VIDEO: Cam'ron (feat. Juelz Santana & Dame Dash) - "Dipshits"

Dipset makes a return in the latest video from Cam'ron, Juelz Santana, and Dame Dash. Cam'ron and A-Trak's new EP is scheduled to drop later this year.

VIDEO: Deltron 3030 - "Do You Remember"

Watch Deltron 3030's new video for "Do You Remember" off of their 2013 album "Event II", the follow-up to their classic self-titled debut released in 2000. Buy the CD version of "Event II" here and the iTunes version here.

SINGLE: Deniro Farrar - "Notice"

Listen to a cut from Deniro Farrar's upcoming project EP "Notice" which will be out on May 20th. Pre-order the project on iTunes here.

SINGLE: Meyhem Lauren & Buckwild (feat. Troy Ave & Retch) - "Street Hop"

Listen to Meyhem Lauren & Buckwild's new track from their upcoming album "Silk Pyramids" due May 27th.

SINGLE: Freddie Gibbs & The Worlds Freshest (feat. Sir Michael Rocks) - "I Wanna Do It"

Check out the latest drop from Freddie Gibbs and The Worlds Freshest's collaborative project "The Tonite Show" which is due for release on May 13th. You can preorder the CD here and the digital version here.

VIDEO: Big K.R.I.T. - "Mt. Olympus"

Big K.R.I.T. drops the video for his epic new single "Mt. Olympus", the first offering from his upcoming sophomore album "Cadillactica".
 

SINGLE: Jon Connor - "Take Off"

Having just been announced as one of XXL's 2014 Freshman, Aftermath signee Jon Connor releases a brand-new track.

REVIEW: Tech N9ne Collabos - "Strangeulation"

7.75/10

Coming off of the success of last year's critically-acclaimed "Something Else" LP, Tech N9ne releases the fifth entry in his Collabos series, "Strangeulation". While "Something Else" was an album filled with prominent guest features, Tech abstains from any outside collaborations this time around, making a bold statement by keeping it strictly Strange (aside from some guest vocalists) on "Strangeulation". The title itself refers to "the act of Strange Music artists collectively having the industry in a choke hold", and all of Strange's artists appear on the album at least once, while the production is entirely handled by Strange Music's in-house producer Seven.

The most compelling feature of this album is the much-anticipated Strange Music cyphers, something the fans have been requesting for years. Broken up into four parts spread across the album, the cyphers feature all of Strange's artists—minus Jay Rock, unfortunately—rapping over a new take on a beat Seven produced years ago, his first collaboration with Tech. Tech spits some humorous bars in response to fans' comparing him to dream collaborator Eminem, and then relates why he thinks a tour with Em might not be possible: "And when she compare me to Eminem I said "I'm different" / She said "How?", I said I'm black and I can say nigger bitch! / To him I may just be another bro with a flow / Will probably never tour cause it'll be thousands of Juggalos at a show / And I heard fatalities happen on each side so there's never no let it go".

Tech provides a proper introduction for newly signed Strange Music artist and underground Hip-Hop veteran MURS on "Hard (A Monster Made It)". The eerie organs heard during the intro and hook sound like they were borrowed from a Dracula movie. This is followed by the lead single, "Over It", in which Ryan Bradley belts out a rousing hook to complement Tech, in rare braggadocios form: "You got to know by now that I'm really unstoppable / Try now/ You'll be silly in a hospital / Lie down /Got the pilly in a lock & load / I'm takin' everything / Breakin' everything you'll spit / This ain't nothin' to me child's play /That's why I'm takin' over this bullshit". "Make Waves" is another Rock/Hip-Hop fused track that Tech can add to his rapidly expanding resume. Tyler Lyon, lead vocalist of metal band Evalyn Awake, sings the hook while Strange spitters Krizz Kaliko and Rittz provide some slick guest bars. Tech recently said in an interview that he wanted to take some of his artists out of their comfort zone on this album, and asking Rittz to jump on this track is a good example. Thankfully, Rittz performs very well, rapping with his usual rapid-fire flow but also harmonizing with the beat's guitars at the end of his verse.

Tech N9ne gets his thuggin' on in "Red Rags", a fitting title for this Blood gang anthem, which features all of Strange Music's Blood-affiliated artists: Big Scoob, Kutt Calhoun, and Jay Rock. The bouncy beat incorporates a vocal sample from his 2006 album "Everready: The Religion", and the bass is reminiscent to that of "Big Scoob", a track from his first Collabos album, "Misery Loves Kompany". One of the album's most personal tracks is the heartfelt "Fear", in which the daughter of Strange Music's CEO, Mackenize O'Guin provides chilling vocals on the hook. Tech raps about the pain of having to witness his mother's mental condition worsen to the point of her not being able to recognize him: "My heart it just fluttered when mama picked up she would utter / 'Who is this?' I said 'Donnie', but she thought I was another / Didn't even know me, and she's not an oldie / It's the lupus or epilepsy / Maybe the psychosis solely". He questions God's existence in his final verse: "Now my mom's worse and a lot ill / My fear is that this God I'm prayin' to for my mother is not real".

It wouldn't be a Tech N9ne album if there wasn't a track for the ladies. Stevie Stone and Rittz accompany Tech on "Na Na", a slow sexual track in which they show their appreciation for the females, marred by some corny lines ("My goodness, you're the reason for my woodness").  Tech describes his relapse into alcohol and drugs on "The Calling" (again featuring Tyler Lyon), a dismal track equipped with guitars and monk-like chanting: "And I'm back to the drinkin' / Soakin' wet every bottle's open / Can't believe it I'm occasionally smokin', again / With a deep and cloudy ocean, I'm in / Have a lot of trouble copin', my friend".

Tech N9ne is generally lyrically sharp throughout the majority of the album's seventeen tracks, however the abundant "shit" metaphors in "Stink" felt a bit... unnecessary, with awkward lines like: "But if I really gotta explain it, it ain't because I'm famous / The reason ya thinkin' that it's potpourri in the anus". Keep that in mind while considering the hook of "Hard" as well: "My shit is hard! Constipated / They wonder why it's so killa, cause a monster made it / My shit is hard! I'm the greatest / Look around, that's why everybody's congregated".

Another slight complaint is the lack of Jay Rock on the cypher and only one verse from Brotha Lynch Hung and Prozak. On any other album, On any other Tech N9ne album, the lack of Lynch and Zak verses wouldn't be so conspicuous, however, because"Strangeulation" features all other artists at least twice each, it's puzzling why those artists appear just once. Although, in an interview, Tech N9ne mentioned that he cut any verses he thought were not up to par, so perhaps that explains their lack of presence on this album. The album also felt like it was missing something else—Krizz Kaliko's wonderfully epic hooks. He only sung one hook on "Strangeulation" (as well as on "Something Else"), compared to the four to five hooks he used to sing per Tech N9ne album. ething Else"*), compared to the four to five hooks he used to sing per Tech N9ne album. The singers Tech chose to do the hooks on this album are certainly not bad, and the variety is welcome, however Krizz Kaliko's involvement has been an integral part of Tech N9ne's music (some people still think Tech N9ne is a band) since 2002.

Throughout the course of "Strangeulation", Tech N9ne maintains his "fuck the industry" attitude, with bold proclamations of Strange Music's dominance and celebrations of the label's independent spirit. "Strangeluation" should reassure longtime Strange fans that Tech is still loyal to his core listeners, hopefully eradicating the notion that he "sold out" after his collabs with Wiz Khalifa, B.o.B., and T-Pain last year. However, "Strangeulation" may also prove to be detrimental at this point in Tech's career. Tech's made it clear that he wants to continue his quest of global musical domination, and releasing a Collabos album with zero outside collaborators may halt the momentum "Something Else" sparked. On the other hand, let's hope that it helps the other artists on the roster rise in much-deserved popularity. Either way, Tech's core fan base will undoubtedly continue to support his movement and appreciate what he's accomplished thus far.

REVIEW: Kevin Gates - "By Any Means"

7.75/10

It's easy to understand how a Hip-Hop fan may take one glance at Kevin Gates and write him off as another generic "face tattoo trap rapper". However, doing so would be foolish—Gates is one of Hip-Hop's freshest talents and is literally on the verge of his major breakthrough. Gates is very intelligent, having scored a 31 on his ACT at age 16 from prison (where he also obtained a Bachelor's degree in Psychology), and is an avid reader. He possesses an uncanny songwriting ability, bridging the gap between more lyrics-based underground Hip-Hop and the catchiness of mainstream radio hits. Perhaps Gates himself described this best when he said he prefers the lyrics of the East Coast and the beats of the South. His lyrical delivery is also very unique, a skillful blend of singing and rapping that's unlike any other—at one point his voice may be no louder than a croak-like whisper, but then he effortlessly transitions into rousing singing. This allows Gates to very effectively convey moods and emotions in his music. He's also riding a wave of success, having released two critically-acclaimed mixtapes last year: "The Luca Brasi Story" and "Stranger Than Fiction". He followed those two releases up with his latest project, "By Any Means".

It begins with "Wish I Had It", in which Kevin Gates fantasizing about the success he could have enjoyed from a single he released last year ("Roaming Around"). He wonders why his label apparently wasn't feeling the track and apparently didn't push it to radio: "In the car while roaming around / All my thoughts been roaming around / Where I come from like a hole in the ground / Silly me still holdin' it down / Every car pass by with the music on loud while bumpin' Roaming Around / Tellin' me to make a hit but I really don't get why they walked on Roaming Around".

Gates prefers Southern production, so the beats will continue to primarily be trap. Fortunately, unlike other albums that follow one style of production, the beats on "By Any Means" do not become exhaustively repetitive within a few track—Gates has a very good ear for production and all of the beats set themselves apart. Two singles Gates released before the album follow one right after the other, "Don't Know" and "Amnesia" (featuring the late Doe B), and both sound like potential radio hits, however they still retain substance, such as the storytelling in Gates' verse on "Amnesia"—while it's hook is relatively simple and memorable (it will get stuck in your head), Gates uses his verse to recount an altercation with someone that resulted in murder.

Gates compares the events in his life to those in a movie on"Can't Make This Up", and seems to be in disbelief that he progressed this far already, as he sings the hook: " Started from the bottom with narcotics, what I'm selling / Who thought I woulda made it from a trap with no electric / Oooh, Migos work my wrist with cocaina / Made all of my haters all believers (I can't make this up". Despite his humility, he still warns his opposition not to fuck with him unless they want to "see him incarcerated" over the menacing synths of "Keep Fucking With Me", featuring Plies.

"Movie" is a heartwarming track in which Gates describes the birth of his son in detail. This track sharply contrasts the events described in "Posed To Be In Love", a song about a relationship gone awry that results in Gates and his girlfriend getting into an argument that escalates into physical violence. While somewhat off-putting, this is an example of his unflinching honesty, a quality that makes him so likable. The man has been through a lot and has seen a lot, but he never glorifies his wrongs, he simply makes it known to the listener—Gates has said that music (as well as tattoos) are his therapy, so what better way to vent?

He continues his unwavering honestly over the alarming keys of "Homicide", the perfect canvas over which Gates paints a dramatic tale that he delivers in growls, about avenging a friend's death: "Had to draw down, lay the law down for a month straight /  Ain't no sleepin', nigga beefin', this a month straight /  Band-aids on my fingertips, with gloves on I clutch chrome / Duct tape the bottom of my shoes, with the snub on / Up it, spray it to the pavement you a blood donor / Infrared, white shirt, red all the blood on it / Throw a bag of drugs on you, for the crime scene / Drug-related homicide, closed case, crime scene."

On one of the lighter tracks one the album, R&B crooner Rico Love sings the hook over the gentle horns of the slow-paced beat. "Go Hard" is dedicated to the ladies, and actually includes a fitting dripping sound effect in the instrumental. In "Stop Lyin'", Gates directs his verses towards a former friend who betrayed his trust, inviting them to own up to their bullshit to prevent themselves from looking foolish any further. His tone on this song is not so much angry, but more pragmatic.

There are few low points of the album. The last few tracks are less memorable than the rest of the songs, specifically "Again" and "Get Up On My Level", both songs' hooks are tinged with auto-tune and are not as strong or creative as the rest of the album (especially "Get Up On My Level's" repetitive, been there, done that hook).

"By Any Means" is a very strong body of work that should catapult Gates further into the limelight. He's literally one or two radio singles or high-profile guest appearances away from widespread mainstream recognition. He has the distinct advantage of being accessible to both casual Hip-Hop listeners and more critical fans, and his talent cannot be ignored much longer. 

NEWS: XXL Reveals Freshmen 2014 Cover

XXL has revealed the cover of their annual Freshmen cover. This year is the first year that twelve candidates have been chosen, and as the cover states, R&B artists are now included. Chance The Rapper, Rich Homie Quan, Isaiah Rashad, Ty Dolla $ign, Lil Durk, Kevin Gates, Troy Ave, Vic Mensa, Lil Bibby, Jon Connor, and August Alsina were staff picks while Jarren Benton was voted in by fans.

What do you think of their list? Do you agree with who made it, or do you feel like there are other candidates more deserving who should have made it?

REVIEW: Tech N9ne - "Something Else" Review

7.75/10

Tech N9ne has been on his independent grind for thirteen years, beginning when Tech and business partner Travis O'Guinn founded the Strange Music label in 2000. Since than, Tech has  said "the mainstream will go Tech" from the start, reassuring fans that he would never sell out but instead, the mainstream recognition would come to him. "Something Else" will be the album that will likely make his promise true. It's his most ambitious album yet, and features quite a few big names in music, across several genres (Wiz Khalifa, Game, Serj Tankian, Cee-Lo).

The album follows a timeline of events in which a meteor crashes into Tech's hometown of Kansas City. Thus, the album is subsequently broken up into three sections: Fire, Water and Earth, each representing different moods, which allows Tech to showcase his wide variety and offer something for everyone: dark and emotional tracks ("I'm Not A Saint"), reflective storytelling ("Meant to Happen"),  hyphy party bangers ("Dwamn"), radio-friendly songs ("See Me"),  and inspiring anthems ("Believe").

Tech sets the tone for the album with the first track, "Straight Out the Gate", featuring System of a Down's front man Serj Tankian on the hook, a band he's stated his admiration for several times before. The beat is strewn with guitar riffs and has a definite rock sound. Not surprising, considering Tech has been experimenting with rock since the early 2000s, and has recently been on a roll.  Tech enlists R&B hit-maker T-Pain to sing the bold hook of the bass-heavy trap banger "B.I.T.C.H." (Breaking Into Colored Houses), in which Tech once again addresses his alienation from the black community and promises to "break in" once and for all.

"So Dope" is a dark sex anthem highlighted by rapid fire lyricism from Tech and his four guests—Wrekonize, Twisted Insane, and Snow Tha Product. This is classic Tech N9ne, the double (or triple) time flow and the remarkable complex rhyme schemes. The alliteration Tech utilizes in his verse is nothing short of awesome: "Wanna sit beside a sick and seductive sinner, see /

Something so sinister seeking sookie somethin' like a centipede / Slitherin', she's searchin' for synergy / Suckin' my seed, chakra tease stickin sippin' Hennessy, shittin'..."

Tech raps about several tragedies that occurred in recent times on the Krizz Kaliko assisted "My Haiku - Burn the World", a serious, angered track that touches on the tragedies that occurred in the last few years, including the Batman movie theatre shooting, Boston Marathon bombing and a case of child molestation that occurred in Tech's hometown of Kansas City. The track that is bound to be Tech's biggest record of his career thus far is "Fragile", a song he was inspired to pen in response to a critique who claimed Tech was "gimmicky" in a review of one of Tech's shows. The hook is beautifully sung by fellow Strange Music signees Wrekonize and Bernbiz of MAYDAY (who also produced it) and features two great verses, one from Tech and the other from one of Hip-Hop's biggest stars, Kendrick Lamar, who absolutely slaughters the track. Tech spits: "It's real,  I'm mad / Clueless when you scribble on your pad / How you gonna criticize now with a chisel on your nads sizzling your ad /You don't really get why I'm so pissed? Understand this: I'm an artist, and I'm sensitive about my shit". Tech hits a huge personal milestone with "Strange Days 2013", the album's closing track that he was able to record with the remaining members of The Doors (featuring a Jim Morrison sample on the hook), the very band that inspired him to create Strange Music. The concept should make any longtime Tech fan very happy for him, however, while a fantastic concept, the song didn't quite live up to expectations—the Hip-Hop aspect of the track—the heavy bass and quick snares—sound out of place with the Rock instrumentation. 

It's no secret—Tech has always been known for his unique speed-rapping ability, intricate rhyme schemes, unique vocabulary and enunciation, and of course, his consistently solid lyrics. He's rarely one to spit a lazy line or resort to cheesy hash tag rap. However, on "Something Else", Tech's biggest weakness is lackluster lyrics on a select few songs. Lines like "Always looking for the pussy: CAT-scan" and "The ladies pop the monkey and drop the donkey" are out of place considering the rest of the album is quite strong in the lyrics department. 

As a whole, "Something Else" is a huge success for the N9na. Tech's enjoying the highest point of his career. He continues to release good music at an alarmingly fast rate, while at the same time expanding  his Strange Music roster, which includes signing and developing artists as well as building an entire recording studio and more warehouses to house merchandise. He's never received so much mainstream coverage until now, and he doesn't show any signs of slowing down. It goes up!

REVIEW: Propaganda - "Crimson Cord"

8.25/10

Los Angeles emcee Propaganda has released his fourth retail release, two years after his last album "Excellent".  He loosely follows a religious theme throughout his new album, "Crimson Cord", accomplished by means of relating his personal experiences and narratives interspersed with political and social commentary.

Propaganda begins the album with a spoken word introduction, "You Mock Me", in which he openly addresses the temptation and mockery of Satan. He sounds almost disgusted with what he is saying, speaking with a strong, unwavering voice. The raw emotion felt in his voice makes the track very powerful: "I tried to upgrade the way I speak and raise my daughter / But every time I open my mouth all I hear is my father / And that same foolish pride and pitfalls that he installed leak through my pores like poor me"

He uses the album's title track to speak on the suffering that children who have a parent in jail typically go through, and the effect it has on their mental health: "What it do to a boy's brain to see his father through glass walls / While Algebra homework less important than last calls / Collect calls come from up state / You eventually grow numb, it's a sad state". The track's instrumental is somber and eerie, with haunting background vocals heard during the chorus. On the uptempo "Daywalkers", guest artist Lecrae drops a great, energetic verse. The chemistry Crae and Propaganda showcase on this track make the listener hopeful for another collaboration between the two in the future.

Propaganda unleashes a spoken word critique of the public school system on "Bored of Education", speaking in a disdainful, almost snarling tone, he says: "Dear board of education, there's not a Scantron on the planet that can measure inspiration / This is what our teachers pass on that matters / But you'd rather them do a jig to the tune of an AYP score".  He admits almost having given up on Hip-Hop, his race, his country, and his city on the touching "I Ain't Give Up On You Yet", a solemn track with delicate keys in which he opens up on his past and relationships.  Prop reminisces about his life before the fame, and, seemingly in disbelief, he ponders how exactly he achieved this level of success over the synth-laden beat of "How Did We Get Here",  which also features JGivens and Andy Mineo, the latter of whom sings the song's hook. Prop concludes the album with an appreciative song that serves as a dedication to the people who helped him become the artist he is today with "Tell Me Yours". Near the end of the track, he asks the listener to share with him their own "crimson cords"—people that inspired them and pushed them to achieve success. 

With "Crimson Cord", Propaganda manages to deliver his religiously-backed message without becoming overly preachy. It's worth noting he also does not utter a single profanity on the entire record, making the album more accessible to a wider audience.  His conscious, positive lyrics, and genuine concern make "Crimson Cord" a refreshing, ultimately inspiring listen for people of any religious affiliation (or lack thereof).

REVIEW: Asher Roth - "RetroHash" Review

7.5/10

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Asher Roth has had a tumultuous experience in the Hip-Hop industry since he rose to mainstream prominence five years ago. Issues with major labels presented problems of their own, but perhaps even more detrimental to his career has been his reputation as a "frat-rapper", a label he earned after releasing his debut single "I Love College" in 2009. While the song remains his biggest commercial hit that helped him land a spot on the XXL Freshman cover that summer, it also turned away some listeners who were left with the misconception that his entire catalog consisted of similar juvenile, stereotypical "white rapper" songs. However, Roth's talent is not limited to boasting of his beer pong skills and chanting "Chug Freshman!" at frat parties. No, the truth remains that Asher Roth is actually capable of making music about more diverse and introspective subjects that most listeners can relate to, and his new record "RetroHash" is proof.

Although the core elements of Asher's style remains, "RetroHash" establishes a new sound in his music. Simply classifying the album as "Hip-Hop" doesn't really suffice; at the very least, it's some unique brand of Alternative Hip-Hop. The influence of California is very evident in the smooth, laid-back, sometimes hippy production, which is entirely handled by Blended Babies, and bears influences of several other genres, including blues, alternative rock and pop, among others. Singing plays a heavier role on "RetroHash" than it has on Roth's previous projects, an impressive skill he possesses in addition to his rhyming proficiency.

"RetroHash" begins with the reflective "Parties at the Disco", which also features vocals from songstress ZZ Ward. Asher opens his verse with a Wu-Tang reference, explaining how he copes when he feels disconnected with the world: "Cause the cash rules everything around / So, every now and then / Feeling like I'm out of town / Got a chill, sit down, remember how to be a child". Asher briefly switches back to a classic Hip-Hop sound up with the boom-bap sound of "Dude", a track in which he offers the listener a humorously candid glimpse of his life with full disclosure ("TED talks on my iPad / Old search says Bang Bros, my bad"). Fellow emcee Curren$y also drops a slick verse over the bouncy instrumental.

Asher's experimentation with other genres is best exemplified with "Tangerine Girl", a dreamy, upbeat disco-esque ode dedicated to a female Asher likes. The entire song is sung in hypnotic echoes until the final verse which Asher quickly raps. Syrupy guitar chords and horns adorn the mellow instrumental of "Fast Life"—perhaps the album's best track— which touches on the chaos and suffering people subject themselves in their daily lives by trying to live their lives too fast. Guest rapper Vic Mensa lends the track an excellent verse while Asher sings a beautiful hook and tells the story of a young girl whose lack of guidance and shoddy home life cause her to grow up at an accelerated pace--she sleeps with guys much older and eventually turns to using drugs and alcohol as her vices.

The somber mood lightens and becomes more hopeful with two Major Myjah collaborations. The first, "Last of the Flohicans", features an inspirational hook from Major Myjah and outstanding rapped verses from a very self-aware Asher:"Need a new beginning, let me start again / Let me start again this time without an awkward ending /I walk pretending my thoughts are never in this planet / But I abandoned them not long ago and left them stranded".

There aren't many missteps with "RetroHash". The only real grievance is the short length of the album, which clocks in at just over forty minutes across the span of ten tracks. And for some listeners, the multitude of different genres and alternative sound may be intimidating at first, but the level of originality Asher exhibits with this album outweighs any negative aspects of his decision to dabble further into other genres. 

Asher Roth certainly covers new ground with the album, from a musical standpoint as well as furthering the progression of his career. He's endured several years of delays and label issues, but Asher Roth has finally broken free from the shackles of the majors to release this album on his own terms, which must feel like a huge accomplishment, and deservedly so. "RetroHash" is an impeccable demonstration of Roth's creativity and ability to create self-described "fun music" that simultaneously reaches a deeper, more insightful level. While he may never reach the commercial success he once enjoyed, Roth's music is continuing to develop, and regardless of Billboard charts and record sales, it's a safe bet that Asher Roth will be around for a while as he continues to improve. His "College" days are over.