As much as I love my folkers over at Up Above, this 12" by their artist, 3rd Degree, didn't do much for me. Dropping a faster tempo rhyme scheme that sounds dervitative of at least three other MCs that come to mind, 3rd Degree doesn't make much of an impression from the get. Sure, it's named "Hi Energy", but the overall rhyme/track synergy is more like low wattage. "What Could Happen" is a little better and it's a touch easier to get with 3rd Degree's wordy style, but he's got "underground indie MC" written all over him and doesn't go any further to actualize himself as a unique individual. "Conversation Piece" does nothing to change that opinion.

Part of a huge wave of 12"s coming from Landspeed, the Aboriginals slide in with a memorable new 12". "Number Theory" isn't a sequel to either Organized's "Numbers" or Mos Def's "Mathematics", in fact it's not too clear what "Number Theory" refers to. In any case, Shawn J. Period returns from the netherworld to drop one of his nicest tracks in a while - over-modulated electronics and video game bleeps keep the music interesting. Verbally, the Aboriginals try to style by rhyming the same sound on each line (think "Vowel Movement"). The effect comes off fairly well but I got two critiques: 1) O to the B SE to SS sounds a lot like the M to the O SDE to the F. 2) Rhymes about SAT scores - no matter how topically consistent - just don't work. That being said, the Abs are likable MCs - not too obtuse in their rhyme-speak, not too hard in their attitude and they're decently clever with the punchlines.

Logic hooks up the flipside, "Renaissance" with a blend of old school 808 kicks aggro bass grinds plus weird background tones. The verbals are a'ight - the title can clue you into the song's "back to the real hip-hop" theme but honestly, the hook ("hip hop just took over the arena") was just as memorable than anything the Aboriginals speak upon. A 12" worth checking out, especially if this is your first intro to the Aboriginals.

I could swear I saw this same 12" months ago or maybe it was an entirely different one that was instantly forgettable. Whatever I thought of Ace Lover the first time around, I'm about to revamp it. This 12" has the feel of a single that you might have found about four years ago but seems pretty rare nowadays. Imagine the early Fondle 'Em sh*t and you nail down the aesthetic that this appeals to. "Area Code 1(212)" is a massive posse cut featuring a lot of the underground's best and brightest including Yeshua, Pumpkinhead, Wordsworth and Lil Sci. Even better is the beat - a thumpin' acoustic bassline track which I found instantly appealing. From all sides, the songs screams "winner."

Ace Lover gets a little lost in the mix though so he holds it down solo on the B-side, "Lucky 7". It's hard to place who his flow seems reminiscent of - I'm not calling him a biter, but he sounds like an amalgamation of a ton of underground MCs, including touches of Talib Kweli, Styles Infinite, Eminem and a bunch of others you could name. Like I said, that's not a dis - I actually dig on him, especially with easy-to-digest verses like this, "I rhyme like an extreme/amount of caffeine/up in my blood stream." Just as good is the beat, a little piano banger which ( like the A-side) is simple, but effective. All in all, a very nice surprise and while this won't get your adrelanine pumping, I think it might put a smile onto the faces of underground cats tired of the current spate of sh*t.

Boston's Akrobatik jumps into the virtual ring to take on the cyberfreakin' rappers out there on "Internet MC's". Had he dropped this two years ago, he'd be a visionary, as it is now, Akrobatik's latest is likable in that "isn't that funny" sort of way but his self-production isn't half as clever as his lines. "Cats run their mouth on AOL/but everytime they drop a 12", it don't sell." I foresee that this will be a mixtape (and ironically enough, MP3) favorite, but on the hype meter it's about as exciting as a chat room battle. "Sport Center", featuring Mr. Eon is a similar song conceptually - take a topic (internet or sports) and write down a slew of rhymes with appropriate metaphors and similes thrown in. Ex. Mr. Eon spits, "after me/your career will end early/like Bobby Hurley." Cool 'nuff, but again, the beat (by Mighty Mi) is a yanwer. Thankfully, "The Flow" raises the bar a couple of notches with Fakts 1's thick production busting out the bars that Akrobatik lays down. It's not nearly as clever as the other songs but for pure punch, "The Flow" pounds on its two 12" partners.

I kind of have mixed emotions on this 12". On one hand, it's probably the best produced and rhymed 12" I've heard from this Chicago duo...ever. They synch up tight on all three songs. BUT..."Stellar's" braggadocio depends too heavily on trying to feminize his competition and frankly, estogen kind of kicks ass nowadays in most venues. That makes rhyming like some old-fashioned "manly man" about as slick as gravel and Capital D, despite his sinister new flow, just sounds dated like all hell. "Ill Advisory", feat. Juice is the best song on the 12", a stark, soulful track underlying the all-Chicago free-for-all. Full of Chi-town references, it's a strong city anthem that should do everyone in the region proud. Last but not least is "Underground and Independent" and the song's not quite as didactic as its title suggests...but it's a little heavy handed too. Thankfully, Cap keeps my interest with lines like this: "I was born on the Southside/raised suburban/I push a Suburban/to keep it sub urban/underground/causing continental drift/while my monumental swift/mental gifts/no myth." My biggest beef - no radio edits. That's just a little TOO underground, knaw mean?

Apani (aka the B Fly Emcee) has always been top notch in my book but I don't know why she decides to include her turn as the mad rapstress at the beginning of "Spot Me". Given her talent, it seems 1) unnecessary and 2) kind of petty. Just show and prove girlfriend, ain't no need to have to rant about it. Anyways, Celph Titled (damn, this kid's been producing a f*cking storm lately) handles both sides and Apani represents well on both. I'd give the nod to "A Million Eyes" - slightly better production and Apani's not on the rampage as badly as she is on "Spot Me" which is decent ego-trippin' sh*t, but not all that interesting compared to the more deeply thought-out "Million Eyes."

The A-side is good enough but "The Smackdown" is the shiz-niz. Flaunting some dirty country funk guitar, it does what it says - deliver a lyrical beatdown that does let up until the last verse clears. Simple and uncluttered in its execution, it's the kind of sleeper track that MCs have forgotten how to make in their mad dash for either mo' complexity or jiggafied shine. A solid winner that you might likely regret not having long after everyone else forgets about it.

Much as I'd like to support hip-hoppers trying to deal in more unconventional work, it's not always easy to deal with the new hip-hop formulations that artists are working with. Atmos isn't way out there - I mean, we're not talking Anti-Pop Consortium-esque obtuseness, but rhymlistically, I'm not a big fan of the lead MCs' flow - as Guru would say, it's mostly the voice and he's just not armed with a compelling one. But on top of that, the super-scientifical lyrical content seems more focused on complexity but not enough on cleverness. Musically, it's a little better - "Multiple Connotations" didn't win me over instantly, but "Blinds Pulled" cool tempo vibes and moody undercurrent was stronger and the las two

I'm not going to front - I like this two-EP project even if I wasn't one of the DJs named on the "Just Tryin' To Make Friends With Your Deejay" (note to Atmosphere - I better be on your next installment). While it's the type of hyperactive, self-enthused hip-hop that just screams "midwest" and/or "white", there's something giddily engaging about Atmosphere's sheer passion on the songs and smug cleverness. In a sense, like Eminem, he don't give a f*ck, but in this case that means just making songs that rock his world and if you're lucky, it'll rock yours too.

"Ford One" kicks off with the dub-inflected "Free Or Dead", produced by Anticon's Jel with a thump-friendly touch. It's braggadocio but light years away from the different guns n' guts posturing of street-wise underground MCs. Just peep the hook (and when's the last time you heard a hook like this?): "turning over the ignition on my solar system/check the gauges/push in the tape/put my foot on the break/shift existence/light my cigarette/take it state to state/until I crash into my fate." When you hear how he pulls this off (and that's only half of it), you'll either think he's one of the most pretentious MCs on the planet or some certifiable genius. Personally, I'm leaning towards the latter if only b/c I'm familiar enough with his body of work to know that Atmosphere's got some crazy sh*t running through his noggin' and his songs seem to be a great way to get it out. It's a tough call to make - just check out "The Woman With the Tattooed Hands" on "Ford Two" - its free-form narrative is either the stuff of mescaline-inspired dream walks or just a pompous attempt at being more obtuse than thou. Maybe it's a little of both but A.N.T.'s melodic, piano-driven track makes me give the nod towards a more positive evaluation.

And hell, I haven't even gotten to the loopy, dreamy "Lost and Found", or amazing autobiography "Nothing But Sunshine" (which was on an older Anticon album), not to mention the brilliantly anthematic "Party for the Fight to Write." You can save me the trouble by just buying both EPs (and trust me, it doesn't make any damn sense to buy just one without the other). Easily one of the most provocative, mind-blowing projects (whether 12" or LP) that I've heard this year.

One of the few Makin' artists that seemed to have survived the label's implosion, Bad Seed makes out just fine on "For the Kids". Someone might want to compare this to the "Hard Knock Life" school of tracks that just jack some Broadway song riff, but that doesn't quite capture the feel of "For the Kids" despite the sped-up vocal hook on the chorus. Bad Seed is still coming as the ruffneck lyricist: "whether you broke as a joke/or you balling with clout/you draw your gun/I draw blood/next, they chalkin' you out." B-side is more of the same, with another loop-friendly track ripped from some 1950s song (or so it sounds). More typical braggart rap for you - not much new ground covered here. Overall, a decent, though not superior, single by Bad Seed.

While everyone wants to know if Jeru can sell it without Primo, the better question is what is Guru without his trusted sidekick? Answer: apparently, not much. This 12" finds Guru dropping his role as hip-hop's elder statesmen and letting the thug out a bit and it's not a pretty sight. For one thing, it's just downright weird to hear Guru without Primo backing him up and Arab Attack and Masta Ace just don't perform up to the task of providing the same kind of compelling beats. More than that though, Guru's gift has always been in his intelligent lyricism. Listening to him trying to come off hard as hell on "Damage You" - especially with a mediocre beat - is about as enjoyable as watching C-Span...sure, you can do it, but why when there's better stuff on other channels?

Joining him on "Lights Out" are Agallah, Lotto and Preach which just means there are four MCs to roll your eyes at instead of one. If you think I'm sounding harsh - seriously, just listen to the 12" and then pick anything out of the Gangstarr catalog - even "Suckas Need Bodyguards" - and tell me that Guru without Primo isn't like beer without alcohol.

While "Flamboyant" is decent in its own right, the main reason to get this is for "On the Mic", a remix of "***" which isn't on the album. The sparse, snappy production is an improvement on the original's track and Big L runs his mouth all over it.

Yeah, both sides of this 12" might be as deep as a kiddie pool, but it's simple, party-targetted, hook-heavy songs that I think hip-hop needs to just relax from all the super-scientifical, bling bling bloated, ultra-violent clutter. Yeah, that's that flavor I'm talking about son. Don't hate - relate.

After making a splash on the Lucy Pearl album, as well as Guru's new "Street Soul", Bilal could be the proverbial next big thing in R&B crooners. Certainly, he's got good production behind him as the ubiquitous Raphael Sahdeeq drips honeyed soul on the slow groovin' track. Bilal shares a faint resemblance to the falsetto tone of D'Angelo, but won't confuse anyone. There's a small element of Sam Cooke's earnestness in his tone but none of the overblown theatrics that have sometimes overpowered other artists. "Soul Sista" won't bounce the club goers but it might get them in the bedroom mood, knawmean?

Not to sound like one of those critics who just can't let go of the new school, but it's depressing hearing Brand Nubian dropping dull ass, jiggafied "underground" songs like this. It's hard to tell which is more anemic - the beats or the rhymes and frankly, it's not even worth listening to for the two minutes it would take to answer the question.

D.I.T.C.'s "Spend It" is better - livelier production (and just on the diggy low, I think 360hiphop.com jacked it for their hold music - but like most of the DITC album, this one is forgettable about five minutes after the last verse ends. Man, I really must be getting old and cranky.

I really liked these guys' last 12" ("One, 2") enough to stick it on my mixtape (and not to sound self-aggrandizing but that must mean I REALLY liked it). This new one only confirms what I thought the first thing - their sh*t is tight. "Live Ordeal!" flips up some raucous guitars and smashing snares for a song with enough energy to power the Quebec province. "Rise Up" changes up the vibe entirely, coming smoother with a jazz piano track. One song later on "Serious Business" and it's yet another feel, coming with some blaxploitated funkiness. Lyrically, neither of the two MCs are spitting notable quotables, but their two-man weave style is impressive and helps add to the songs' momentum. If you slept last time, pinch ya'self and make sure you peep the Munk this time around.

If Cannibal Ox reminds people of Company Flow - the same, superscientifical lyrical excursions, the same fuzzed out, electro-altered beats - it's not a huge surprise. El-P produces the Ox pair of Vast and Vordul and they jump off from the Co Flow aesthetic with pleasing results. "Iron Galaxy" pumps one of the nicer El-P tracks I've heard in a while, a contrast between beatific organs and a dirty guitar riff that burns through. Vocally, the CO got some sh*t to say: "everyone knows the city's ill/cats kill/still black man holds nine/gotta chill." It's a twisted, complex lyricism, seeded with metaphors and similes that take a while to grow to fruition but repeated rewinds help immensely. "Straight Off the D.I.C." kicks a similar vibe - steady dropping drums anchoring a track that's too weird to describe adequately - and the Ox stomp in with a futuristic rhyme scheme that pops and locks like machinery. This isn't exactly for the jiggy, iced out crowd and it might even be a little to the left of your back-to-the-roots underground heads but for those searching for that next level sh*t, this might be it.

As much as I've tried to like Cormega (and honestly, it hasn't been too much of an effort), I still think he's yet another Mobb Deep knock-off who's trying to come illmatic but jams up in the chamber. "Take Mine" has a vaguely likable, stripped-down minimalist beat but what can you do with verses like, "running like two slugs inside of me/a few thugs admire me/some inspire me/to buy a key/and drive a B-E-/N-Z." Zzzzzz...zzzzz....oh, whoops, sorry, my bad, I didn't mean to fall asleep. Where was I? "You Don't Want It" and "Killaz Theme" (feat. Mobb Deep) is just more of the same though at least the Infamous come off nicer with the lyrics on "Killaz Theme" than Cormega can scare up.

While the title song is great in its own right, the real sh*t is the B-side. Though the single boasts the rare Def Squad remix of "Me and Those Dreamin' Eyes of Mine", the main gem is D'Angelo's cover of Roy Ayers' summer classic "Everybody Loves the Sunshine". With D'Angelo fondling the keys, the Roots' ?uest Love keeps the drums crispy as the two vibe off one another. How does it feel? Feels good, real good.

Don't know much about Decompoze though I'm assuming he's the producer here. The MC on "Decompoze Presents", J.U. seems to have borrowed a page from the Alkaholiks' book of flow...not that this is a bad thing, but he overreaches on some lines, e.g. "I take it back to the day so of Harold Melvin and the Blue Notes/when Pippen was the man but making less than Toni Kukoc". Still, it's not too bad, especially with the eerie beat backing the song. He sounds much better on Decompoze's bassline heavy remix track - it's amazing how much a good beat can make a MOR MC seem hot to def. Beace guests on "Beast Within" but the "Halloween" like track isn't anywhere as strong as either of the "Presents" mixes. Decent 12" but not exactly the kind of opus that's really going to make a long term impression.

Straight to the point - the A-side's a throwaway. The beat's trying to get all Sergio Leone, but it's more spaghetti than western and the MC's threats to unleash "the beast within" just don't feel credible. Time's better spent listening to the B-side with its mesh of video game bleeps and somber piano chords. Dee Surreal's voice has a nice edgy touch here, just enough to get under your skin. An above average, bread-and-butter braggart's cut.

How is it that Defari's best songs are for anything except for his own album? I don't mean to hate but let's face it - "Focused Daily" left most of us in a blurry haze (and not in a good way) but every other song Defari's dropped has been butter like biscuits. Don't know who produced "Joyride" (Joey Chavez?) but the simple, trill beat laced by a smooth flute loop minimalism at its best (yeah, I'm a big fan of that school of production) and here comes Herut - "that old gold flow/fade 'em all so slow/got MCs wondering/if they're really pro". "I Can't Wait" (Evidence production?) can't keep pace though - the baseless beat lacks a firm anchor to get that head a'noddin and he plays with a new flow that he should leave well alone. The single ends on the slow burner "Keep It On the Rise Pt. II" which has nice drums (snap that fingers ya'll) and a simple keys vibe throughout. Evidence drops in for a cameo but can't smoke the main man. Peep Defari: "it's time to change/we serve hot rocks for street blocks/even cops wanna cop what I'm playing/when I get stopped/drrrooop!" Ill, ill, ill...

First off, you have to give Brent Rollins some serious props for some of the illest cover art I've ever seen penned. It inspires a "Damn!" with the capital D. Likewise, Kutmasta Kurt comes with another remix that hits hard enough to shatter vertebrae in its twangy guitar rhythms. He follows the same basic pattern as with "Work the Angles" but it's more of a sibling than a clone. In my book, improves on the original to make it twice as nice - what a true remix should do. As for the remainder of the 12", I think including two more songs (original mixes) from the LP don't make a whole lotta sense, especially considering that an instrumental LP is rumored to be out there. Of course, I can't really hate on "The Last Line of Defense", one of the few Alchemist beats that I think actually live up to his hype. Sick key stabs and the pulsing bass make for a sinister synergy. "Expanding Man" has a nice chorus...and that's about the best compliment I can give it.

Jeru's travails to return to hip-hop's upper echelon has been brave, though uneven. His word play is still distinctive as ever, ambitiously complex but not necessarily obscure in the attempt...it's just a matter of finding the right sonic blend to go with it. Obviously (duh!), Premier made Jeru go from MOR (middle of the road) to king of the hill and Jeru's performed admirably, but not spectacularly without Primo at his back. DJ Honda is no Primo - much as he might aspire to be - but his frenetic piano chords set a nice tone for the song, especially in complementing Jeru's own frantic rhyme patterns. But yo - is it me or is Jeru recycling "Come Clean" on this one? Peep: "I lock down the mic/like Fidel does his nation/keep it flowing like libation/big heads the perfect target for decapitation/cook rhymes until they el dente/lock down the mic like el presidente." When you have to revisit your glory years rather than dropping new sh*t, that's a sure sign you're past your prime. Still, strictly elementally speaking, it's a decent braggadocio song though hardly remarkable.

Much as I like DJ Revolution as a stylus styler, his beats have yet to really reach me on the various singles he's put out. This single, lead-off for his "In 12s We Trust" LP, is yet another example of how his scratch skills are still far superior to his board work. Then again, with a cameo list as long as any I've ever seen, maybe you won't really care as Chase Infinite, Krondon, Rasco, Planet Asia, Choclair, Kardinal Offishial, Shabaam Sahdeeq and Ill Advised all contribute lyrics. But between you and me (and the thousands of others who'll likely read this), I'm not feeling the track and no amount of lyrical guests can make up that difference. The B-side, "Work of a Master" is a lot tighter beat-wise, a tense, mid-tempo rhythm greatly enhanced by the ridiculous scratches that Rev laces all over the track. He gets silly with the tickle-switch and cuts down samples past bone and gets practically molecular.

The first single of the newly minted Dis-Joint label (operated by Cool Chris of S.F.'s Groove Merchant), "Disko Headache" is one of those rare 12"s that can appeal to: hip-hop heads, break fiends, club bumpers, and your run-of-the-mill music aficionados. I've played it twice on my radio show and the phone lines lit up and personally, I think it's one of the nicest six minutes of music I've heard in a loooooong time. Both mixes of the song are built of different breaks and melodic snippets strung together with sampled voices and other bits - nothing ground-breaking in terms of technique. But they pull some buttery beauty's out of the crates, beginning with the guitar loop at the beginning which goes into this sublime little Fender Rhodes keyboard bit. And the song keeps going and going and going, changing up the music every eight bars or so. It's gorgeous. The "2000" mix is the standout, though the older B-side original has its moments in a rougher, funkier way. Trust me - if can't feel this, you can't feel.

Germany's Groove Attack strikes again with a cameo packed 12". Some weird combos on this: "Misuse" pairs De La protoge Truth Enola with former milk carton MC Kwest tha Madd Ladd. Kwest seems to have twisted his verbal style up a notch - spilling words all over the track (which is an ok, guitar-powered ditty, but nothing to write home about). Enola is purely there for the hook, which is a shame since the man can rhyme but the song's the best of the three on here. "Phonographic Material" brings together Mr. Complex, Rise (doing his best Lil Sci impression) and Eddie Brock, the latter a frequent Eddie Ill collabo partner. Unfortunately, this is one instance where the song title is more clever than the song itself. The beat is unimaginative and lyrically, the whole crew provides as much support as a paper bra. That leaves "Nothing Changed" to clean up with I.G. Off & Hazardous, Gauge and Rubix over a likable track (the most melodic on the 12" but that's not saying much). Overall, an okay 12" that's probably too talent heavy to be consistent.

Damn, did these take long enough to come out or what? I remember talking with the folks at Certified about this single months ago (maybe even a year?). Better late than never I suppose and both songs were some of the best material that Encore's put out (and yeah, I'm including stuff off his album in that category). Seattle's Jake One handles the production duties on both sides and he brings his considerable crates to the floor. The "Filthy" remix works off a lightly stepping piano chord progression and sounds a'ight but it's not as nice as the original version. The remix of "Ice Age" is cool though (no pun intended)...I liked the original but Jake brings the vibe from an entirely side - full of hard stomping piano chords and blaring horns. Keeping to the minimalistic principle of the original version, Jake One shows that sometimes less can be more while Encore's new hook keeps the pacing slick. Hard to call this an essential given how old the original are but they're still good songs.

Like some early '90s 12" that has more remixes than you can count, Encore brings mo' flavor to this new 12", offering three songs, three remixes plus two instrumentals. Dig through and I think the Unsung Heroes remix for "Considadis" rises to the top. For one thing, the lyrical interplay between Encore and Grand the Visitor is great - they show mad chemistry in jumping on and off the track. Plus, the UK's Unsung Heroes put together a nice, quirky track of weird analog synth sounds and a jazzy rhythm section. King Tech's remix is snappier, with a Kutmasta Kurt flavor but it feels a touch generic. "Livewire" comes in a close second with its ill lyricism: "make up your mind/it's time to shake up your spine/and study the symbols and sounds/of primordial man/rhyme custodian." "For You" is s'okay - Architect's beat is nice but lacks punch and and Beck's "Swamp Remix" is more effects than affect. Not horrible, but really not all that interesting.

It's no "Synopsis" or "Listen Up" but considering that this guy only seems to drop a 12" every five years or so, well worth copping. Strong production on both sides with lyrics that makes you miss Erule for being gone the last half-decade.

Move over Ras Kass, there's a new underground group on the scene more paranoid than you. Foreign Legion's new "Nowhere to HIde" basically suggests that no matter where you go, or what you do, the gov't has you in their sights. Let's check the conspiracy theory checklist: mention of FBI? Yes. Waco? Yes. Gulf War Syndrome? Yes. Illuminati? Oh hell yes. The song might have some checking over their shoulder, but oddly, it all feels so...so...1999. Feel me? Anyways, the original beat works well, setting up the tension with some discordant string chords and Mablib's remix works off the same principle with a dustier track (that actually falls short of the OG). Meanwhile, "Meanwhile" is a variation on ATCQ's "Questions", using a simple, thumping old school beat to power Marc Stretch's rhymes about the rigamarole that is everyday life (everything from drugs, to violence, to hand cream...you figure it out). (O-Dub)

One of hip-hop's fiercest femme fatales returns with Primo in tow as she declares herself "Guilty." Verse-wise, Heather B might still put all glocks down with her gruff flow but she sort of rhymes nowhere fast on this song.

One half of Lone Catalysts, J. Sands comes with a fantastic solo 12" which is deeply personal and richly satisfying. Production is

Slum Village in disguise, J-88's "Best Kept Secret" should stay that way. Really bland, boring lyrics and a wasted Jay Dee track. Even Madlib's remixes can't revive either of the DOA songs.

While Mos Def fits in well with the nuevo-soul crowd, this 12" was largely a miss. For one thing, songstress Jill Scott just isn't that compelling. It's not like she's singing off-key, but her vocal qualities lack real personality - like most of the post-Brand New Heavy soulsters, Scott is deeper than the bubble gum poppers, but her range is limited and lacks the edge of say, a Macy Gray, Angie Stone or Dionne Farris. As well, Vidal Davis' soul-lite track just doesn't really cut it, not even on the pretentiously named "Head Nod" mix. Mos Def's cameo is fine - he sounds sharp and his lyrics are (as expected) on-point, but it feels wasted on a song and artist that doesn't meet up. Curiously, the mix that does work is the B-side "Coffee Shop" mix where both Scott and Def mix it up a bit. Def changes his 1,2 rhyme scheme into a spoken word piece and overall, this mix sounds a lot more organic and true to both artists' nature rather than pushing the nuevo-soul theme on the main mixes.

Chicago's Juice tries to come with some cleverness on "F*ckin' Wit My Team". Definitely a headphones kind of song (the murky beat is pure poetic platform rather than something to get your swang on), Juice hits you with some lofty punchlines: "I'm worse than Rakim/you should see me when I fiend/I leave the starship/like Spock/and then I beam." But when he starts spitting on the hook: "Big J U/creativity/the dopest freestyler/a dope battle MC", you kind of want him to show and prove and this song isn't going to back-up the hype. It's good, but that NOT good. Flipside brings Cassidy into the party and again, the beat is more for the head-nodders than back-crackers. Personally, I think Cassidy slightly shows up Juice on this one - his vocal edge is more distinctive and he's killing it on the last verse with: "Once again/punching in/Cassidy's phenomenon/every shots landing in the cipher than I'm rhyming on."

If there's one thing J5 has been good at, it's been exclusive new tracks for their 12"s. Last time it was "Concrete and Clay", this time around it's "Long Road to Glory" which joins two of the best songs on the album already "W.O.E. Is Me" and "Monkey Bars." A relaxed, mid-tempo track produced by Nu-Mark, the beat lopes along with a simple piano look and assorted percussive effects. Chali 2na leads the rhyme brigade down the long road and it's worth every step to follow 'em.

Combine a wicked sense of humor with some ass whupping production and you got J-Zone. Following up on another superior, dark horse EP ("Music for Tu Madre"), his new "Bottle of Whup Ass" is some sh*t for the underground heads who still remember how to crack a smile in these gruff and grim times. Highly recommended.

Is it me or could Encore, Planet Asia and Kazi battle each other with no one being able to figure out who's who? Not to say that they sound absolutely identical, but there's a lot of similarities in their baritone flow as well as short, punchy rhyme scheme. None of this should take away from the fact that Kazi's new 12" is great - solid rhymes and beats on every track. Madlib gets props for handling three diff. songs and being able to flip a different style on each one. Kazi does fairly well though honestly, every song on here is a variation on the same theme - i.e. "I rock/you don't". Of the litter, I'd go with "A.V.E.R.A.G.E." first of all, mostly b/c Madlib's super-smooth, darkly soulful beat is the hit. Follow that up with the snappy "Wake Up" which takes the tempo up a touch with its minimalist drum n' bassline combo. "Down For the Kaz" is mad nice too musically - easy-going, jazzy - but I found the lyrics just a tad too simplistic.

Following up on their well-received "World Reknown", Houston's K-Otix bring another strong 12" to the plate. I like "C.P.R." a little better than "U Know the Name", mostly b/c I think the swelling strings on the former come off better than the slightly generic funk guitar beat that kicks on the latter. That being said though, lyrics are good, even a little better than before as Are tweaks in some mic stylin' (and a dose of Pharoah Monche-like flow control). This isn't as infectious "World Reknown" but is clearly better than the average in the current round of 12"s.

First off, if Extra P's long-promised album is going to appear on Matador, fans might as well start despairing now. Not that I have anything against Matador, but far as I'm concerned, they still have to prove themselves as a viable indie label for hip-hop. Then again, Rawkus started with the Rose Family and look at where they are now.

I digress...the first new Large Professor single (where doesn't share billing with cats like Neek the Exotic) isn't exactly worth the wait. I mean, it's a'ight, but certainly no smoker. Of couse, the pressure's been on Paul ever since his Main Source days and everyone keeps expecting him to blow the roof off. In reality though, the Large Professor is a decent, though unremarkable rapper who's production skills haven't survived the times as keenly as peers like Diamond D or DJ Premier. Neither "'Bout That Time" nor "LiveGuy Saga" has much to hang your ear onto - the beats are ok, the lyrics decent (more on the B-side than the A) but if it wasn't Large Professor's name on the cover, I dare suspect that many people would walk on by without notice.

I'd stay with "LiveGuy Saga", it's more downtempo, but a stronger lyrical outing that works in a chill mix rather than the lackluster "'Bout That Time."

Celph Titled (again) turns in decent production, especially on "Star Wars" and L-Fudge is ok on the mic, but not too much on here that's particularly memorable except for the comic book art work.

Pairing up PA's Lone Catalysts and GA's Showtime for a two song 12", this unusual single is at least half good. The clear winner is the magnificently mellow "Gotta Listen", produced by J-Rawls. His tracks are helping extend the jazz vibe in hip-hop and the smooth guitar melody on the track relaxes with pep. Meanwhile, J-Sands and Showtime's MCs (I plead ignorance to names here) do admirably on mic - I think I have to give Showtime the slight edge...J-Sands is a fine MC, but there's something ever-so-slightly "off" with his flow. Unfortunately, "Rush Hour" sounds pretty flat in comparison. The track (produced by Applejac) is a nice enough soul lift, but it's just a little too syrupy and as a result the whole song sounds generic (the hook doesn't add much either). Instantly forgettable.

The only reason I gave Sear the time of day on his Fondle 'Em single was because the beat, lifted from some old Tribe Records LP, was just so f*ckin' ill. But Sear, better known as the former comedic companion to Stretch and Bobbito, isn't all that intriguing as an MC, sounding like practically every other MC coming out of NY nowadays. At least that's how "Hello" comes off and it earned a quick flip to the B. "Ya Mouth Stink" is a big improvement since 1) the beat bit from Mike Kirkland is flavor with its horns and funked guitar flicks and 2) Sear talking sh*t really is what he's best at and he seems to find a better rhyme zone on this one than he does on "Hello." Worth peeping (but word to Sear: do you have to rhyme about drinking on EVERY song? You got an endorsement deal from some liquor company or what?).

After having seen his fellow Canadians rock it to the top (Choclair, Saukrates, Kardinal Offishall), Marvel finally returns to drop a 12" for the T-Dot. "Throw This Ball" has a questionable hook - sh*t is just a little corny - but I can't front on the slow-tempo, lumbering beat by Saukrates. And Marvel comes in with some deftness, trying to work with a slight basketball metaphor: "chill/my perspective/keeps me erected/only direction is forward/no more words from the benches." Better than average braggadocio.

Marvel handles his own track for "Red Light District" and the slinky funk is a welcome surprise as is Marvel's verses. I was expecting some boring chick flicks ala Choclair, but Marvel pens a morality tale instead about life on the wrong side of the tracks. And last but not least is the smooth, jazzy "Wordz Of..." (produced by Kardinal Offishall), a sly think-piece and showcase for Marvel's gliding glibness. Great way to end a strong 12".

Taken from a new comp (I'm assuming) by Joey T and Jay Ef, "Conflict" features producer Paul Nice doing his best Primo impression (and it's a very good one) while Masta Ace and Guru (aka Bald Head Slick) contribute on the verses. Frankly, this has to be one of the best songs I've heard Guru on sans Primo and Masta Ace (while sounding a little too much like DITC's AG) shows some auspicious signs of returning to his days on top of the slaughtahouse. Nice deserves credit for a solid track and I give him additional props for sampling R2D2's bleeps and bloops. "The Booth" is just a mistake in concept - like Black Rob's "Whoa", Strick ends every line with "the booth"...and frankly, it's just not that clever or catchy. What the hell was he thinking? And who gives a f*ck about the booth?

The Masta Ace comeback tour continues with one of his better 12"s. While the "Ghetto Like..." concept has already been flipped by everyone from Kardinal Offishall ("U R Ghetto When") and Jay Z ("So Ghetto"), Ace does a decent job with some clever lines: "I'm ghetto like them chicks that hate Kobe's white finance/who want to try to fight her, Brandy and Beyonce." Plus Saukrates' track of sloopy basslines keeps it simple and effective. Domingo does a similar job with "The Outcome" - little more than just a light sitar-sounding melody and drums. Ace isn't as memorable here - his rhyme scheme is a little mo' complex, but if you've been listening to him as long as some of us have, you know that he hasn't really changed up his verbal steez in years. Still, I'm glad to see this original Cold Chillin' cat still up in the place. Just no more "Born to Roll"s please.

After raising some hopes with his Delicious Vinyl 12" "Observations", the Ase One takes it back down a couple of notches with the ill-conceived and executed "Sucker MC's 2000". For one thing, it's already 2000 - can we puhleaze stop naming new hip-hop songs after old ones tagged with the infernal -2000 suffix. Only hip-hoppers are inane enough to get all milleneal like this. When Britney covered the Rolling Stones, she didn't call it "Satisfaction 2000". Think about that.

Oh yeah, Masta Ace. So "Sucker MC's 2000" has producer Paul Nice doing a slight flip on Run DMC's original, leaving the familiar hand clap break that we know and love. Ace tries to serve it up to the proverbial sucka muthas on the mic but the overall effort feels both dated and weak, dropping lines with no punch. The remix on the flipside isn't much better, switching up the music only slightly (and just as anemic). Where is Ace exactly trying to place himself? Is it back to the slaughtahouse or still sittin' on chrome? Right now, it's like he's taking a look around, but his next step is far from clear (sorry,couldn't help it).

Straight up - M-Boogie tires me out with the fact that he drops a new 12" every two weeks...BUT, I'll say this much for the brother - he's consistent each and every time out. This new 12", which features a great cameo by Yeshua Dapo Ed, is a perfect example - dope beats done by M-Boogie himself (still sounding like a Primo acolyte), ill cuts by DJ Revolution, etc. etc. It's just...I'm still trying to get over listening to the last Mykill Miers 12", plus the Akbar, plus the new Born Allah. Hold up!

Hey - why is it that Battle Axe 12" s are really more like EPs? They all feature at least three songs and this new Moka Only 12" flaunts a funky four. Moka's hop-up/drop-down flow works well with the bouncy wah wah bassline on "Imagine Me" (produced by Moka himself) and while the lyrical content (a blend of tongue-in-cheek braggadocio with underground, keep-it-real posturing) isn't super fresh, he's not as annoyingly didactic as many an other MC I could think of. "Rolling Along" does just that - dancing across Paul Nice's piano track and Moka comes with a little more on the verbal tip: "LA/Vancou connect/to spark up new cassettes/inferno/the blaze that pays/stays for days." The best song on the 12", "Rolling Along" might just have you following but not with an instrumental as this (and "Crunch") aren't so blessed.

If it was just these two, the 12" would be great, but they add two more songs for the B-side, both produced by Paul Nice: "This That" and "Crunch". While neither deserves the gas face, they don't necessarily add much more to the listener's impression of Moka. He sounds like he's dropping that '92 flow on "This That" and "Crunch", despite guesting Swollen Members, is mad generic - the same kind of pseudo-posse cut that every underground MC seems to generate. What I mean to say is that there's nothing on this 12" which is quantifiable bad, but that doesn't mean it's all great either. I suppose those into freedom of choice will like the four song selection, but I always thought shorter was better so long as the material was tight.

Am I the only one who's ignorant as to who Morcheeba is? I got her sampler a couple of weeks ago, hosted by J-Live, and it sounded as if she's already quite a splash I confess total ignorance as to her whole story. That being said, she's made a nice impression on me with this first 12". Biz Markie returns to the beat box/MC scene with a cool ditty called "In the Hands of the Gods" which kicks off with this lovely beat box routine (that any smart DJ will know to cut up). His lyrics are as inane as ever, "I'm the drunk dance rocker/but don't drink vodka/never sang a song called Frerer Jacques-ah" but it's hard not to feel his vibe. The simple, shuffling drums puts the uptempo groove in motion and it's hard not to like the song. The "Cheeby Cheeba" mix comes with some fat clap drums and dripping sound effects but it doesn't add much to the original. Skippable.

On "Let Me See", Talib Kweli slides in for a cameo remix of one of Morcheeba's older songs. Again, a fairly simple track - very laid-back in its tempo and vibe...a nice sunny afternoon slacker song if you know what I mean. And this time, we actually get to hear Morcheeba and her soft, lilting voice that's reminiscent of vocal acts like Les Nubians and blues-tinged songwriter/singers vs. the full-belt soul diva style that seems more popular nowadays.

Last is "World Looking In", a hip-hop influenced (but club targeted) song that has crossover appeal to adult contemporary radio (so long as they think she's white...black singers almost never get love on AC, but that's another story). A very well-rounded 12" that offers a lil something for everyone ('cept for maybe ice-obsessed thuggers, but hey, no one's perfect).

What could have been a dope-a-delic sequel to one of the most infectious hip-hop songs of the last year turns out to be a big disappointment. For starters, Ayatollah plays it too conservative and practically does nothing to flip the track on the remix tip, all he does is f*ck with the drums and frankly, it's not an improvement. Add to that, both Mos and Ghostface's lines are muddled and hard to hear. Blasphemous as it might sound, I think I actually like the B-side better with Mobb Deep knock-off Big Noyd and feat. Prodigy on the cameo tip. Alchemist's street-scuffed piano track is cool enough and hell, at least you can hear what Noyd and Prodigy are spitting on track. What is the world coming to?

Decent beats throughout, but I wasn't floored by this 3-song single. Mr. Brady's gruff voice is affecting to a certain degree, but the way he puts words together ain't all that clever. These days, so many MCs are out there with competing flows, you either have to come crazy simple and accessible (see Biz Markie) or impress with the complex (see Mos Def or Talib Kweli). Brady falls into the nebulous middle region and there's not much to pull him up out of the masses. Like I said, the beats are a'ight - the flute-flavor on "Let My Record Rotate" sounds like something Joey Chavez might have thrown together (and since I don't have production notes, maybe it is Venice Joe), the strongest one of the three. "Mud Slide" is dark like its dirty namesake, but is perhaps a little too simplistic. This ends with the space-y "Under Street Lights" (which also boasts an unidentified cameo) which is cool 'nuff.

Complex's rhyme scheme is one of those that some like, some don't, and both opinions have their merits. He's ok when he stays on beat and he can't handle the off-beat flow as well as he needs to in order to keep consistent. "Do It Up" is a decent braggadocio song - I liked the soft, lilting beat behind it and Complex has some decent liners (but nothing really worth quoting). The "Beyond There" remix of "Visualize" is great - drums so crunchy they crunk, a melancholy piano melody winds its way in the back. But the song's narrative - a slightly juvenile and sexist tale - wastes the music's gifts. It wasn't very engaging back when Complex first did "Visualize" years back and it still isn't that interesting now.

I dig Lif's sh*t because this MC's got personality. Yeah, at times, his rhyme scheme can feel a little awkward and forced but 1) his voice is just so f*cking ill, like he's a career smoker about two packs away from a larynx operation and 2) even he does force it, you can't help but admire his moxy in daring to flip the lines he does. Peep this from the beginning of "Be Out" (the clear winner on this 12"): "that's absolutely ridiculous/I'm meticulous/when ripping this/I'll break your ribs, hips and fist./If you don't get the gist/I'll give your ear a twist." It sounds like garden variety braggadocio but out of Lif's lips, the sh*t kind of gets you bugged (hint: look back to the voice). "Be Out" is just like that - bar after bar of straight bravado and killer punch lines and Lif's self-production is simple but effective - a one-note horn stab plus a basic break. "Front On This" kicks some old school drum machine flavor on the mechanical pacing and it's probably a better track but the hook: "record labels/front on this this/weak lyricists/front on this...I dare you/to front on this" just doesn't work, sorry. And compared to the other sh*t from the "Enter the Colussus" EP that this is taken from, "Front On This" isn't the best example of Lif's talents. Still, it'll work in a hot second in the mix and you always have "Be Out" to console you.

How the hell did this end up on Rhyme Sayers? I think someone f*cked up their Rolodex because this sounds like some Roc-A-Fella sh*t far more than the kind of cerebral, "genius rap" that we tend to associate with Minnesota's finest. I mean, no offense to Musab but if Jay Z comes knocking, asking for his flow back, Musab better be ready to cop to the fact that his whole delivery pattern is practically xeroxed from the New York book of rhymes. That goes for content to as he tries to pull cards of frontin' women and men on "Actin' Rich" (applause for the concept, but execution gets a yawn), or boasting about his jiggy sex skills on "Guard Your Harem." Only "Where My Mama Chill" really impressed me with its soul-touched beat and Musab's attempt to come with some street narratives. But rilly dough? This is a weird and forgettable aberration for a label that seems to stand against all that this 12" represents.

While I think Ill Boogie is putting out solid singles, they just need to slow their roll. I mean, this is the FOURTH 12" from Miers album and believe me - we didn't need all of that, especially considering that Ill Boogie put out an instrumental companion to the LP. But before I decided to toss this new 12" into the recycle pile, I caught "World War I" which is from M-Boogie's upcoming album and it's dependably strong, hard-hitting track that makes the most of Miers' roughneck lyrics and M-Boogie's smack-heavy beat. Plus, "Do the Math" (feat. Iriscience) was one of the better cuts from the album (despite or maybe because of its Primo-like beat).

Funny - I really enjoyed their last 12", but did I not notice that they all sound like Anticon knock-offs? Not like that's a bad thing, but flow-wise, it just doesn't work all the time. That's pretty apparent on "All Word No Play" which has a nice enough beat - ride cymbal and some spacey guitar FX - but verbally, I couldn't hang with the half-rhymed, half-spoken steez. Kids sound like Sole, just not as nice. I was more forgiving on "Majority Rule" because the moogy beat had me open and "Whore Monger Sing-Along" was more conventional lyrically speaking. Funny touch of humor too and a fly little beat that blends minor and major key chords.

Geez, how short is hip-hop's memory? So short that Obscure Disorder re-releases a song from 1997 as if it was from 1987. I'm not bagging, it's just a sign of how quick hip-hop changes that a three-year old song can qualify as a "classic". That being said, "Lyrically Exposed" still can get you open with its rhyme marathon broken up into parts 1 and 2. "Part 1" is the hyper of the pair - thick drums drubbing down set the pace whereas "Part 2" is more laid-back and reflective in its tone. I've never been floored by OD's verses and this doesn't change my mind, but they certainly can come with some sh*t: "see you stuck in the door/thoughts imprisioned like nuts inside your scrotum." They also include a new track, "Overdose Music" produced by the group's wizard of the wicky-wicky, A-Trak. Pretty much a bread and butter braggadocio cut but rounds out the 12" nicely. Slept the first time? Here's the second chance to get with the Disorder.

Twice as nice b/c A) "The Cat" is one of the better songs from an album full of good songs and B) "Live From the Fishbucket" is not available on the LP and its on some ol' funk resurrection sh*t, complete with backing band.

Maybe if the Hieros didn't implode on Jive back in the mid'90s, Pep Love would have gotten his chance as he seems to so richly deserves. Pep may not have Casual's brutal mic presence or Del's twisted mind frame, but I've always liked his flow and voice - he's got mad potential as an MC. "Crooked Angles" doesn't quite live up to it though, partially b/c the hook doesn't quite work ("my perspective is a bird's eye view/meaning you're not looking at me/when I'm looking at you/crooked angles/log it all up in my book of logistics/tales of the places we done took") but mostly because A-Plus' beat is fairly anemic. Domino comes much better on the flipside, "Act. Phenom" with a playful, carnival beat that snaps along. With a quicker tempo to spit upon, Pep Love damn near shines, check it "lullabies get sung/to you numb, dumb nullified/hum drum rappers/who seem hella blind to the spectrum/of rhymes I select from." Hot damn ya'll, peep out Pep.

Either the Pharcyde decided to bite into the Hieros' rhyme scheme or it's the other way around but on "Trust" they do a mighty good impression of their Northern Cali peers in certain moments, especially on the funkdafied original mix. It's good to hear these guys back up in the spot, and they pull it off s'okay. I wasn't floored and even the jazzier remix didn't make change my mind. Some artists can survive a long hiatus but I just feel like Pharcyde's taken too much time b/t their major creative projects and this wears that age.

The big question to this song is whether Phife is calling out Q-Tip on "Flawless." His slams are nameless and trans-gender (since he's talking about halter tops and purple bras) but listen to this dis-laced tirade and you gotta cock your head and say..hmm... "go 'head/play yourself with those ho' like hooks/sing ballads if it's all about that Maxwell look...now tell me what you're rhyming for/this sh*t is all about skills/f*ck a fashion show." Either way, "Flawless" is a tight song - one of Phife's better outings in a long time, nicely complemented by Hi-Tek's closely wound track. Phife's swears a little much for my taste - what's the point in a radio edit if 30% of the dialogue is blanked out? (which is why I think it's hilarious that radio stations are playing radio edits of Eminem and Dr. Dre songs...you might as well just rocn instrumental). Anyways, I'm one of those divisive MFs so I'm all for a post-Quest dis-war to go down b/t Phife Diggy and the Abstract Poet. Q-Tip might roll with furs now, but I still think he'd fly Phife's ass in a rhyme squabble.

A warning shot single fired from the upcoming "Street Values Vol 1" compilation, lyrical pistol-whipper Planet Asia meets spit kicker Talib Kweli on this new 12". Flipping a simple funk beat that's been used before (but I can't remember by who for the life of me), the two MCs perform well together. It's not exactly Cali Agents or Black Star-esque chemistry, but comes off fairly well. Sample: (Asia) "this it it/as Planet sets flames to the journal/in your section/with Kweli from Reflection/Eternal." (Kweli) "Peep out my n*gga Hi-Tek/steady rockin' the spot/these n*ggas style so dead/that they starting to rot."

Another one bites the dust. After dropping a series of cool underground singles on the indie tip, Q-Ball and Curt Cazal conform to the same sh*t that every other NY MC seems to be one. Same flows, same beats, same ol' crap. Am I disappointed? Isn't that obvious? Forgettable single from a once formidable crew.

Apparently, Que. D is Jay Dee's younger brother which explains how this MC of middling quality managed to attract the attention of a producer of Jay Dee's caliber. Then again, Jay Dee seems to love working with underachieving rappes (Slum Village anyone) and Que. D's not wack -just not that fly. For a song ambitiously titled "Supa Sh*t", it's more like

This bootleg features one of Ras Kass' lost classics - some straight-up, in yo' face braggadocio that isn't laden with all his NOW paranoia, but the knowledge that when he sparks on mic, suckers catch fire.

Hmm...Jamaican dancehall vis a vis Canadian hip-hop? The new Rascalz single drops some ragga flavor by bringing Barrington Levy and K-OS into the miz-nix. The Video Mix has a pleasant guitar loop running throughout but isn't 1) smooth enough to work on that tip nor 2) hard enough to rock the clubs. And Barrington Levy's singing on the hook doesn't add much either. The Big Sox remix flips it into a higher gear, fading the lyrics with some vox effects and comes funkier (and in my opinion) stronger for the changeThen there's Kemo's Yard Mix which gets all dubbed out (though I swear sounds like a stripped-down Mannie Fresh beat). Last but not least is the sparse Sly and Robbie mix which is still dub-y but has very few elements to hang an ear onto. Mostly though, the lyrics don't make a huge impression - neither content nor mic stylin' comes through to rescue the tracks.

The 12" kicks off nicely with the frenetic "Skills 101". The head-wrecking beat slams through the air and Reks jumps all over it: "mutual with pad and pen/master of the art/of shattering an opponent's abdomen." He's quick on the rhyme spit, rhyming with a fierce urgency that leaves you a little exhausted, but in a good way. "Science of Life" boasts strong drum patterns again though the main track itself is more laid back than "Skills". I wasn't feeling this one as much, desite a cameo experience by the Skitzofriends' Checkmark. It's just a generic song - run of the mill underground fare. "Final Four" is good in concept - pulling together MCs from four cities to represent: Reks and Esoteric hold down Boston, Shabaam Sahdeeq and J-Live come with that Gotham steez, Pacewon and Young Zee rep across the way for Jersey and Lonnie B and Danja Mowf have VA's back. Best ball handlers: Reks, Young Zee, J-Live. Should've been benched: Shabaam Sahdeeq, Esoteric, Pace Won and whoever hooked up the anemic beat (it's not wack, but this song deserved something 100 degrees hotter).

Simply said - one of the dopest songs I've heard in a long ass time. Primo kills the track with one of his better beats and while I normally don't like Royce, he rips it line for line on "Boom." I took a quick listen to "Soldier's Story"...and then flipped back to the A-side. No wonder it's on top of the rap charts - sh*t sizzles.

"Ka-Ching" just reminds me how very, very rare artists like De La Soul and Gangstarr are. Like Brand Nubian, their careers have survived the times but this new 12" finds Sadat doing some bling, bling, hoes and b*tches bullsh*t while De La and Gangstarr have maintained integrity AND excellence without pandering to the trendy sh*t. No offense to Sadat's quest to earn his papers, but Minnesota's beat could lose itself in all the studio sh*t that's coming out today - nothing a bit distinctive about it - and Sadat doesn't help much by putting Hy Times on who take away more than they add. And the hook sucks.

Even Diamond can't rescue things with "X-Man" (another banal hook by the way) - it's the weakest track I've heard Diamond hook up in ages and he himself doesn't show up to rhyme except on the chorus. Don't' get me wrong, I'm not saying Sadat's fallen off as an MC - his nasal style still cuts like blades, but he'

Maybe if it wasn't for the fact that Matador released another Sensational 12" about six weeks back, I'd be more patient with this new one. But like that last one, the 12" is unremarkable to a fault.

Sahdeeq is a stalwart MC in terms of always being consistent what he gives you, though he's also a little predictable. His mic steez is "hot" enuff, but among lyricists, he's more bread and butter braggart than a serious word twister. More to the point - his songs are as bangin' as his beats...if those fall short, so does he. "3-D" is decent with its alarm-like feel cycling throughout but five minutes after listening to it - you won't remember it. "Eat This Year" is a little better with its fuller sound (courtsey Hi-Tek) but it sounds mad generic - pretty similar to much of what Sahdeeq has put out on Rawkus, let alone comparing it to the score of other NY MCs spitting the same game, trying to get a piece of the same fame. By Sahdeeq's standards, this is pretty run-of-the-mill - it might spark quickly, but I also burn out just as fast.

For a debut 12", Shanti rolls with serious cameo crew: L-Fudge, Louis Logic, Kimani, and R-Son. In fact, it's kind of hard to figure out who the hell Shanti actually is with the chorus of voices that you have to dig through. In contrast to other MCs busy trying to come harder than hard, Shanti comes off with a lighter touch, reminiscent of the Pharcyde and their post-adolescent patterings. Maybe that's why "Blaxploitation" is the song that works best with Shanti out of the three he offers. J.J. Brown's beat is whimsical, the kind of day-glo happy sh*t that Prince Paul excels at and that no one else wants to f*ck with nowadays. Shanti and Louis Logic have a cool duo on "Feel This!", the most "uptempo" of the trio, though that's not really saying much considering how laconic the other two songs are. Speaking of which, "Last Days of Rap" (feat. The Masterminds' Kimani) is likable, though a tad too mellow almost. Nice hook though: "if the moon and the stars would collide in the sky/and hip-hop was about to die/would you arrive at the mic/battle all these wack rappers together/til the last days of rap we'd be tougher than leather." Decent little 12", well worth checking out.

The Unsung Heroes latest 12" returns back to Siah for another contribution. While still not as sublime as his "Transatlantic", this one's a playfully accessible walkman cut that's a lot better than Unsung's last, disappointing single. The remix kicks the pace up a bit with some more rhythmic focus and it dumps the anemic soul hook that weighed down the original. It's a toss-up as to which track to rock though - the original is nice and laid back while the remix tenses it up a notch. "Daily Intake" is the DJ cut feat. vinyl butchering by Tony Vegas, Prime Cuts, Shiver, J1200 and Reality. Not a bad song for the scrach fantatics but that's about all the currency it'll muster.

"C'mon Dude" is cool - it resurrects an old beat I haven't heard since the School of Hard Knocks flipped it and the round robin of rhymes b/t the Skitzos, Mic Stylz and REKS holds your attention. "Revenge of the Herbs" is far less interesting and then "Charlie's Angels" uses up all the remaining good vibes from the first song with a stupid, sex joint that's as offensive as it is lame. I wasn't feeling this crew's last single and with a closer like this, I'm not really checking for their next sh*t either.

When did Canadian hip-hop stop doing their own thing and begin to clone NY? Maybe it's been like that all along, but I never remembered Saukrates and Frakenstein being as blandly familiar as Solitair is on his new single. "No Doubt" is duller than a butter knife with its simplistic track and Solitair's not spittin' anything I'd want to get hit with. The flipside tries to up the ante by bringing only Choclair and Kardinal Offishal but Solitair's ghetto gold funk track lacks any real punch and none of the three MCs really cooks except for Kardinal Offishall who cleans up in the anchor position.

The first of illy Philly's Mountain Bros. to go solo (unless you count Chops' outside production work), Styles Infinite drops a nice cut with "Fresh Air." Produced by Mister Jason, the song throbs with some off-beat congos, fuzzed-out electronics and other assorted effects. In sweeps Styles, dropping some clever punchlines: "who wanna test me?/kids you got to be sick/change your name to/Styles, apostrophe, b*tch." His rhyme scheme still could tighten up but credit him with a flood of good lines all over this one. Flipside finds Styles back up with Chops on a more laid-back, jazzy vibe, still coming with some braggadocio but the effect isn't quite as tight as it was on the A, plus the hook is just plain corny. What the hell is an Aquarian mind?

With a a flow and tempo pushed into overdrive, Styles of Beyond have made a name for themselves with heart-pounding songs that tear off the turntable and spin towards heads like the flying guillotine. "Subculture's" no different, with Divine Styler's uptempo banger fueling Ryu and Takbir's verses. "Windows" (produced by Vin Skully) jumps off with a script flip on Gangstarr's "Dwyck" and brings the noie from there. I'd transcribe the lyrics for you - bad ass stuff - but Ryu and Tak come so heated and heavy on the mic, it's hard to keep up - all you can do is keep your ears glued on and hope you make it through the ride.

I'll start with the B-side first, DJ Desue's remix for "Basics" is okay, but the song still sounds pretty bland to me. It's funky enough, with "classic" Dilated lyrics but that being said, it would have merely been middle of the road on the LP. The Styles of Beyond song on the other hand is good - damn good - a superior mid-tempo joint that contrasts nicely against SOB's typically uptempo pacings. Desue's beat here is similar to his Dilated remix - stripped down, funk driven - but Styles bring far more...um...style to their work than Dilated and Defari muster on the flipside. I like this song a lot better than their recent 12" (which was good but this is just a tad more accessible without sacrificng quality).

Hot damn - Swollen Members' shortest 12" also happens to be the best thing they've put out in recent memory (coincidence?). Lyrically, both MCs sound like they've discovered new inspiration, coming downright sinister in their steez on the dark "Camouflage". The content tries a little too hard to come hard but it's got some moments: "I'm in the shit box/reading Alfred Hitchcock/five minutes later/I'm bleeding out my snot box." The beat complements well with its dark, dank atmosphere.

Similarly, "Members Only" has another track winner, a brighter, cheery horn-flavored beat that compels SM to drop lines like: "the feeling of enchantment/this blissful rapture/hits home for some/for others, it's hard to capture." Another likable song (and my own preference but that's 'cause I'm into that happy sh*t). Bonus points for good DJ cuts on both sides too. Superior beats and rhymes on a tightly packaged 12" - Swollen Members comes through on this one.

Easily one of the best Reflection Eternal songs out there, "The Human Element" should have been on the album but alas, the only way to get it is on this 12" or the LP it's from - "The Unbound Project." Conscious hip-hop with a funkalistic twist (thanks to Hi-Tek), "The Human Element" is smart, witty and quite infectious with its chicken-scratch guitars and scratch-happy hook. B-side holds it own too with Dilated Peoples' Iriscience warning you to pay "Caution" to his sledgehammer style.

At the risk of sounding blasphemous, I just wasn't feeling Reflection Eternal's last 12" ("Express"). The production felt off and even a little uninspired and Kweli doing braggadocio just isn't as good as him moralizing. Insightful lyrics - even when heavy-handed - usually edge out middle of the road ego flexin'. "Move Something" is neither - it's a straight b-boy party anthem complete with dramatic horn choruses and a driving, marching beat. It has its moments and isn't as overblown on testosterone as some of R.E.'s Rawkus label mates. But it's not ultramagnetic either in its charms. It's an adequate joint that will likely get a little play in the mixshow circuit and then quietly die off. There's certainly better songs off the album - either for the underground set or for the crossover crowd. Why this one?

Am I the only person to think that Fashion - excuse me, Al Tariq - made a career misstep when he left the Beatnuts? I mean, the Beatnuts are monster large nowadays, with considerable underground rep (even though they're last two albums have kind of blown in my opinion) and increasingly commercial play. Al Tariq? Anyone remember his solo LP? Exactly.

Maybe he's taking a step back in the right direction by teaming up with the foul-minded Necro on this new 12". Tarq's still an effective MC and proves that on both sides, having mastered a firm little flow that gets m mileage. Sure, it's not very deep - this guy's not trying to be Mos Def or Common - but it works for what it is. The bonus is that Necro keeps the beats pretty slick on this one..."Feel This Sh*t" is a little too shrill and uptempo, but the slower "Black Nasty...", with its long organ vamps, sets the done just right for Al Tariq to come in some kind of anti-Shaft. And oh yeah, Necro's up to his old tricks by throwing in some sexual moaning on the hook and outro.

I loved this Euro production team's last single with Siah and Yeshua dapo Ed. Their sophisticated, jazzy beats worked well with Siah and Yeshua's lyrical gifts and both sides sounded like gold. In comparison, "What Would You Do" is leaden in its impact despite the presence of Mr. Complex, J-Live and L-Fudge on th track. The quirky funk beat never catches fire, hell, it hardly smolders. Lyrically, Mr. Complex and J-Live are presented with the challenge of penning mini-narratives, but Mr. Complex's sex tale is middling at best. J-Live's revenge fantasy on taking over a radio station is more interesting (not to mention rhymed slicker) but it's a thin silver thread in the lining of the song's cloudy prospects. The funk snap continues on the flip with Siah's "Work It Out". The beat's more minimalistic and in that respect, survives longer than the A-side, but it too doesn't seem to quite work, sounding like too many similar "hot" tracks out there. The Unsung finally find their vibe with the integration of hard drum cracks and and a splay of Fender key play on the remix for "Transatlantic" (feat. both Siah and Yeshua). It's not a real improvement on the original mix, but its rhythms work better than anything else on the 12", making it the single's saving grace.

I'm sure this makes perfect business sense but I just find it unusual how so many European hip-hop production troupes insist on putting American MCs on their singles rather than working with local talent. I mean, the Czech Republic show and proved nicely with that recent Xtracks of Slang 12". So why is Denmark's Context putting on Iriscience, Maylay Sparks, the Last Emperor and DJ Babu without anyone from his side of the Atlantic? Don't get me wrong - this is more of a philosophical inquiry than anything else...I rather like the single. The beat's got this uptempo jazzy flavor that reminds me of what Primo's better (i.e. less redundant) remix work might sound like. Cool horns that sound off throughout and some bells that chime in the background. Of the three MCs, Iriscience burns nicely and the Last Emperor closes like a pro (though technically, Babu closes the song out on his superior scratch skills). So yeah, I'm feeling the single a lot, just wondering why no European MCs get any love from the hometown talent?

My only beef with this 4-song EP is that 3/4ths of it isn't radio friendly. Otherwise, it's yet another sign that Fondle 'Em rarely makes poor choices in its artist relationships. Dunno who this kid is, but while some think he sounds like Cage, I never noticed, never cared. He's the type of MC to serve straight disrespect hot and piping. Not a simple simon but not trying to come mo' complex either, Y@k Ballz makes his verbal slaps easy to absorb: "chop off my hands/and I'll still bear arms/peep my Wolverine light/machine like mechanics". "Nasty or Nice" is pretty much more of the same - "slang general/pure psychoticness/Y@k Ballz/street gynecologist". I mean, what the f*ck is a street gynecologist? Does it matter? Sh*t sounds fly. At this point, due credit needs to go to producer Mondee who's tracks are flavor and then some, deriviative of none ('cept for maybe the Beatnuts circa '96). The only radio clean cut is "The Plague" and it's not a bad choice (though I would have preferred clean versions of everything). More lyrical spitballs by the Y@kman over a smooth piano track. It all ends on the mid-tempo "Flossin", which has a demo tape feel (lo fi beats) and Ballz' least impressive outing. They shoud've buried this somewhere in the middle, but overall, quite a superb 12". Another Fondle 'Em winner.