Drake: Nothing Was The Same

When a fresh faced, well to do Aubrey Graham (aka Drake) emerged on the hip hop scene it was a far cry from the rap personas we have been inundated with in recent times. When mirrored against some of the artists he has collaborated with such as Rick Ross, a drug mule who has no qualms in reiterating it, one could be forgiven for thinking there was no room in the business for a middle-classed, educated Drake whom rise to fame aside, would still live a more than comfortable existence.

Following on from his second album Take Care, Drake’s followup Nothing Was The Same has been described by music website Pitchfork.com as “the dawning of the Drake regime”. For those who prefer to employ reason in search of talent over the nothingness of an elaborate fanbase, this could not be further from the truth.

True, the album does open with the promise of greater things with a solid track in the form of Tuscan Leather. The loop accompanied by a high pitched hook is reminiscent of the late J Dilla. Opting against the often cop out rap chorus similar to MF Doom’s Madvilainy album and all couldn’t be going better one track in.

Sadly, a mere hare’s breath later on the second track, the hard work becomes null and void as we plummet into the core of the album’s problems with  Furthest Thing. It features the listless repetition of the lyrics “On the low…” accompanied by the various lubricious activities many rappers have become synonymous with. It is an irritant which transforms your pleasure from the first track into anger that will have you click with great vigour to track three, much to your own dismay.

As the grandiose title Started From The Bottom would suggest ( and which Drake will remind you of in no uncertain terms throughout the track) it depicts the rappers supposed rise from rags to riches, rags which I would remind you he never possessed!

Had this track the comic sarcasm of an Odd Future number then Drake may be forgiven, but the genuine severity with which he tries to convince you of his plight is downright laughable.

Credit should be given for the homage he pays to Shaolin’s finest the Wu Tang Clan in Wu Tang Forever. The 13th track Pound Cake also features a sample from the Wu’s infamous C.R.E.A.M anthem and spoils us with a few verses from Jay Z.

Halfway through the album and a glimmer of hope is revived on a track which has so far reached a staggering 22.6 million hits on Spotify. Again the beat of the clap drum is smooth and supported by the silken lyrics of Majid Jordan. The mellow harmony placates your anger at the album’s opening failures. It says a lot however, that this, arguably the best track on the album, doesn’t even feature Drake.

As you stumble laborious towards the finish line, it is good to see 2 Chainz back to spit a few bars on All Me. While he has enjoy mixed success on his solo projects, it seems that any track 2 Chainz collaborates on makes for happy listening. Once again however, the feature artist takes the spotlight to boost ratings this album is desperately struggling the fill.

Three albums later and whilst his popularity grows, it is hard to see where Drake’s talent lies. Production on the album is flawless and crisp. What it lacks however is innovation, as hooks and samples (notable tracks such as Pound Cake aside) fail to offer the listener anything new.

Drake seems to be suffering from the same problems he began with. Weak lyrics and displeasing repetition are wrapped among aforementioned tracks that allude to an impoverished past we know the rapper never possessed.

It will go down among the mainstream audience, and indeed the music conglomerate, as a success story. Drake is however, in the opinion of this writer, an artist of limited talent who is inexplicably drifting further into the higher echelons of hip hop.

RATING: 6.1

Bee Mick See - Hey Girl

For our interview with the Belfast rapper, check out: http://www.oxygen.ie/bee_mick_see_n_ireland_s_answer_to_the_rubberbandits.PAGE6613.html

Artists Set To Boycott Florida

In the latest fallout of the Trayvon Martin case in Florida, a number of high- profile artists have declared they will be boycotting the state as a result of the recent verdict.

Two weeks ago George Zimmerman was found not guilty of second degree murder and manslaughter following the death of 17 year old high school student Trayvon Martin in February of 2012.

The verdict has seen widespread protests in Florida and now, in the latest twist, dozens of artists have said they will boycott the state in aid of the fight against Florida's Stand Your Ground Law.

Stevie Wonder was the first of the artists to declare the news and sources close to him have said they hold in their possession a list of top artists who have agreed to support the initiative. The most high profiled among the list are said to include Kanye West, Rihanna and Alicia Keys.

While the list has spread it's way through the internet, rumors sparked that Jay-Z was also set to join the boycott. His planned stop at Florida on the "Legends of Summer" tour with Justin Timberlake however, is said to go ahead as planned for the 16th August.

The full list can be seen here:

Mary Mary
Eddie Levert
Rod Stewart
Madonna
Usher
Pattie Labelle
Kanye West
Mary J
Trey Songz
Jay Z
Rolling Stones
Justin Timberlake
R. Kelly
Rihanna
Alicia Keys
Joe
Will I AM
Keyshia Cole
Young Jeezy
Erykah Badu
Wale
Frankie Beverly
Parliament

Like Fine Wine

Oscar Wilde's infamous tyrant Lord Henry Wotten once described youth as "the only thing worth having in life". Couple that with an early maturity 17 year old rapper Riley has brought to his latest drop Sermons and you arrive at an entity which quickly eclipses Wilde's liberal ideology.

I once associated Cambridgshire (Riley's hometown) with a collective body of the "Cucumber sandwich brigade". That ignorant opinion (devoid of everything bar a basic knowledge of the areas rough geographical location) performed the proverbial flip-flop, when five months ago Riley sent me his debut release Hit It Off.

The song sampled some classic hip hop tracks such as Big L's MVP, forming a solid bedrock for a track saturated with lyrical prowess. He brought all the vibrancy a healthy youthful obsession with hip hop gives you, yet had the credentials in his songwriting to do it justice.

The eagerly anticipated release of his second drop by his some 4,000 followers on twitter has not held them waiting in vain. The track is the first to be mixed in a series of upcoming releases that Riley is planning for the summer.

When speaking of his debut release, Riley mentioned that key to his approach was never straying from the person he has always been. This is always great in theory, yet it must be admired that he has brought the practical implementation of his philosophy with him on the second drop.

While Sermons encompasses a rugged nature lyrics like My deprivation's run asunder evoke, a certain refinement in his tone this time around will surely send the track to imminent success. 

His ability to change tempo and alter the theme of the track in quick succession grasps at a maturity that will only improve with age (though I do not mean to put years on him already). 

The U.K grime scene, renowned for it's veracious (and not necessarily successful) nature, could take note of the uniquely mellow flow the beat for Sermons, produced by Vesta J, adds to Riley's astute lyrics. It conjures a certain Reggae vibe the likes of which Grime music has never seen before and may prove to be the unique selling point for Riley in the advancement of his career.

With such a sloven beat, the connoisseurs of rap would immediately flag concerns over it's juxtaposition with the velocity at which Grime rappers spit their bars. In reality it works quite well. Riley seems to possess the favourable quality of knowing when to slow things down or speed the lyrics up. 

It is true that the U.K underground continues to strive, however the commercial scene seems to be a carriage dragged by a dead horse. With that in mind, perhaps it is time the "High Rollerz" paid heed towards the fresh approach artists such as Riley are giving to a hip hop scene slowly slumping into oblivion. 

It does seem that he is destined to become better with age. The level of diversity between the initial Hit It Off and Sermons will vouch for this. An endless amount of possibilities lie waiting in the wings and with youth on his side, he is in perfect position to throw his name amongst the weightier reputations. It is with bated breath that most fans will await further releases this summer, hopefully allowing us a further insight into this talented rapper.

Don't let your procrastination get the better of you, check out the track for yourself right here: https://soundcloud.com/rileyatriley/riley-sermons-from-pt-1

GROUP FOR A WEEK: EPMD

There is no better "fresh discovery" to begin your week with than the tasteless irony of a group that have been around longer than most of our neo-philistine hip hop fan's lives.

The monotone sounds of classic hip hop became the voluptuous ingredient by which the original duo known as EPMD based their whole career around. It was a time when the instrumental side of rap had no airs or graces about it, allowing for the individual talent of a group's members to take full effect.

 EPMD joined an entourage of emerging hip hop artists such as Redman (whom they frequently collaborated with) in the late 80's early 90's that began the transition from safe hip hop to underground, explicit rap that would flourish and grow throughout the latter years of the decade.


 Founding members Erick Sermon and Parrish Smith made their presence known immediately with the release of their bold debut album entitled Strictly Business. The track of the same name off the album became their first big hit, drawing on a never before heard poetic harmony, with similes and metaphors amalgamated within lyrics.

They became one of the first groups to openly discuss gang life and it's close association with narcotics, something which for maestros such as Run Dmc was very much the ghost at the feast. The group came back again in 1991 with Unfinished Business. Chic white sneakers, gold chains and fashionable sports cars were displayed on an album cover no less lubricious than any Snoop Dogg track.
Nevertheless the album dispelled any ideas of the group suffering the turmoil of "second album syndrome". If anything the album went over much better than their debut drop, with notable tracks including Get The Bozack, Please Listen to my Demo and So What Ya Sayin'. Evidence of the albums success and more notably the group's rapid rise to fame was clear as a priest's conscience when their third and most accessible album became laced with collaborations.

In the golden year of '99, artists including Method Man, Redman and Busta Rhymes rushed to become apart of the veracious rap album Out of Business . All that made EPMD famous historically was laid bare from the Intro track to the close of Jane 6. The album also brought the best out of it's collaborating artists, in particular Symphony 2000 feat Redman, who replaced his usual colloquial attempts at cheap thrills for the more intellectual approach we all know him to be capable of. In a year synonymous with the fastidious production of a certain Operation: Doomsday album, Out of Business kept true to form with simplistic beats that allow the listener to explore the rugged lyrics with the attention they deserve.

It was very much the "sit up and listen" attitude that held EPMD in such high regard. They brought a unique realism that rap was lacking at the time or had not seen since the early days of Public Enemy or GrandMaster Flash. In many ways it was that very realism that justifies their position amongst such high echelons of hip hop.

90's Hip Hop in Full Effect

The Best Flex You Never Had

Far from the hegemonic culture of a nation lies a diverse blend of artists that many will never hear unless it is in this case brought to their attention.

What has always made rap unique is it's ability to resonate with anyone regardless of the language. So let autonomy guide us, taking these pristine examples as the necessary building blocks with which to broaden our horizons.

PEZET- (POLAND)

From the heart of a country no less than a decade into it's liberation from Communism came a hip hop artist deeply embroiled with a message of just how tough life in Eastern Europe can be.
That said, Pezet quickly became the success story of the late 90's. In a country renowned for employing it's passion ( one need only look towards historical figures such as Pilsudski or the powerful patriotism of the nation's anthem Mazurek Dąbrowskiego)  came a breeding ground for a new, slightly unorthodox style of hip hop.

Pezet was never the pin up, poster boy rapper. Skinny, white and sporting some draconian styled bifocals, he never had much to work with from the beginning. This only served to benefit him; a lack of image placed all the emphasis on talent (or moreover whether or not he possessed any). The jury was certainly out from the get go, particularly when you bear in mind that the country itself did not have much of a rap scene to speak of at the time.

Three albums in a '98 collaboration with fellow MC Onar and two in 2002 with producer Noon were all it took to successfully quell the reproaches of the most conservative of critics. 
In 2004, his album Muzyka Poważna, produced by Noon, finally warranted  him great aplomb  as a solo artist. It was this album that featured one of Pezet's best known songs, Nie Jestem Dawno. It details a life of destitution and parallels it (with articulate detail) to a feeling of death, which the title suggests,  or more importantly the comfort death may possess over the rapper's life. It was this heart-felt honesty that would define Pezet.

Though in recent years his work has moved more towards the material aspects of rap, the evidence of which can be found in tracks such as Supergirl, his importance for both a country and genre must not be underestimated. In a way his music helped to loosen the shackles of a country synonymous with oppression. Rap during the golden years of Pezet's career in Poland grew to insatiable heights. 

It permitted the success of Polish rappers such as Lukasyno, although him and others like him will always play second fiddle to the originality Pezet brought to his music, evidence of which can be seen in how most of the beats in Polish hip hop tracks today seem to sound the same ( and absurdly Arabian, if you disagree simply click here  https://www.youtube.com/watch?v=jz5pW9dMGB8 ). Pezet was fortunate enough to have worked with some great producers, who served as the extra ingredient to an already talented rapper.

Check out Nie Jestem Dawno here: https://www.youtube.com/watch?v=hYpxnEIu1aY

DOWN LOW- (GERMANY)

The group, who came to fruition in the mid 90's, based themselves in Kaiserslautern and are credited as being the first rap group to bring a European style to the rap scene. 

Listening to their tracks will bring to mind a young Coolio as the beats blend a mixture of a customary snare kick with the disco dance music that became popular during the decade in Europe.

Founding members Darren Tucker and Joe Thompson began work on a number of singles during the years '95 and '96.

While their first drop Don't Look Any further received about as much attention as a Catholic priest's sermon, the second entitled Vision of Life grabbed the masses in a vice grip that has failed to loosen as time passes us by. Shortly after in 1997, the group produced their first and most significant album Visions.

What made the album so appealing was the broad range of issues it attempted to tackle, such as the track Murder which parodied the calamity that was the O.J Simpson murder trial to a comic on-stage soliloquy.

Group member Tucker's place is occupied these days by Mike Dalien as they continue to work with emerging artists such as C- Blok and Nana from K-Studio in Kaiserslautern.

Endemic of the group is the benevolence in their work. In '98 they began the Rapper Against Racism campaign, which aimed to tackle the still prevalent issue of racism in Germany. 

The group have taken many breaks from the rap scene over their illustrious carrer yet always seem to return to do what they know best. 

The release of a 2006 album Return of the Trendsetter  pricked the ears of nostalgic fans. Rather than getting with the times, as many infamous 90's rappers tend to do, the group stuck to what made them big in the first place. Each track was laced with the aforementioned "Europeanisation" attributed to the group and much credit must be given for their utter refusal to change who they are.

The influence they had on rap worldwide continues to go unnoticed, although that only serves as a perfect depiction of the modesty encompassed in European hip hop. 

To experience the talent of Get Low check out the track Murder right here: http://www.youtube.com/watch?v=0BjKepsu-rQ

IMMORTAL CRITIQUE ALSO RECOMMENDS:

Keny Arkana- France  http://www.youtube.com/watch?v=r1Co1mfz23U 

X-Plastaz- Tanzania http://www.youtube.com/watch?v=UiIa2i29PZ4

TETE A TETE: Jeru Tha Damaja vs MF Doom

Both men became the quint essential purchase in any record store during the rapid growth of hip hop in the 90's. Amongst the staunch levels of cadence flaunting MC's who popped out of every crack in the urban areas of California and New York, Jeru Tha Damaja and MF Doom made their mark by distancing themselves from all the ubiquity.

Suffice to say that aside from the glowing sensualism each one of their tracks will evoke in you, both men possessed different attributes, which will now do battle as we try to decipher which one of these hip hop Goliaths has the greater credentials.

JERU THA DAMAJA

He once made the grandeous claim that he was "the saviour of hip hop". Two decades have past since that proclamation and it would be hard to form a rebuttal against it. 

Jeru first came into the spotlight during a snippet of the track I'm the man off the album Daily Operation by  fellow striving artists Gang Starr in 1992. His moment of fame came when he was signed to Payday Records and released both his debut album The Sun Rises in the East and Wrath of the Math with them in '94 and '96 respectively.

He enjoyed early success on both ( even when he was reprimanded for stereotyping women in the song Da Bitchez off his debut drop) however people really began to pay attention upon the release of the '99 album Heroz4Hire. It was here that Jeru would gain the prevalence that will keep him infinitely at the top echelons of hip hop.

The experimental production on the album created a melancholic feeling in every track. The real success story of the album was the song that would eventually define Jeru amongst the broader catchment area of phlegmatic rap fans. 99.9 percent and the success it enjoyed could hardly have been expected considering it was placed as the last track on the album. Nevertheless it encompassed all that has made Jeru the iconic figure he is, a lyricists with the ability to hold the most fastidious of critics.

His success has continued (somewhat) in recent years with the album Still Rising, an album title that says all you need to know about the man. There have never been any attempts at pretentious songwriting or a false sense of intellect with Jeru. He was (and still is) simply a man who began to talk about what his day to day life entailed and enjoyed the success that this combined with a melodic voice brings.

He was perhaps a victim of his own circumstances; he came on the scene at a time when Brooklyn and the East coast was engrossed in nothing but B.I.G. Nonetheless respect must always be payed to Jeru who will be highly regarded for his illustrious career, both on solo projects and with other big names in the business at the time.

MF DOOM

Born Daniel Dumile yet forever known as the masked hero of hip hop; MF Doom. His career will probably be better known for collaboration work on such album's as the transcendent Madvillainy (2004) with meticulous MC Madlib. The album contained the track All Caps, instantly recognisable for it's nostalgic beat that will take you back to the sun-filled days of your youth. Other tracks off the album, including Accordian and Raid became instant hits for the Madvillain collaboration and has them held in high esteem as potentially the best collaboration in hip hop.

That is not to say that MF Doom has not enjoyed a fruitful solo career. His two CD album Doomsday shall always be the first thing that roles off a persons tongue when you mention him, regardless of the success Madvillain enjoyed.

Operation: Doomsday unleashed the man under the mask, or more importantly the mind under the mask. Whereas Madvillainy gave a 50/50 split of talents on display to both producer and rapper, the simple beats off OD allows the voice of a lyrically maverick to take it's full effect. The album established him as one of the fastest bar-spitters at the time.

The themes tackled range from misery in the ghetto to a struggle with adolescent alienation similar to writer James Joyce's Potrait of an Artist as a Young Man. Probably one of the lesser known tracks off the album is The Finest. Anyone who wants to experience the full portrayal of MF's talent culminated in a single track should proceed immediately here. His ideals are timeless, every generation of rap fan (be they old or young) seem to discover MF.

The nostalgic rap fan will appreciate the harmony of early 90's rap beats featured on the album, including the  blissful sound of record scratching on the decks. 

Another interesting fact about MF that may tickle the fancy of general knowledge enthusiasts is that he was born in England and moved to America during the early years of his childhood. It didn't take long for him to fit amongst the culture rising around him.

THE VERDICT

I would say that if you took the early careers of both men, a clear advantage would have to be given to Jeru for how much quicker he came onto the scene with his solo albums (bear in mind both men are the same age). Before MF had released Operation: Doomsday in '99, Jeru had already made an impression with three albums including his '99 Heroz4Hire.

However the belated success of Doom was something that began a catatonic revolution in rap and was the primary reason why he enjoyed so much success on collaborations. He became a commodity everyone wanted to identify with.

MF Doom also seems to enjoy greater success in the present, whereas Jeru has somewhat been entered into the history books (that is not to take away from the prowess of his career). 

MF Doom's Madvillainy also gives him a 2-1 advantage over Jeru when it comes to iconic albums of hip hop.

IMMORTAL CRITIQUES RESULT: MF DOOM WINS

THANK F**K IT'S FRIDAY: 3RD EDITION

COSTELLO & G.I- MARYJANE

An album to give the U.S a run for their money

WorkinClass Records are back once again with two of it's biggest commodities G.I and Costello and their latest album Maryjane.

There is nothing left to imagination as one delves into this labyrinth of Dublin's urban Intelligista. 

Production quality, possibly the only thing Workinclass did fall short on in the past, has come along sevenfold in this album. The instrumentals off some tracks (most notably Smack Haze and Ghostwritin) alone make for blissful listening and could easily be sampled for future drops by emerging Irish artist. 

With four solo projects between them, the restless work of both men on this collaboration has shown no cracks under pressure. They omit an encyclopedia of knowledge regarding Dublin's deprived communities, with the poetic harmony to escalate the resonance. Its not often that music makes you sit up and truly pay attention, however listening to the track Chill D Fuck Out will leave you speechless and wondering whether you know what "having problems" really means. It only serves as another example of  WorkinClass member's emphatic ability to turn negative lifestyles into positive end products. 

Literature does not over cook the praise that must be given to this album. Both Costello and G.I's lyrics have the distortion of an Easton Ellis and the heart felt passion of a Dostoevsky or Mickiewicz. It also evokes the sense of a collection of short stories, similar to Joyce's Dubliners, as each track tackles a different issue brought about through life experiences. Point of View (which also features Willa Lee) must be commended not only for the broad use of relevant vocabulary but also the duo's astute knowledge of intricate rhyme patterns.

They have brought back to mind the golden years of the mid 90's rap in Harlem with this album. Praise 2 Da Jungle has the same noir beat and fluent bars than anything off Big L's Lifestylez of Da Poor And Dangerous. It all culminates in a powerful portrayal of a sinister culture the rest of us would rather forget. Credit must be given once again for the extra emphasis that the album has placed on production. 

Lunatic- 1984-2009

Further tribute is payed to the deceased WorkinClass member Lunatic on the third track Put Your L's Up, which is laced with passion for a beloved friend of the duo who will never be forgotten in their eyes. Furthermore a lot of the messages Lunatic carried in his own work has rubbed off on both Costello and G.I who continue the ideals of Irish heritage and it's importance. 

So for anyone brazen enough to still regard the prodigies of Irish rap as reprobates with too much time on their hands, now is the time to sit in silent shame over MaryJane's pre-determined success. If this high level can be maintained going into the future, it is no over-reaction to expect our Emerald Isle to finally have credible representatives to contend on the continental market of rap.

IMMORTAL CRITIQUES TOP 3 TRACKS

1. Smack Haze
2. Born 2 Represent
3. Praise 2 Da Jungle

Check out the full album @ http://workinclassrecords.com/

Give Men The Mic

It is akin to the ever growing male presence on the fashion scene but in recent years nothing has served as a greater emasculating entity than the rapid escalation of a repugnant female rap base.

I will be the first to vouch for the now classicism that artists such as Lil Kim, Missy Elliot and the talents they brought to hip hop, however these days a lavish serving of genital exposure with a side order of simplistic songwriting that will take you back to your 4th class poetry club have marred these ladies' work.

When talent turns to taciturn tracks filled with erotic symbolism that would put redtube to shame, it is time to hand these ladies their jacket from off the rack and send them in search of employment worthy of their meagre capacity.

A fact that goes without saying is that most, having read this, will already have conjured an encyclopedia of such artists but two stick out like a fly in the soup of this cesspool of talentless damsels. See if our trail of thought crosses paths:

IGGY AZALEA

There are three things I have learned from Iggy Azalea which I shall forever be indebted to her for:

1- Iggy Pop and Azalea flowers, two colossal forces in their own particular field, NEVER the twain should meet!

2- Her second album Million Dollar Misfits discusses the hardships of success. As worldwide issues go, it's almost up there with all the people who died during the 90's in Yugoslavia. We feel for you Iggy.

3- Attempts at bourgeoise dressing (such as the elegant black ensemble she sported at this years Brit Awards) don't cover up the tramp within. 

Please give up the day job Iggy. Tesco are opening a new hypermarket in the greater Dublin area, if you hop on the next Ryanair flight I may just put in a good word for you. 

M.I.A

She will always be a poor man's Beyonce and she has the credentials to prove it. It would be much appreciated if people didn't retort with a measly argument for her with the only hit she ever had, Paperplanes, as the cons far outweigh the pros.

 It really comes home regarding M.I.A when in 2008 she promoted the release of her album Kala during a concert tour entitled The People vs Money Tour. Don't ever try to relate to the little guy again M.I.A. Your botched attempts at a normal life are made all the more laughable by the net 3.5 million you have made off the idiocy of your songwriting.

It is true that in many cases, a female rapper has come from the same traumatic upbringing as most of the iconic male rappers we revel at today. The difference lies in the emphasis both place on what will eventually determine their career. 

So the next time you hear Tupac's awe-inspiring lyrics from If I die Tonight, played against Fergie's "My humps, my lovely lady lumps", please think twice about defining this article as chauvinistic dribble.

Flav of The Month: Public Enemy

In 1982 a pragmatic use for hip-hop came forward with the capacity to overwhelm all the sceptics. It took the form of iconic figures Public Enemy, who in two days time begin an extensive tour of Europe in Dublin's Button Factory
Today,  the ideals that made Public Enemy so endearing back in the 80's may seem to a modern listener rather draconian. The importance placed on producing a record without a single blemish, not to mention extrinsic motivation, has made fundamental motives of 80's rap take a back seat.
Nevertheless, homage is appropriately due to one of the groups that made modern day success possible and for anyone who regards the old class of rap as a menagerie of emasculated artists, here are five things that make your attendance at a Public Enemy gig essential:

1. FLAVOR FLAV

Love or hate his recent dabble into the world of reality television, once witnessed it is hard to take your eyes off him. With ensembles that range from a clock necklace to trousers suitable for MC Hammer's hot air balloon, he will undoubtedly be the main attraction in two days time when Public Enemy take to the stage in Dublin.

His low brow efforts of obtaining a giggle with colloquial catchphrases that have become synonymous with Flav's fans, shall ring forth in every track amidst the powerful voice of front man Chuck D. Not exactly where the talent lies but he does possess an uncanning ability to set a lively ambiance once on stage.

2. BLACK POWER

With all the passion of a Martin Luther King Jr. speech, the vocals of Chuck D seem always to carry a deeper, political message. Tracks such as Fight The Power are charged with criticism aimed at the plight of the African-American community. 

Any semiotician will regard the imagery of Malcolm X throughout the group's videos as childs play when it comes to deciphering their motives. The level of adrenaline it drums up on stage is sure to have something of a domino effect to the most sloven of crowds this summer.

3. NO P.E = NO FUTURE

The band first started out under the name Spectrum City. Under this early alias they released an E.P for Check Out The Radio which also featured Lies. It is said that the aforementioned emphasis on social injustice within the songs became the focal point for aspiring rap groups such as Run Dmc and The Beastie Boys.

The Profiteers of Inspiration 

The very name of the group came from an early track laid down by Chuck D on the American radio station WBAU. It derived from Chuck's belief that his talents were being opressed due to an unjustified reputation he had amongst his community; young, talented and black in 1982, what could possibly be difficult about that?

It doesn't take long to conjure up an artist (be they old or new) who has turned the same pent up anger at societies' intolerance into poetry, yet all credit must go to Chuck D for setting the standard.

                                                                                                                                           

4. D IS FOR DANGEROUS (AND DIVERSE)

It would be a brave individual who would doubt the credentials of Public Enemy. The beats ( from the original Terminator X to the newest recruit Dj Lord) are as experimental as Kraftwerk in their prime and as enjoyable as Dre's Chronic 95 album. 

The fluctuation of velocity in Chuck D's deep vocals never loses it's importance which carries the lyrics beyond that of a simple political statement. It is no wonder then that the group were voted number 44 on Rolling Stone Magazine's list of "Immortals: 100 Greatest Artists of All Time."

5. NO VIAGRA NECESSARY

The older these Goliath's of hip-hop get the more energy they seem to bring to the stage. One thing you can be sure never to leave a Public Enemy gig with is a dry t-shirt, as each track will have the crowd swaying in a cesspool of perspiration!

Their relentless determination to constantly better themselves in the eyes of their fans is the driving motive Chuck D started with back in 1982, when in an interview he said: "I'd rather have a hundred thousand or a million people saying I'm nuts and I'm crazy for my musical choices and what I've said lyrically, than a million people all raising their hand on the first day."

They have never lacked enthusiasm for gracing a stage, regardless of where in the world it may take them. A ticket to Public Enemy this summer will go a long way towards rekindling an insatiable lust for life.

Tyler's Turn For The Worst

WOLF- TYLER THE CREATOR

It was with bated breath and eager anticipation that we all awaited the latest sample of Odd Future's most recognisable member.

Tyler's 3rd solo album finally graced us with it's presence today and sadly all we were treated to was an album no less annoying than an untimely erection!

With a cult empire now built around the man and an entourage of loyal fans one could be forgiven for high expectations leading up to the album's release.

Wolf seems to finally be the straw that broke the camel's back with regards to the worn out novelty of hilarity that made Tyler the Creator so enticing when he first exploded on the scene. Not only has the prowess of his lyrics dropped significantly in the album but the beats seem like a regurgitation of the usual Odd Future rhetoric.

Track after track, a sense of irritation (most notably on the tracks Jamba and Trashwang) grows to an echelon higher than the rapper's ego. A snippet of the album was given with the release of the track Domo 23 last month and perhaps should have been taken as a warning of the desecration to come. 

None of the tracks warrant more than a minutes listening, which is a far cry from the power previous hits such as She feat. Frank Ocean had in holding it's listeners.

Frank features once again on track seven, Slater, which shows flickers of the younger, more talented Tyler. Perhaps it is just a case of an artist being found out but this album displays too many of the rudimentary errors a rapper of such prior caliber should always strive to avoid. 

One saving grace for anyone who still wishes to check the album out for themselves may be TreeHome95 featuring the sensual voice of Coco Owino and as little of Tyler as possible (which by this the 16th track is a welcome relief).

Lazy songwriting, bland beats and a distinct feeling of unjustified vainglory can all be attributed to Wolf which culminates in a rushed production that has been a year in the making.

Costello Gets Irish Rap In Gear

There is nothing ambiguous when it comes to the end product Dublin based rapper Costello hopes to achieve with his magnanimous efforts in both his personal career and his new WorkinClass apprentice project.

Growing up under a youth blighted amongst the harsh urban areas of Dublin, Costello turned his frustration into creation when he began rapping at the age of 15. He first began imitating an American accent in his lyrics (no doubt inspired by influences such as Nas and Tupac) however as the message of originality began to dawn on the WorkinClass label he quickly averted back to fundamentals, spitting in the poetic harmony of his Dublin voice.

Now firmly established on our underwhelming Irish rap scene with his phenomenal album Illosophical, he has begun to focus his attention on the fine tuning of young up and coming rappers.

Speaking with the head of WorkinClassRecords, Dean Scurry, he admitted that most Irish rappers who show a glimmer of talent often head to London to seek the opportunities sadly denied of them here.

It became apparent as to why when Dean told me"it seems you can do there in one year what it could take 10 years here to achieve."

The reality, whilst grim, makes the work of those such as Costello all the more important. Dean did mention one particular advantage unique to Irish rap is that we possess "the privilege to explore new ground and develop our own unique sound and approach."

So far Costello has brought this philosophy to a number of collaborations with younger artist, most notably G.I, whose charismatic album Underworld I mentioned in last weeks post. 

One track anyone sincere in our countries rap prosperity should look out for, is Costello's Young Apprentice ft. G.I.

The track boasts great credentials for both teacher and mentor (if it is appropriate to refer to Costello and G.I as that) and would prick the ear of many a producer interested in what I consider a niche market in music.

There seems to be an element of 'the calm before the storm' when people mention Irish hip hop and if Costello and others like him continue their work in the field, it's only a matter of time before it erupts pleasantly in our nation's face!

Check out the track "Young Apprentice" here: http://www.youtube.com/watch?feature=player_embedded&v=URRx1dfmyz4

GI: UNDERWORLD

An album cover reminiscent of Faust's Walpurgis Night with tracks that reciprocate the knowledge of the German writer.  

In 2004 a small production company named WorkinClassRecords established itself in the heart of Ballymun, Co Dublin becoming the catalyst for a never before whispered idea- Irish rap.
Since then it has raised the soul of a desecrated genre from the abyss and the latest product of that growth comes from one of it's youngest members, GI with his new album Underworld.

One can best describe the album as a portrayal of the futility of life spent sandwiched between drug abuse and social turmoil. There is a level of truth which GI is able to get across when he begins to spit his lyrics and he does not lack any credentials with mic.
The beats, while they lay a good bed for each track, play second fiddle to the lyrics and can often seem drowned out. It may be a blessing in disguise, as with the album you get the sense that it is all about the man behind the voice and the story he has to tell.

The unique sound of gritty Irish rap vocals flourishes throughout the album and may well give our nation the foundations for a reputation on the global scene. Far from bearing any similarity to the U.K grime scene across the sea, it does bring "that something different" which the likes of Mike Skinner provided for British rap in the early 00's

Tracks such as Don, Frozen Ponds and Soul Searchin' (which features WorkinClass member Costello) are laced with articulation and street knowledge that Dre could tip his hat to. The poetic rythmn and creativity GI displays takes the album to soaring heights, and any hope you or me had of becoming successful rappers to an emasculating low!

Underworld is refreshing as well as relieving (for all of us worried we live in a country devoid of a proper rap scene) and GI himself has a voice and the knowledge that should be the envy of many a weightier reputation.

Midweek Bangers

JOEY BADA$$- KILLUMINATI 
A modest three minute track. The somewhat fairy tale melody at the intro will take you back to the safe haven of your mother's womb.
It was the hit track off Joey's 1999 album and anyone with extra time on their hands over the weekend are strongly recommended to give it a listen. It should prove a welcome break from an omnibus of facebook "trolling".
http://www.youtube.com/watch?v=FyxztsBuZLA





LORD FINESSE- CHECK THE METHOD
A man renowned for his collaborations but equally as impressive as a stand alone artist.
 Some of the lyrics off this track feature in Big L's Da Graveyard but the beat on the original does more justice for the edification of Lord Finesse as one of the top East Coast MC's.
http://www.youtube.com/watch?v=bH8HDOK0DHI


BIG PUN- I AINT A PLAYER

Arguably the best example for any case in favor of Pun's diversity within his own particular utopia of rap. Taken from his meticulous Capital Punishment, the track contains the highly veracious speed of lyrics the Peurto Rican became famous for. Of particular interest within the track is the sub-laying sample extracted from the O'Jay's song Darlin' Darlin' Baby.
http://www.youtube.com/watch?v=uHhIlBpKqIQ






THE STREETS- HAS IT COME TO THIS?
Mike Skinner and his menagerie will be back during this year's festival season, with performances already confirmed for Glastonbury and Leeds/Reading. Anyone who is anyone on the U.K grime scene has heard of Skinner's Original Pirate Material, one of the great catalysts in Britain during the early 00's of rap.
This track epitomizes the Two-step genre at it's peak.
http://www.youtube.com/watch?v=2m8qJbEY6lo






DIZZIE RASCAL- STOP DAT

Many are quick to dismiss Dizzy's Boy in Da Corner as his prestige continues to grow with no signs of slowing down.
In 2011 at the Leeds festival he opened with this and it sent the crowd into an riotous state of euphoria. Never forget the Boy behind the man, this song shows Dizzy at his rawest and was what what made many fall in love with his music.
http://www.youtube.com/watch?v=XsW031v_l4Q