Weekly Fix #50 ('20)

Welcome to the Weekly Fix, where I go over everything that I’ve listened to that has come out within the past week. I’ll give a little blurb about the project/single with my feelings on it thrown in there, throw some descriptors and other artists names to give you an idea what the project/single is like, and link to all applicable streaming services where you can find the music. The bottom section will be devoted to projects that have Bandcamp or online webstore links, to give a greater highlight to those artists who you can support directly. Click here to see a list of previous Fixes.

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I’m going to be real with you guys: I was very distracted this week. Normally it’s just the bullshit and the job getting in the way, but this time it’s something that I was looking forward to spending a little bit of time doing but it turns out it has consumed the past week of my life. I got a game called Cyberpunk 2077, and while it’s a broken game that looks like ass on my Xbox One (yes, the original console), I have been enjoying the every-loving hell out of it, and so I haven’t been spending much time here on Tha Soup Dude… in the weeks leading up to my Album of the Year posts. It’s not very responsible… at all… but procrastination is pretty much what I resort to in most of my life so why not this?

Anyway, the stuff that I did single out this week were all quality songs and albums, almost entirely in the underground realms of the hip-hop world. We got a new deluxe from Mulatto, as well as a long-awaited “debut’ of sorts from Jack Harlow, but most of what we were treated to this week was some of that grimy street shit coming from all over the States (and Canada!): Planet Asia, Rigz with Futurewave, Boldy James with Real Bad Man, and a streaming-release of the latest ANKHLEJOHN project all impressed the hell out of me, and deserve your ears as well (in addition to other forms of support that you can find down in my Hot Deals section).

This next week is looking pretty light on quantity, but it looks like there are still gonna be some heavy hitters: keep your eyes out for another Ransom and Nicholas Craven tape, as well as a collaborative album between Planet Asia and The Musalini this Friday. At the top of this upcoming week we also have another RJ Payne mixtape (most likely), and Flee Lord’s last project of 2020 called In The Name Of Prodigy (fittingly and entirely produced by Havoc). Check out all of this, as well as more upcoming releases, over on my Upcoming Heat page here on TSDK.

I’ve been getting a lot of shoutouts, a lot of respect sent my way, and a lot of love here recently; I want to say to everyone who reads this shit here and shouts me out I appreciate the shine. I definitely work hard for this shit, spend a lot of nights getting it right for y’all. For all of you newcomers I’d like to say thank you for checking my shit out, and if you’re looking for some real shit go to my Write-Ups page to see some of the long-form stuff I’ve done in the past. It’s been a long time since I’ve done a Write-Up, and I can only hope as my schedule clears up I’ll be able to talk more in depth about some albums. Thanks for your continued support.

Here’s a link to the Week #50 (’20) Playlists

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Here’s a link to the Week #50 (‘20) Singles

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Here’s a link to the Week #50 (’20) Art Appreciation post

-----STREAMING PROJECTS-----

ANKHLEJOHN – As Above So Below

Cover Artist: ANKHLEJOHN

I’ve been a huge fan of ANKHLEJOHN since I heard his LP with Big Ghost that he dropped a few years ago, his confrontational and chaotic style catching one’s attention and wrestling with it to the point that you can’t help but listen. The problem is (at least when speaking of actually getting to listen to his music) is that his releases are either behind massive paywalls or, in a truly entrepreneurial move, only available by contacting the man himself. The not-problem is that, once he decided to upload the shit to streaming services (or you buckle down and pay the toll), you’re treated to some of the most creative hip-hop being released in the underground today. When I say creative I really mean creative, because Big Lordy doesn’t necessarily stick to one specific genre whenever creating his music: his tape with V Don (and Da$h and Sauce Hei$t) from earlier this year was a dark and slightly more processed version of the typical raw dusty formula, while several months later ANKH hit us with a true-to-god Brooklyn Drill mixtape, completely breaking from the traditional underground rap character to provide us with an experience that is both familiar to those who keep up with the scene and entirely original for those who have been listening to ANKHLEJOHN for a while. As Above So Below is another shakeup, albeit somewhat of a return to an older and more traditional hip-hop sound, which sees ANKHLEJOHN teaming up with Navy Blue (Sage Elsesser for those who remember his older production handle) to bring us an album on the cutting edge of a stripped-back hip-hop experience. Navy produces the entire LP, front to back, showcasing his talents as a beatmaker across challenging vocal chops, minimal yet impactful instrumental loops, and a stunning sense of emotion in beats that normally would come across as cold, but are given life through his ability to find that one sample that elevates the track to another level. The beats cause ANKH to similarly slow his roll, still coming with his reckless flows but also measuring himself slightly to fit the tones found across the record. Whenever I’m listening, I imagine Ol’ Dirty trying to make a record like Some Rap Songs, the boisterous emcee reeling in a wild persona to deliver a more personal experience. What this results in is, in my personal opinion, ANKHLEJOHN’s best and most fleshed-out project to date, drawing upon the strengths of the melancholy and sample-driven format pioneered by guys like MIKE and Pink Siifu but giving it the unmistakable ANKH twist of hype and aggression. That this album is on streaming for y’all is a treat, and I implore everyone to give this album a fair shake, because it’s truly one of the best this year.

Spotify/YouTube/Apple Music

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Boldy James & Real Bad Man – Real Bad Boldy

Cover Artist: Real Bad Man

Boldfaced James is back again for yet another full length album, yet again another album produced exclusively by a single beatmaker, and yet again another album that was destined to be great simply based off of the powers involved. The comeback-career of James has really been something to behold in hip-hop; he never really “went” anywhere, I’m not trying to imply the dude’s washed up or anything, but he was severely underappreciated for a long time, a decade damn-near. That ONE Hitler Wears Hermes verse for Westside Gunn turned into an acclaimed EP with the Alchemist, a full-length with the same producer a few short months later, an album 15 years in the making with Sterling Toles over the summer, a debut on Griselda records produced entirely by freshly-minted beatmaker Jay Versace, and has now brought us to this album, Real Bad Boldy, an album that shows off more of Boldy’s versatility and talent than I think we have seen yet. The thing about the other projects James has released this year is that they have all been very left-field, jazzy and scuzzy, and, for the most part, low-key depressing; Real Bad Boldy on the other hand is so much more traditional in regards to it’s hip-hop roots, placing distinctly in an early-mid 90’s vibe that pushes Boldy out of his moody corner and forces him to reckon with beats that are quicker than he’s become accustomed to, instrumentals that are funkier, and song structures that demand good hooks. He rises to the occasion on all fronts, speeding up his flows while still maintaining a relative aloofness, and making each of his hooks here razor sharp and worthy of genuine repeat listens. This whole thing reminds me of classic acts like Kool G Rap and Ghostface Killah, where the emcee is more than capable of keeping things interesting and lively, but the beats are here to take it to the next level. I’m still not 100% sure who or what Real Bad Man is; all I know is that they deal in art and fashion in addition to music production, but I’m beginning to see that their true talents lie in the latter. The beats on here are a suite of well-established sounds, faithful to the 90’s in almost every way on every track, almost like a modern tasting of Pete Rock or Large professor type-beats. This album, more than any of his other ones this year, feels like Boldy enjoying the fun and theatric nature of hip-hop, taking a break from the depressing, challenging, and dour records he’s come with before. Listen to this is you’re ready to hear Boldy over some new production.

Spotify/YouTube/Apple Music

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Jack Harlow – Thats What They All Say

Cover Artist: YungSkylark (Ace Pro)

This dude, who’s been around for a solid minute in the hip-hop game, blew the fuck up at the beginning of 2020 off of the strength of one killer record, Whats Poppin, a song that is definitely one of my favorites this year for it’s infectious energy and banging beat. I went into this “mainstream debut” expecting that same energy, maybe even a bit of an overreliance on it given how “poppin” that single was this summer. What we have instead is a much more measured, mature, and melodic album from Jack Harlow, drawing on many different sources of inspiration beyond just the pounding production of the trap kings. Something critical to know about Jack is where he is from, Louisville in Kentucky, a state that has never in the history of this genre been a go-to spot, but in those who have made it out in the past you can find some of the blueprints for Jack’s style. Artists like Bryson Tiller and Static Major have a big part to play in how Jack presents himself, from the attempts at melody to the more moody and seductive bangers he comes with. However, beyond his immediate surroundings, you can hear the influences of one key artist in particular: Drake. In a lot of ways, to the album cover to the subject matter, Jack Harlow is pulling a Drizzy on this album, something I have seen used as a negative against him here recently, but something that I actually value greatly as a solid blend between how he’s trying to put on his home state and how he can incorporate the reflective and sometimes melodramatic styles of OVO. There are many slower and somber cuts on here that feel like they could have easily placed on an album like Take Care. He’s speaking on some real shit on this album, from the impacts of his fame on down to his position as a white man in a predominantly black genre, throwing in his relationship goals and woes as an added layer of drama, but for most of this album I felt like he had genuine control and talent for being able to convey his emotions in a way that feels relatable yet deep. While I am already down for Jack Harlow as a rapper, it was his singing that surprised me the most; it wasn’t anything truly groundbreaking, but he really put his all into trying to make some of these singing tracks take off, and for that I definitely respect him, and am willing to look over the lack of perfection in his vocals. Lastly, I think the feature budget being what it was was for this project really paid off as well: artists like Big Sean, Lil Baby, Chris Brown, and the aforementioned Bryson and Static Major are all great fits for Jack’s different styles, and the Whats Poppin remix is still fire to this day with one hot verse after the other. All in all, this album could have been so much more vapid and unappealing than it ended up being, and I think that Jack’s true deterministic effort is what should be credited; it really sounds like he wanted to put something out that was substantial to him, and I get the message loud and clear. I’m ready to see where the guy can take his career next.

Spotify/YouTube/Apple Music

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38 Spesh – 1995

Cover Artist: Manuel “Cep” Concepcion

There is a tiny nugget of disappointment that this tape is more like an old Wayne mixtape, taking older beats and giving them the ol’ brush up with a new artists, especially coming off of the 1994 album Spesh dropped around this time last year that featured “rebuilt” beats instead of straight rips (and had an ass-ton of features), but I’ve got to say I think the beat selection on this one is much better (probably a bias on my part given that almost all of the albums he drew from on this one are some of my all-time favorites). We get classics like Incarcerated Scarfaces, Shadowboxin’, Shook Ones Pt. 2, and Ice Cream on this motherfucker, perfect beats for anyone to rap over in any situation, but Spesh is uniquely equipped with the punchlines and gruffness to do the beats absolute justice. It’s just bar after bar after bar on this album, never letting up in it’s short run-time with the fire and brick-talk, probably the best I’ve heard Spesh since the Son of G Rap days if I’m being honest. It’s a Green Lantern presented product, so all of the tracks flow into each other like a solidly-constructed DJ set, keeping the pace moving between the beats that Spesh gives one solid verse to apiece. Like I said, the features leave a lot to be desired on here in comparison to the last iteration of this series, but hearing Che Noir over that Raekwon shit was something I NEEDED to hear. Short, one step above 90’s inspired, and featuring some of the best punchline rap in the underground, this is a project that any Wu-head needs to get into their rotation immediately. 38 is following this up with his “real album”, Interstate 38, coming up soon on Christmas day, so get ready for that shit.

Spotify/YouTube/Apple Music

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LNDN DRGS – Burnout 4

Cover Artist: Patrick O’Brien-Smith, Malvo BTM, & Sean House

I’ve personally only listened to LNDN DRGS last project, Affiliated, an album I considered one of the best of the year for it’s outstanding production and its relentless attack of features that brought uniqueness and flavor to an album that was 3 parts West-Coast rider music and one part New York chill. So going into this project, which is DISTICTLY an old-school, damn-near-R&B G-funk record, was a bit of a shock to me, so much smoother and stylistically inspired than I had initially anticipated. Maybe that’s the point of the series: a spread of tracks to blaze up to on some Snoop shit and vibe the fuck out, and if that is the case then I think the two nailed it on this one. If you aren’t familiar, LNDN DRGS is a duo based out of Canada, with Jay Worthy coming with the rapped (and occasional crooned) vocals, and Sean House planting himself behind the boards. They’ve been around for a minute building connections at the ground level in Los Angeles and the Bay for years now, with whatever formula they’ve been operating one reaching peak L.A. on this newest project. The raps from Jay are nasally and loose, like if Dr. Dre or Warren G had a cold or some shit, nailing the distinct lingo and city-slang that made those old West-Coast classics unique and compelling. I’d say most of the credit for emulating that ride-friendly sound comes from Sean House, whose beats on here are amazingly colorful and vigorous, utilizing the synths, basslines, and drum patterns of both early G-funk and just straight-up funk music in general, with some cuts on here sounding like their inspirations lie even further back in history than even hip-hop. What all of this results in is both a celebration of one of the building blocks of the modern West-Coast scene, *and* a celebration of the building blocks of those earlier scenes. If you’re looking for something that is a bit more accommodating and non-threatening, maybe even some shit you can dance to, then give this album a shot.

Spotify/YouTube/Apple Music

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Mulatto – Queen of Da Souf (Deluxe)

Cover Artist: [Unknown]

I had to go back and see with my own eyes that Mulatto put out this album in fucking AUGUST; like Jesus Christ this year has been passing me by like a motherfucker y’all… Anyway, I loved the original record, thinking it a fine piece of brash and sexual rap music, a stylistic blend between the murderousness of someone like Gucci Mane and the OVERT sexuality of a Nicki Minaj character. The great punchlines and the aggressive deepness of Mulatto’s voice was accented perfectly by hard-as-nails trap beats, though occasionally it dabbled in some processed pop-trap that, while still being quality, isn’t as worth speaking on as the other, more traditional ATL cuts. This new deluxe version adds 5 songs onto the original, and we for sure did not get the B-sides: these tracks EASILY could have been on the base album, being just as punchy and full-bodied as what we got in the first place. The beats may even be better than the ones that we got initially, having these crazy instrumental melodies working behind loud and assaulting trap percussion, with the exception being Sex Talk, which is a more seductive (yet still surprisingly fire) melodic cut. Mulatto is still coming hard on these new tracks, not letting up an inch on any track here, but I think she’s shown a growing talent in melody-making and more pop-centric song structures, because, again, the track Sex Talk stands out as one of her most radio-friendly bangers than I can see people genuinely enjoying out in the wild. Since I first heard her on that Gucci-assisted single I knew I was going to love this girl’s style, and this deluxe only reaffirms that. Listen if you want some really confrontational and honest trap music.

Spotify/YouTube/Apple Music

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Pressa – Gardner Express

Cover Artist: [Unknown]

Let’s get something straight in case you’re looking at this like “bro??”: yes, I am well aware dude sounds like an elf. I’ll admit, whenever I first heard this dude, years ago now on some Murda Beatz tape, I was genuinely like “the fuck”, but going into this EP I was willing to give him a chance based off of the features (and my love of one of the lead singles from this thing, Head Tap). I have to say, I am pleasantly surprised with how the project turned out, giving me a lot better understanding with how Pressa sees himself in the game today and what he can bring. While I thought back in the day he was a Playboi Carti impersonator, I’m seeing more now that his Canadian roots affect his beat and feature choices, opting more for slight shades of Drill music, both from across the pond and in Brooklyn, and bringing in guests like Sleepy Hallow, Sheff G, and the boys from D-Block Europe. As a rapper I think Pressa is proficient, able to hit the flows well enough while utilizing some funny wordplay, but the real X factor with him is his voice. It’s a squeaky and mouse-like Disney voice, sort of like the Carti baby-voice, but more like a... cute voice I guess? The point is, it is not hard whatsoever, so the jarring disconnect between his voice and him rapping about shooting people and slinging drugs will be a hurdle for some people to leap, but I think it’s worth the investment since there are some real bangers on this shit. Like I said, Head Tap was already hot fire in my eyes, but Ouija Board with D-Block Europe (Adz is on fire on this one), Dracula with Flipp Dinero (again, Flipp demolishes the beat), and an impressive solo track in 96 Freestyle give me hope that Pressa can escape that lazy Carti grouping that many people engaged in back in the day (and I did in my mind to be fair). Listen to this if you can stomach dudes like Kodak Black regularly.

Spotify/YouTube/Apple Music

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Lil Loaded – CRIPTAPE

Cover Artist: [Unknown]

While Pressa has successfully overcome and distanced himself from Carti comparisons, Lil Loaded is going to have a bit harder of a time distancing himself from his own influences. Loaded sounds EXACTLY like NLE Choppa, from the completely insane aggression to the blam/blow sounds, and in fact the only way one might be able to tell them apart is by the beats; Loaded is currently operating out of Texas, but his Crip-centric sound is clearly West-Coast L.A. inspired, giving a clear difference between himself and NLE. So, although the originality might not be entirely there, Loaded still does what he does well: he is a deadly rapper (literally, dude got picked up for murder not even a month ago, releasing this a tape as a celebration for getting out), aggressively charismatic and unhinged in his deliveries, working best whenever backed by a hardcore L.A-infused trap instrumental. Where I think Loaded is most proficient is in his hook game, coming up with some real heat on tracks like 6acc Doe and Rocc Dis, repetitive and violent choruses that have echoes of guys like Tay-K. There really isn’t much more to say about this shit: definitely if you fuck with guys like NLE and Tay-K you should give this a shot, but also anyone that likes overblown and shouty trap music that scratches both a Memphis and L.A. itch.

Spotify/YouTube/Apple Music

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-------SOUP’S HOT DEALS-------

Rigz & Futurewave – Substance Abuse

Investment: $30.00

Cover Artist: Chris Murray

You know who’s been having a crazy year? Futurewave. The beginning of 2020 was a bit quiet for the Toronto producer, getting the steam-engine started around the midpoint of the year with his collaborative project with al.divino. a strange but compelling pairing of emcee and producer. Since then, we’ve been treated to a more Canada-centric spread of albums, whole projects with guys like Daniel Son & Asun Eastwood on Bite the Bullet, Saipher Soze on Eat What You Kill (with Finn on the beat-assist), and Gorgeous Polo Sportsmen with Raz Fresco (that still has yet to hit streaming, sorry guys). He’s capping off the year of collaborations with a project with one of my personal favorite emcees out right now, Rochester’s Rigz, a member of the Da Cloth (Mooch, Rob Gates, and M.A.V. being his fellow compatriots among others) collective whose pen is as sharp and deadly as Futurewave’s beats. Futurewave just has this ear for cerebral and heavy samples, lacing strict boom-bap drums with drunken keyboards, spectral vocal loops, and cinematic string and horn sections, sounding like it comes from the same mindstate as both Griselda and old RZA albums like Cuban Linx. He’s not trying to be flashy with his beats; they have the grit and the gristle to them, but the most important thing is to make the emcee pop and thrive over the instrumental, and that’s exactly what we have gotten with all of his albums this year, and what we continue to get on Substance Abuse. Rigz as a rapper is someone that you need to have your eyes on, closely watching his ability to weave metaphors and crack-slinging stories together in smooth and unbroken streams of thought; his rhyme schemes are well-fucking-written, his flow is so fluid, and his voice has this gutter quality to it that screams “street-wise”. You can hear the legitimacy of his drug bars, the thought in his more introspective ones, and the danger in his threats. We get Times Change, Rob Gates, and a couple of Mooch appearances on here to represent for his Da Cloth gang, but we also get a few welcome additions like a great Asun Eastwood hook, and an all-star track with both Daniel Son and Vinnie Paz *murdering* fools with their words. Also, that album cover is fire, enough said. Listen to this shit if you want some rainy day drug rap to get into, and want some production that will give you the best of the 90’s and modern underground.

==> Futurewave's Website <==

Spotify/YouTube/Apple Music

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Dueling Experts (Verbal Kent & Recognize Ali) – DE2: Sand the Floor

Investment: $8.99

Cover Artist: Maztrone

Have you ever been listening to some of these guys out there today and think to yourself “I can hear the Wu-Tang influence, but I want something that sounds EXACTLY like the Clan”? Well, do I have an album for you, because this is the closest thing to a bar-centric Wu-Tang album you’ll find; hell, I don’t even think the original members of the Wu could come up with something that’s this true-to-form, and I mean that with all due respect to those rap gods. This gem of hardcore New York hip-hop revivalism comes from a trifecta of talent: we have Chicago’s Verbal Kent, a hilariously violent buzzsaw on this album, casually talking about ripping your arms up and slapping you with them. Recognize Ali, Ghana’s premier rap talent, is coming with a more of a boss-type of violence, rapping about both how good of a rapper he is *and* how quickly he can get you killed. The third, and most crucial, part of this group is the producer behind all this shit, Lord Beatjitzu, who I admittedly know little about; what I *DO* know, is that I have never heard such faithful Wu-Tang music outside of the RZA’s own perfection. These beats are immaculate, dusty, bumping, and filthy, incorporating rolling drum machines and a whole assload of random sounds and movie clips, mostly kung-fu related. It’s the perfect music to play during a fight, because that’s pretty much what we’re treated with, a verbal duel between Ali and Kent, going back and forth on every beat here with sick rhymes and aggressive deliveries. Now, this is a sequel to an album that did the exact same thing, the self-titled Dueling Experts LP that they dropped at the top of the year: is it doing anything different? Absolutely not, but that’s not a problem given how short that initial album was and how much I simply wanted to hear more. Everything, from the rhymes to the beats to the samples, evokes that old Wu-Tang sword style, so if you’ve been looking for that you literally will find that here.

Spotify/YouTube/Apple Music

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??? (THEHIDDENCHARACTER) & Mr. Rose (Estee Nack) – WHOIZTHEHIDDENCHARACTER?

Investment: $23.00

Cover Artist: 1000Words

A lot of people don’t know that Estee Nack is out here producing some wild beats under his beatmaking alias Mr. Rose, mostly lending his talents to his in-house cadre of rappers that he’s got in his “Mini-Mansion”; affiliates like Paranom, Purpose, and Codenine consistently get beats from his stash, some of the weirdest pseudo-boom-bap you’ll find out of Lynn right now. You can compare the work to that of his close collaborator, al.divino, but while divino revels in the abrasive elegance of a vocal loop, Nack isn’t afraid to get dirty and grungy with gross keyboard phrases and chunky off-kilter drum kicks. The person who Estee Nack invites over to kill these beats is the relative newcomer ??? (pronounced “THE HIDDEN CHARACTER; the “???” is sile- alright I’m not going to fucking say it this time y’all get it it’s a stupid joke), who has spent 2020 standing shoulder-to-shoulder with the heavy-hitters in the Massachusetts scene, asserting his dominance with laser-focused and precise technical rapping, with a penchant for flair and flexing in addition to the usual mobster/dealer lifestyle bars. I love how ??? is the perfect partner in crime when looking at divino and Nack, with all three of them utilizing a similar “deluge of words” style, but coming to that conclusions with three different deliveries and tones of voice. ??? is a biting and scornful voice, like a Frieza to divino’s Vegeta, speaking down on all the lames with a real fighting hate in his heart; I also love how he really is like a character in this rap shit, having yet to see the dudes face and the mystery behind it being strangely compelling. Only other thing to speak on are the features, of which there are a few on this shorter project: Ice Lord and Primo Profit come together on the best track on this shit, Fibonacci, lacing it with some real mob shit and danger bars, while Estee Nack blesses us with a single verse on the track Heavy Arms, coming more technical and nimble than I think I’ve ever heard him before. Go out there and support this shit guys, a real grass-roots hip-hop movement that specializes in left-field energy that deserves your dollars.

==> Bandcamp <==

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Planet Asia – Bodhidharma

Investment: $15.00

Cover Artist: NoyOne

2019 was a big year for Planet Asia: coming with EP after EP, feature after feature, and cementing his relationship with 38 Spesh’s Trust Gang imprint, I was ready to see how a 2020 associated with one of the hottest beat-houses would affect Asia’s later career. There was the Trust the Chain EP very early on in the year, a great tape that left me wanting more Asia and more Spesh beats, but then we waited FOREVER before the dude dropped anything again. October gave is Cashmere Corners, something I didn’t cover on here but that I respected well enough as a solid project. While waiting for the collaboration project between himself and The Musalini (which drops next week), Planet Asia has seen fit to drop a full-length album, his longest in well over a year. If you’re familiar with the God, you’ll know that his albums always include the most fulfilling of boom-bap cuts, beats that lie in shades if both West-Coast and New York. There’s usually one prominent instrumental idea taken to the extreme on each song, giving the album a track-to-track serenity while also remaining diverse and unique. It’s sort of like the soundtrack to a monastery, if that monastery was in sunny Fresno, California. I won’t have much to say about Planet Asia as a rapper, because if you’ve heard the guy you pretty much will get what you expect; he operates in this spiritual advocacy of oneself, asserting his godhood while also demonstrating that the values and skills of the true hip-hop acolytes will never die. There are only two features on here, his Durag Dynasty brother-for-life Tristate and a younger cat who takes a lot of cues from Planet Asia in his own work, Supreme Cerebral, both of whom add some solid material to an overall solid album. I’m glad to get an album with a bit more content to dig my teeth into, and that it’s made up of solid beats and predictably heady lyrics from Asia means that I’m satisfied. Listen to this if you fuck with the old guard, guys like the Wu and their affiliates, especially guys like Masta Killa, GZA, and Killah Priest.

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Heem & DJ Green Lantern – Long Story Short

Investment: $11.00

Cover Artist: Trevor Lang

Green Lantern has done tapes with a lot of New York’s most promising talent, being there at the most impactful times during many artist’s careers. He’s been around since the early 2000’s, doing tapes with guys like D-Block’s Styles P and Jadakiss, Immortal Technique and Jim Jones, but it hasn’t been until recently that he’s gotten major recognition for his work with modern underground artists. Like most things in today’s underground hip-hop scene, it all started with Griselda, with Green Lantern striking while the iron was hot, putting together projects with all three members of the group: Hitler on Steroids, Reject on Steroids, and Butcher on Steroids are all quality tapes, but we’ve progressed into a time where Lantern is gonna have to start doing tapes with the affiliates, and, next to Rick Hyde, I think Heem was a solid choice. The man has an underdog feel to his raps, speaking on his struggles as an up-and-coming rapper/drug-dealer and the consequences of his actions; he’s not as direct in his wordplay as the rest of Griselda, being more of a rapper’s-rapper, but his vigor and drive really put him up in a different bracket than other people. The entire tape is produced by two people: Green Lantern himself and the late DJ Shay, coming with a spread of minimal sample-based boom-bap cuts, with a bit more of a soap-ish drama to them that sound more like Benny’s BSF sound than the normal Griselda darkness. As a debut project, I think Heem was set up pretty well, giving him a lot of room to grow as well as giving him a platform to make his case in an effective manner; the dude is definitely on my radar going forward, and I’ll be waiting for a real album from him.

Spotify/YouTube/Apple Music

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