bandmate Isaac Gale, and rapper Astronautalis.  Production wise, this album is fuzzier than his last, with beats by Stef and his usual Doomtree collaborators Lazerbeak and Cecil Otter, but also by new collaborators Andrew Dawson, Patric Russel, Ryan Olson, Housemeister, and Boys Noize.

This is easily one of my favourite albums of the year.  It's hard not to listen to it and think about Stef's current medical predicament.  If you are interested in supporting one of the truest voices in hip-hop, and an all-round great person, head over here to do you part, or learn more.

Mourning in America and Dreaming in Color

by Brother Ali

I admire Brother Ali in a way that I don't any other rapper.  He has a truthfulness to him that bars him from fronting or exaggerating on his songs, which are always intensely personal.

When other rappers talk about themselves, there is often a question about whether or not they are really speaking truth.  I'm not referring to the mainstream rappers - we know they're full of crap - but even of artists like POS and Slug (keeping with the Minneapolis theme for a minute), who also rap from the heart, but have created a bit of a persona for themselves (okay, maybe not Stef; he's probably on the same level as Ali, but anyway).  Brother Ali speaks straight from his soul, and uses his music to continually open and re-examine old wounds, for the betterment of us all.

Mourning in America and Dreaming in Color, his excellent new album, opens with 'Letter to my Countrymen', a plea for increased political action and thought among the masses.  This piece ends with a message from Cornel West, which is always nice.

On 'Stop the Press', Ali gives us the musical equivalent of a Christmas card letter, updating everyone on everything that's happened in his life since his last album, including the loss of his father to suicide, and the problems he's had motivating himself to write and record.  It's a perfect example of how Ali works - a song that exposes great woe, but which remains ultimately triumphant and upbeat.

When I heard that Ali wasn't going to be working with Ant, his long-time producer, for this album, I was worried that it wouldn't hold up well with the rest of his catalogue, but Jake One has figured out what Ali works best with, and provided it to him on almost every track.  This album is as good as, or better than, any that Ali has finished before.

The Family Sign

by Atmosphere

A new Atmosphere album is real cause for celebration.  I know it's been out for a while, and I've been playing it to death, but I haven't wanted to write about it before now, as I was waiting to absorb it better.

The first thing that is noticeable about this album is how Slug's storytelling has grown in leaps and bounds over the last decade.  He's moved away from his standard navel-gazing to start creating songs that tell stories about other people.  Check out 'Became', a story about a couple who have gone camping and are being pursued by a large wolf, on the literal side, but the story has a figurative meaning as well.  It's definitely not your usual hip-hop song.

In some ways, I feel like this album is lacking any stand-out songs.  When Life Gives You Lemons, their last album, had a few tracks that absolutely killed, but The Family Sign has more of a cohesive element to it, kind of like recent Roots albums, where the songs almost blend.  I'm cool with that, since I like to listen to albums as a whole, but I do wish I had a few tracks that I wanted to play over and over on their own.  The only exception to this statement is 'Something So', the second last track, which is lovely.

I love that Atmosphere has embraced a live instrument format, with the addition of Nate and Erick to the band (whoever they are).  I loved Slug and Ant's work as a team, but this has added a more nuanced and versatile feel to the group, as they have all grown into more mature and subtle artists.  Highly recommended.

Atmosphere Storybook Vol. One

Concepted by Plain Ole Bill and Kevin Beacham

I got this compilation free when I ordered the new Atmosphere album, 'The Family Sign', from Fifth Element, the Minneapolis store that is connected to Rhymesayers Entertainment, home to Atmosphere.

This 22-track collection highlights some of the best of Atmosphere's work over the last fourteen years, including two exclusive new tracks, and fun mash-up of De La Soul's 'Millie Pulled a Pistol on Santa Claus' and Atmosphere's homage 'Millie Fell Off the Fire Escape'.

Essential to any Atmosphere collection are 'Always Coming Back Home to You' from the '03 album Seven's Travels, and 'Painting' off of When Life Gives You Lemons.  A lot of space here is given over to songs from the hard-to-find Sad Clown series of EPs, and some of the band's more recent limited releases.

As with any project of this nature, the omissions feel more important than what is actually present, but if you were ever hoping to introduce a new listener to Slug and Ant, this is a great way to do it.  It's interesting to be able to chart Slug's progress from a slightly hysteric, often whiny self-reflective rapper (I've never heard the band's first album, Overcast, aside from the track included here) to the more nuanced and calmer storyteller that he has become.  It's also cool to hear how much more advanced Ant's music has become over the same period of time.

To All My Friends/Blood Makes the Blade Holy

by Atmosphere

2010 was a disappointing year so far as hip-hop goes.  There weren't many big releases, and it is easy to see people are bemoaning the glory days of the genre.  Personally, I found myself branching out further and further afield this year, into jazz and archival African releases.

Then Atmosphere come along, drops a double-ep, remind me why I love hip-hop, and give me hope, as they continue to innovate and redesign themselves into a more mature, thoughtful, and musical group.

There are twelve songs on this disk, and they are great.  Slug has been working on his storytelling skills, and many of his songs here take the form of spinning a good tale or two.  'The Major Leagues', 'Scalp', 'The Best Day', and 'Americareful' (awesome name) all fit that bill.

There is a more rocked out and aggressive nature to songs like 'Until the Nipple's Gone', 'Shotgun', and 'Commodities', although they are balanced later by the softer songs like 'Hope', 'The Loser Wins', and 'Freefallin''.

What has always made Atmosphere stand out has been Sean's willingness to examine his own life and problems through his lyrics.  He's not as navel-gazing as he used to be these days, and is instead turning his past experiences into lessons or poetic examinations.  'The Number None' talks about his first girlfriend, and is equally explicit and wistful.  'To All My Friends' is the best song on this disk, as Sean reviews his influences in music and life, and defends his choice to keep plugging away at the music industry.

This is such a nicely balanced project that it's hard not to think of it as an album.  If this is what they're turning out to tide people over, I can't wait to hear the next LP.

Felt 3: A Tribute to Rosie Perez

by Slug and Murs (with Aesop Rock)

I could have sworn that I reviewed this album months ago, but apparently not.  The second Felt album was a huge favourite of mine, it having come out right around the same time that I'd discovered Atmosphere.  There's a different chemistry at play when Slug collaborates with Murs; they both become more playful and light-hearted.

This time around, the pair are joined by Aesop Rock on the beats (and he appears on one song).  If I had my choice, I'd prefer to see Ant handling the production, but this does work out pretty well, even if a couple of songs sound like they belong on None Shall Pass. 

The album starts off just fine, but really picks up steam in the middle through to about the seventeenth track (this is a long one folks).  There are a couple of truly annoying songs on here - 'Get Cake' and 'We Have You Surrounded', but the rest of the album is quite decent.

Aside from the rather infectious 'Henrietta Longbottom', there aren't too many memorable tracks on this album.  I blame the consistent sameness of AR's production.  At the same time, it's still a quality album.

Crate Digging: The Undisputed Truth

by Brother Ali

Brother Ali has been pretty prolific of late, and has been putting out some high-quality hip-hop. This album was my introduction to Ali. I bought it on the strength of Ant's production and the Rhymesayers label, and it was not a purchase I regretted.

The beginning of the album is a little dull. There are some very nice songs ('Truth Is', 'Daylight'), and some intelligent commentary ('Freedom Ain't Free', 'Letter From the Government'), but it is not until the eleventh track that this album really catches fire.

At that point, Ali becomes a different person, rapping more honestly about his life, history, hopes, and disappointments. The last three tracks serve as a trilogy. 'Walking Away' details the dissolution of his marriage, and portrays a complicated situation with sensitivity, even if the twinges of anger are still clearly felt. 'Faheem' is a love song to his son, heartbreaking in its emotion and its descriptions of the poverty they lived in, but also in its warmth. 'Ear to Ear' has Ali emerging through his trials in a positive place; he's found a new woman, his son is doing well, and his musical career is taking off. This is the confidant, happy Ali of his more recent releases.

Throughout this album, you can see some fine early examples of the guy I think of as the nicest man in hip-hop. Ant kills it throughout this album - I love the beat on 'Uncle Sam Goddamn' the most.

Leak at Will

by Atmosphere

I love when Atmosphere drops these little EPs between albums, and I like it even more when they are free.

Leak at Will is a good sample of Atmosphere's talent and new aesthetic, as it has the lusher sound of their most recent album, and features the new approach to story-telling that Slug has been taking with his lyrics; namely, the songs aren't really about him.

Instead, we get songs about a mother whose son is in jail ('Mother's Day'), about a girl on a crime spree ('Millie Fell Off the Fire Escape') and directionless youth ('Ropes'). My favourite song is 'Feel Good Hit of the Summer Part 2', where Slug rhymes about the different drugs he has and hasn't tried. The way he loops back on his own rhyme while talking about LSD makes me laugh every time I hear it.

The rest of this 7-track gift is strong too.

Crate Digging: Shadows on the Sun

by Brother Ali

I've been feeling Brother Ali's last two releases quite a bit this fall and winter, so felt like it was time to dive into some of his older recordings.

Shadows on the Sun was his first full-length album with Ant supplying the beats throughout, and it's interesting to see how their collaboration has grown.

Ali is younger and hungrier on this album, trying to set himself apart from lesser MCs ('Back Stage Pacin'') and establishing himself in the game. Ant gave him more aggressive beats than he does today, although the signs pointing towards the more thoughtful and family-oriented Ali of today are there too, like on songs like 'Dorian'.

The centrepiece of this album is 'Forest Whitiker', Ali's anthem of albinism and acceptance. It's a very honest and descriptive song, as Ali describes his appearance, and then rejects anyone who can't see past it.

By The Throat

by Eyedea & Abilities

I've been hesitant to write about this album, because I find that I have to be in a particular mood to be able to enjoy it. I frequently find Eyedea's vocals to be irritating - there's something about the urgency in his voice, when played over a half hour, that starts to get to me.

This is a genre-bashing disk. Abilities's beats owe much more to rock than hip-hop, and Eyedea often sings or chants his lyrics. We're in closer territory to Flobots than Limp Bizkit though, so it's all manageable.

There are some songs that I can really feel on here, but overall, the album sounds a little too much the same, and I don't really differentiate much between tracks. This is probably my least favourite Rhymesayers release of the year, although I do keep it in the rotation.

The track that has the words, "I can still smell you inside me," creeps me out. That's nasty.

Us

by Brother Ali

I think what comes through the strongest on this album, to me at least, is just how likable Brother Ali is. His lyrics and voice combine to give an impression of a person that is very warm and loving in everything that he does.

That's basically what the album is about too. Ali speaks of his love for music, his children, his family, and the people in his life. He mentions in his liner notes that people respond to the personal aspect of his music, and that does seem to be the focus of this album.

The beats, all by Ant, are also quite warm and soulful. I like how Ant takes a different approach to working with Ali than he does Slug; it gives him a chance to stretch his wings a little and try new things.

I'm pretty sure this is my favourite Brother Ali album now. A classic.

A Different Mirror

by Toki Wright

I caught Toki on stage at the Manifesto Hip-Hop Festival in Toronto last year, and enjoyed his energy and lyricism.

This, his official debut album captures all of those qualities. His songs display a strong performer coming into his own. He has bangers ('More Fiya'), but also more relevant and conscious songs, like 'A Different Mirror' and 'State of Emergency').

The album's best track is 'The Feeling', which features Brother Ali at the perfect point in the album for his more soulful approach to switch things up a bit.

Other appearances are by Scarub and I Self Divine. Most of the production is by Benzilla, although Brother Ali provides a few tracks (I had no idea he produced).

While Toki shouts out Minnesota repeatedly, this album has a very different feel from the rest of the Rhymesayers catalogue, and bears no resemblance to the Doomtree crew, showing that the mid-West has a lot of musical diversity.

Crate Digging: Strictly Leakage

by Atmosphere

This project began life as a random free download, then became a giveaway with "When Life Gives You Lemons", before taking its place as an individual release.

This is basically Atmosphere cutting loose for a bit, and having a good time. These are all party songs, with uptempo beats and amusing lyrics.

Slug and Ant are clearly having a good time with this, and songs like 'YGM', 'Little Math You', and 'Get It To Get Her' show that. 'You Played Yourself' has Sean speaking to the type of people that he probably encounters all the time on tour.

This is a great Atmosphere album - perfect party background.

Crate Digging: Sad Clown Bad Spring #12

by Atmosphere

As Winter gives over finally to spring, the focus is much more on telling strong, visual stories. 'Less One' is about an angry police officer. 'Good Daddy' is a lovely song about a young father, with a strange (and slightly predictable) twist at the end. 'Carry Me Home' is one of the more emotional songs this band has ever written, and it ties strongly into the themes of 'When Life Gives You Lemons'. 'Not Another Day' displays Slug's ability to spin a nice tale again, as he tells a few stories of people who struggle to get through their daily life.

The beats on this EP are very jazzy and catchy. This is probably the strongest of the four 'season' episodes of the Sad Clown Bad Dub series.

Crate Digging: Sad Clown Bad Winter #11

by Atmosphere

Winter in Minneapolis must be cold. I know it's much worse than anything I see in Toronto. How then, does it affect Atmosphere? Well, I guess there's nothing better to do than 'drink your remedies and forget about your problems', as we are encouraged to do on 'Ha, This One is About Alcohol Too' (which I might add, is one of the best song titles ever).

I picture Slug and Ant snowed in, and having plenty of time to get on people's nerves, hence songs like 'They All Get Mad at You'.

I'm not sure I can take this any further. This is a fun EP.

Never Better

by P.O.S

Musically, I consider the period from the summer of 2008 to now as the 'Year of Doomtree', as I picked up and listened to a lot of product from this Minneapolis group, of which this album would have to be the highlight.

P.O.S is the first of the Doomtree crew to come to my attention, with his excellent "Audition" album of a few years ago, which this present album surpasses in every way.

First, "Never Better" is beautifully packaged. The cd is packed in a stiff plastic casing, which contains a number of acetate inserts, which can be rearranged to design a custom look. It's a cool idea.

The album itself perfectly blends Stef's punk and rap roots, as discussed in 'Out of Category'. It starts with 'Let it Rattle', where Stef asks "Who really listens?/ Precision with a verse draws a crowd/I draw a line between an easy melody/ and piece on mind," explaining the ethos at work throughout the album.

On 'Optimist' (with its fantastic plastic-cup beat) and 'Purexed', P.O.S eschews the typical boasting of rap and punk, and instead speaks honestly about struggle and growth. This album is both personal and accessible. Other favorite tracks include 'Savion Glover' and 'Been Afraid', which showcases Stef's considerable talents as a storyteller.

'Low Light Low Life' is the only track where other Doomtree members pick up the mic, and Stef is joined by Sims and Dessa (who murders the track). He provides many of his own beats, but is also joined by Lazerbeak, Paper Tiger and MK Larada. This album deserves to be recognized as a classic.

Crate Digging: Sad Clown Bad Fall

by Atmosphere

As summer turns to fall, the songs become more about partying, drugs, and women. Not that they weren't about that in summer, it's just different. Maybe it's because there are more synths on this EP? Or they're just more noticeable?

I'm not sure what it is, but there is definitely a slightly darker feel to this album. I don't know if they were trying to match theme to each of the seasons or not, but it I find it interesting to go through each of these EPs thematically.

Crate Digging: Sad Clown Bad Summer

by Atmosphere

In many ways, this short, five-song EP showcases the absolute best of Atmosphere. This was released as a preview to 'When Life Gives You Lemons', and contains some of the first songs that feature a live band backing Slug.

'Sunshine' is the quintessential summer song, echoing Fresh Prince's classic from years ago. In it, Slug raps about waking up with a hangover, and being cured by a beautiful day. It contains the rhyme, "Every day that passes is a success/ And every woman looks better in a sundress," basically summing up much of the band's philosophies on life.

'The Number One' and 'Don't Forget' are both reflective songs, wherein Sean looks back at his youth. The first song talks about his earliest experiences with girls, while the second details his early love of music and Cadillacs.

'RFTC' showcases Slug's strong storytelling abilities, as we hear about a guy tagging trains in a yard one night, who runs into a police officer. 'Mattress' follows up on another standard Atmosphere theme - regret.

If you ever want to introduce this group to a potential fan, this is the way to do it.

Crate Digging: The Fun EP (Happy Clown Bad Dub Eight)

by Atmosphere

I love the Happy Clown Bad Dub EPs that Atmosphere puts out between albums.

This is a fun little EP, featuring two alternatives to tracks off of 'You Can't Imagine How Much Fun We're Having', and five other songs that didn't make it onto that album.

You know you can never go wrong with a cd if it has a song on it called "Horny Ponycorn Horns".

Crate Digging: You Can't Imagine How Much Fun We're Having

by Atmosphere

I absolutely love this album! This is one of only a handful of albums that I own that make it in its entirety onto my ipod.

Slug and Ant are at the height of their game here, putting out an album that is mature and introspective at times, and irreverent and fun at others.

The last three tracks on the disc, 'That Night', 'Get Fly' and 'Little Man' show Slug's growth as a lyricist, as he begins to put to rest the navel-gazing of some of his earlier work, and demonstrate that he is strong observer of the human condition, finally able to move beyond his own problems.

Highly, highly recommended.