Daylight Savings Time by Jered Sanders

     In 2004 Kanye West released his mega-single "Jesus Walks" and man did this track take the music world by storm. The reason being, is that no mainstream hip-hop artist had ever confessed their faith so publicly or in such a hard-hitting and triumphant way, that the song actually left many people unsure of how to react. What really makes "Jesus Walks" so great, is the how vulnerable Kanye made himself by truly digging deep within to say something that he felt strongly about. Unfortunately, however, this spiritual outburst from West seemed to have been left in 2004, as his "Yeezus" image is his apparent focus these days.

     Though, there is one rapper who brought the same spiritual passion and fire that Kanye did on a singular track, to a fourteen song album; his name is Jered Sanders.

     Now, before fully diving into the review of Sanders' most recent album, Daylight Savings Time, do yourself a favor and listen to the first four tracks of his last project Sorry for the Delay, it's okay, I'll wait. Done? Perfect. 

     Why did I just ask you to listen to an older album when we're talking about a brand new one? Simple, to let you know how dope this guy is, if you're not familiar with him already, and also to make a point. In those four incredibly solid songs, Sanders displays his natural talent as he effortlessly floats over the beat, delivering entertaining one liners that will put the stankface on just about all listeners. Thankfully, these qualities and traits transferred over to this current album, but what there is something that is evident in DST that can't be found on Sorry for the Delay, and that's the thematic and focused in subject matter. 

     All throughout this album, Sanders consciously rhymes about his Christian faith in the unashamed manner Kanye once displayed. Even on his past work, Sanders wouldn't mind speaking about his God, but he also wouldn't hesitate to curse or veer off on different topics, but not on DST. The lyrics are clean, powerful, and substantial in meaning. This doesn't make the album a Christian Hip-Hop project, rather, Sanders is a Christian making Hip-Hop, which makes the project a lot more relatable and universal.

     Not only that, but one of Sanders' best characteristics, is his delivery. Anyone can write the gut wrenching lines listeners adore, but the rappers that stand out, are the ones that can enunciate, manipulate, and stress certain syllables of words to give those compelling bars value. Take the track titled "Collection Plate Freestyle" for example, Sanders drops hard line after hard line, but his fluency is what keeps the track flowing and allows listeners the ability to kick back, relax, and admire his craft.

      In terms of the production and beats, Daylight Savings Time hits that one out of the park as well. The one responsible for that is producer Analogic, the extremely talented artist who has worked heavily with Sanders in the past, proved that this duo is deserving of every one's ears.

     It should be noted that this project is a lengthy listen, but listening to it in its entirety makes the listening experience that much better. That being said, this album puts me in a very sticky spot. After repeated listens, I've been struggling to find any meaningful flaws, making me sound like a "yes man" towards Sanders, but this album really is something special. It is a huge progression from previous works, and the content of DST is an entire album of "Jesus Walks." That's huge. Hopefully, people take notice of this, as it's a bonafide nine out of ten hip-hop album. Jered Sanders is something special, and all it will take is one listen of DST and that will be clear to everyone else.

@jsandersaug

Itunes Link: https://itunes.apple.com/us/album/daylight-savings-time./id1027663329

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Dream II: Revenge of the Nerd by gQ Marley

     "Do you when you rap, Yeezy taught me that." Texas based rhymer gQ Marley uttered those words on his track rightfully titled "Yeezy Taught Me That" and he used that very phrase to make his latest project, Dream II: Revenge of the Nerd. 

     While the title "Revenge of the Nerd" may lead people to believe that Marley is a goofy rhymer with a odd lyrics, when in actuality, he seems too be anything but. His style may be "nerd-like" but his presence on the mic is that of a confident, talented, and flashy rapper that has his sight locked in at the top. 

     All throughout this project, Marley displays his clever wordplay and above-par flow. His lyrical content on the album is all over the place. He doesn't spend too much time dabbling on the cliche' rap topics such as women, drugs, and partying, however, these subjects do appear on more than one occasion. Rapping about common "rap-themes" will make artists fall in between the cracks, though,  Marley is sure to stand out with his versatility and dynamic rhyming style that transfers from the slower and deeper songs on the project, to the up-tempo jams that would normally be done by two separate artists. This shows that Marley has a high ceiling due to said flexibility. 

     It's also worth noting that Marley speaks on personal yet relatable subjects throughout Dream II. For Instance, on the track "Loosing Faith" he touches on how it is often difficult to live out a Christian lifestyle while dealing with the temptations of a young man. This presents Marley's vulnerability, which makes it easier for listeners to identify with him.

     As stated previously, Marley has an array of talents and is quite versatile. However, his versatility may have hindered this album from being its absolute best, simply because the sounds aren't cohesive. That's not to say that the music isn't good, because it is. It's just that there is too much up-and-down in regards to subject matter, presented themes and moods, as well as energy from the beats. Rather than listening to one unified album, it sounds as if this were his soundcloud page. Again, this is not a knock on the quality of the music, rather the structure of the album.

     That being said, it's time to dive into the ones and twos of the album (yes, I'm talking about the beats). Largely produced by Platinum PAT, this album's beats are as diverse as the lyrical matter. The beats range from sample-heavy to borderline techno-hop. The production on Dream II is mostly up-tempo and of high quality. The best beat can be found on the song "Fame" which samples the legendary track "Doo-Wop" by Lauryn Hill. There are minimal flaws with the production, but to reiterate, this album lacks cohesiveness, and the beats play a contributing role in that label.

     To finalize the previous statements, gQ Marley is a talented artist with a high-motor and a large skill set. He has yet to zero in on a specific sound, which gives him a whole host of potential. His lyrics are all over the place, as is his tempo which makes the tracks on the album seem unconnected. The beats, in general, are pretty solid. They are as diverse as the vocals on the project, but all in all, Dream II: Revenge of the Nerd is good hip-hop that is without question worth your listening ear!

@GQMarley420

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The Reach by Boogie

     What do you get when you mix some of today's biggest producers with a talented young emcee from Compton? Well, you get a Kendrick Lamar album. However, if said rapper has a lisp, then you may just be listening to the next big thing in hip-hop; Boogie.

     His sophomore mixtape titled The Reach released June 24th, and the project is laced with wonderful rhymes and very solid production. Not only that, but Boogie is an interesting artist to listen to, because his sound is commercial at times, while his subject matter is anything but. He speaks about real world issues and his point of view on many serious subjects differs from many of his colleges in the hip-hop industry. 

     Keeping with the analysis of  lyrics found in The Reach, it is worth noting that Boogie includes his son in quite a lot of his rhymes, and believe me, it's quite refreshing to hear a rapper be so proud of being a father, and speak so much about his kid within his raps. In terms of Boogie's delivery and flow, he is as good as any. He raps with a subtle aggression that may go unnoticed at the first listen, but the more you hear of this guy, the more you are enchanted by his style of emceeing. As stated previously, Boogie does have a bit of a lisp, which doesn't hinder the listening experience by any means, rather, it just makes his voice stand out amongst the thousands of other rappers in the world.

     When speaking on the album's best song, you have to decipher what kind of hip-hop you're in the mood for. If you want to hear some uptempo rap with a commercial beat, then the logical choice would be the track "Oh My" which features a simple yet catchy hook, and is perfect for any "turn up" moments. Though, if you're looking for something deeper, then you have eleven songs to choose from. That being said, the song "Further" stands alone as one of the best lyrical tracks of 2015. Boogie's insight on a recurring theme in today's news media, race, is superb, and the track is much deeper than that, as Boogie really goes into some wonderful and educated social commentary.

     The vocal content on The Reach is as good as it gets, and for the most part, the production is too. The mood throughout the entire album is a somewhat sullen feel that is matched only by the variant mood of Boogie himself. That being said, the quality of the beats used on this project give The Reach the sound of a full-length album rather than a mixtape. 

     The beats have an array of influences, though, even though they come from a few different producers, the instrumental's cohesive sound make this album that much better. The only fault with this project in terms of its production work, is the placement of certain songs. This is only a problem towards the beginning of the project, while everything tends to even out and run much more smoother on the back half of the tape. Though, it is worth noting that the first few tracks run a bit choppy as opposed to others. 

     All in all, there are very minimal flaws on The Reach. This project has commercial appeal with secular subject matter, making it very versatile and universal. Boogie is one hell of an emcee and his ability to convey his message in such creative ways is exactly what will make him the next big name in hip-hop. Is The Reach a perfect ten out of ten? Not quite. Though, on its worst day, it's an eight out of ten, and in the grand scheme of things, that's pretty freaking good. Go ahead and get on Boogie's bandwagon now, because it is sure to fill up quick.

@BoogieTheBeast

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Places by Ben Beal

     What prompts people to listen to an album they've never heard from an artist they're unfamiliar with? Well, there are quite a few answers to that question. It could be word of mouth, reviews such as this one, or even something as simple as the album artwork caught your eye. The latter was the case for me as I stumbled upon the hip-hop record Places by Ben Beal, and its simple, yet enchanting cover. Having no idea of what this album contained, I blindly hit play, and it was a decision I don't regret.

     While listening to this slow-paced album, it was quickly evident that the sound of the album had been defined by the artwork. The songs sounded like a rainy day, not in the literal sense, but the track's mood was gloomy, gray, and somewhat depressive. However, this somber theme separates Places from other works, because of the innovation and emotion emitted while listening to this well conducted project.

     In terms of Ben Beal and what he brought to the table, know that he is a very talented emcee. He doesn't have the best rhymes, metaphors, or flow, but he does have a calm demeanor to his delivery which goes hand in hand with his storytelling lyrics adding yet another level of contradiction to this already anomalous album. Also, the hooks used throughout the tracks are simple yet superb (which seems to be the running theme for Places) as they seemed to tie the lyrics together ever so nicely.

     The best track, lyrically, on Places would have to be "Contradictions" which is a beautifully penned piece that has a wonderful storybook message that will surely captivate all listeners with open ears. It's also worth mentioning that this song was produced by Beal himself, the lone track credited with his production in fact.

     Continuing the previous sentence, let's touch on the production shall we? As stated before, this album sounds as if you were watching the rainfall, and while that sound is a combination of the production, lyrics, and tone, the bulk of that feeling comes from the production/beats. What's even more impressive than creating a hip-hop album that sounds like an action, is doing it with ten different producers...for ten different tracks, That may not seem like any great feat, but producers all have variant styles, and selecting beats that have a cohesive sound from such a large number of beatmakers is definitely something worth mentioning.

     The intro track "Bicycle Thief" has the best production on the entire record, in my opinion. The dreary beat set the tone perfectly for the somewhat saddening lyrics, and it really set the tone and expectations for each and every beat from that point on. It did what any and all first tracks should do, and that's draw listeners in. It did for me, so I'm sure it will for you as well.

     If it hasn't been assumed by now, I might as well go ahead and say it plainly; this record is MOOD music, meaning that it has its time and place. Places isn't the album to listen to on a sunny day with the top down. It's the album you play when you're in your thoughts and have a lot on your mind. It is hip-hop's rainy day; not wanted all the time, but needed every now and again. If you're looking for a change of pace in your music library, then Places is the way to go. Its jazzy sound may just be exactly what you're looking for, and Beal's words hold quite a lot of value if you're really listening. Lastly, remember that all it took was an interesting album cover, and six-hundred words later I'm letting you know that this is a really good album.

@benbealio

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3 June Releases Worthy of Your Ears

Everyday more and more music, both good and bad, floods the internet. The bulk of that music is hip-hop, and that is due in large part to how easy it is for any average Joe to write a few rhymes, find a beat, and post it on the web. This "ease" has diluted the genre, and in some ways it has caused questioning of the legitimacy of the industry. Though, in the midst of the many releases pouring onto streaming sites, the real, true, and genuine artists remain and prevail with their quality hip-hop albums that are the rhymer's labor of love. That being said, it's time to shed light on three high-caliber projects released in the month of June, so check out the albums listed, and be sure to comment your thoughts below!

Clockwork by Tone Liv & DJ Priority

The talented emcee Tone Liv teams up with the exceptional beatsmith DJ Priority in this old-school sounding hip-hop hit. Clockwork is filled with smooth rhymes and great production throughout, and presents a lengthy, yet smooth listening experience. The charisma between the two artists is one of the main reasons the one-rapper one-producer albums are some of the best around. Going along with that, Tone Liv's veteran lyricism and delivery blending with Priority's hard-hitting and fluid beats will have hip-hop heads from earlier generations in a time-warp frenzy, as Clockwork sounds like something straight outta' the 90s. There isn't much wrong with this album at all, other than how underrated it is.

@toneliv | @DJPriority

The Grilchy Era by MarQ Spekt

The grilchy, grimey, and in your face rapper MarQ Spekt is back with his latest release, The Grilchy Era. This project is laced with wonderful flows and rhymes, in addition to some head-nod inducing beats from a variety of producers. Spekt is no stranger to the rap game, and he makes that very clear to listeners as he displays his heavy flow and immersing tone, as the beat simply rides out in the background. In terms of subject matter, Spekt is all over the place, though, he is by no means your everyday rapper, for his unique style and sound radiates throughout the entire duration of this very diverting listen. Note: MarQ Spekt may or may not say, "I'll drop-kick your children" on this album. Disclaimer: He does.

@marQspekt

The Mos-Common by Timaal Bradford

Mississippi native Timaal Bradford may not be a familiar name in the hip-hop industry, but his June 12th release, The Mos-Common (an ode to Mos Def and Common) may change that. Although this is only a six-track EP, Bradford's natural skill and talent shines through on each and every track, making for an extremely pleasant listening experience. Although Bradford shows exceptional maturity and potential, he still has ways to go before he can top the underground hip-hop charts. Otherwise, the up-tempo yet mellow beats and sharp lyricism make The Mos-Common a very strong release that not only gives listeners a fresh new artist to rave about, but also gives them some quality tunes that are of course, worthy of your ears. 

@timaal_bradford

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Feel Good Music by Drew Mantia

     Although the summer has just seemingly gotten under way, there has been far too few bona fide albums released in the past few months from the growing yet covert world of indie hip-hop. This is a hard pill to swallow, because summertime should be laced with good vibes and even better music! However, all hope is not lost, for Drew Mantia, the extremely creative and talented producer from Chicago, may just be changing the course with his June 15th release, Feel Good Music.

     Feel Good Music is a project which is entirely produced by Mantia and features a plethora of artists rapping and singing all over his canvas of beats. This type of album (if done correctly) opens listeners to an array of new artists and displays the producers talent and versatility as he/she works with a wide variety of styles and personalities while creating a cohesive piece. Having said that, let's dive into the inner workings of this fine record.

     In terms of the production, Feel Good Music is exceptional. Mantia has an awesome talent and sound, that blends smooth instrumentation with innovative synth notes. Not only that, but he didn't use any samples on this record, and in today's world, there's something to be said for that, as it forces the producer to be creative and imaginative, which Mantia clearly is. The sound Mantia provides listeners with, is a predominately slow paced and modernistic style of hip-hop which is hard to define, but there really isn't much like it, simply because it has so many layers. In fact, there really are no apparent flaws when it comes to the production work, so kudos to Mantia for that.

     That being said, the best track Mantia produced on Feel Good Music has to be "Send It Back." This song has a mellow groove the and serene tempo, but when the hook kicks in, so do the perfectly placed organs and it sounds absolutely wonderful. There are a number of standout tracks when it comes to the beats, but this one took the cake in my book.

     Moving onto the vocals, Feel Good Music, as stated previously, features a large number of artistic personalities, though, the ones featured on the album all seem to have similar sounds. This made for a very cohesive listening experience, and it gave off the image that this album was actually by one massive group, rather than tracks from a singular producer featuring individual artists. The lyrics from the artists are kind of sporadic, but they're not the cliche' rap topics by any means. There aren't any bad or poor features on Feel Good Music, but there were some that didn't have the strongest showing, namely Hologram Kizzie who fit the thematic sound of the album, just didn't have the best lyrical showing, and two of the tracks feature solely her. 

     However, some artists that really stood out, are Rebel Legato, The Palmer Squares, Ross Augusta and Bruce Bayne. All of these artists elevated the album to the next level and they had some very strong appearances. The all-around song on this album is "My People" which featured Rebel Legato, Angel Davenport, and Jon Arrington. What made this track so good was the blending of styles. There was a very hip-hop hook, soulful singing, and a beat that had elements of gospel music in it. Truly a well put together track in all regards.

     Feel Good Music is the embodiment of summertime. This is a fun album that has a lot to offer. It is a bit of a lengthy listen that tends to drag slightly towards the end, but even then all of the tracks flow well together. All in all, Feel Good Music is exactly what the title claims, and at the end of the day, what more could you want?

@drewmantia

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Good Intentions by Sincerely Yours

     Music is universal, plain and simple. Certain songs, artists, and albums have their purpose for each individual that can vary day to day based solely on a listener's mood. Sometimes, however, people will want to hear something new and fresh; something that differs from what they're used to. Something they themselves find and enjoy, almost like a hidden gem. If any reader out there thinks that their feelings toward music have been accurately defined in anything previously stated, then give Good Intentions by Sincerely Yours a listen, because this may just be exactly what you're looking for.

     To quickly introduce Sincerely Yours, he is a hip-hop artist based in the Chicago area. He's not a veteran within the industry, but by no means is he a rookie. He's got a fluent delivery and firm grasp on how to structure a hip-hop song. He isn't your cliche' radio rapper, nor is he a politically conscious underground emcee. He simply makes quality music, and in this case, a quality album for people to enjoy. Now that the formalities are out of the way, let's jump into the review of his project Good Intentions shall we?

     In terms of the production, Good Intentions excels and that can be attributed to the album's majority producer (minus one track), Slot-A. The thematic and cohesive sound from all of the instrumentals is something that truly elevated the overall listening experience of the record. Slot-A's style is fairly versatile, for it's not necessarily boom-bap and it's definitely not sample heavy, rather, it it is somewhat of an infusion of many styles creating for a very well-put together tonality.

     To single out a track that had exceptional production, I'd like to point to the track "Everything I Love." This song just seemed to have a great deal of components in it, in regards to the production, and the entire beat sounds somewhat unblemished. There really aren't any negative things to say when it comes to the beats. The production work on Good Intentions is possibly some of the most efficient work I've heard on an album this year, because it didn't steal the show by any means, though, it did elevate the product's comprehensive value by having a tight-knit, unified, and uptempo sound that matched well with the artistic style of  Sincerely Yours. 

     Speaking of Sincerely Yours' artistic style...what is it? Well, he's an everyman rapper because his lyrics are very relatable, dynamic, and charismatic. All throughout this album, listeners should notice his versatility as a lyricist, for he speaks on a wide range of subjects that range from his own personal thoughts and challenges, to something as simple as to why he thinks life is great. Additionally, Sincerely Yours displays his ability to spit these varying lyrics  at an array of tempos, though he particularly blew me away on the previously mentioned track "Everything I Love" where he delivers his intelligent lyrics at an uptempo and articulate pace, which brings me to my next point; his delivery.

     This may have been one of my favorite aspects about Sincerely's craft. All too often rappers will exhibit clever and proficient lyrics, but they can't seem to deliver their words in any way that is even partially euphonious. Nonetheless, Sincerely Yours makes sure everyone know that he is a well-rounded rhymer that doesn't seem to have any noticeable holes in his arsenal...on this album anyways.

     Seems like the perfect album right? Well, not quite. My only gripe towards Good Intentions, is the lengthy listening experience. This usually is never a problem on a ten-track album, but this is the exception, for almost every track is upwards of three minutes and there are even a few in the four-thirties and one song that's five plus minutes. This doesn't mean that the songs are bad, just that the listening experience is hindered due to the elongated tracks.

     Other than that, I can't find anything else wrong with Good Intentions. It's a fun album that has some quality tracks that sound best when listened to as an entire album rather than individual songs. Sincerely Yours is a very talented emcee and Slot-A killed it on the production. The record may seem to drag on a bit whilst listening to it, but stick with it, and Good Intentions will quickly be one of your favorite summer discoveries.

@sinceninesix | @IAMSLOTA

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Gold Standard by Supastition

     North Carolina emcee Supastition has been one of the more talented and underrated rhymers in the industry since he first broke through the airwaves in 2002 with his album 7 Years of Bad Luck. Now, thirteen years later, he is still as sharp as ever, and just recently released his brand new album Gold Standard which features Kenn Starr, Boog Brown, Audessey, and Supastition's group, Soundsci, and production from Praise, Croup, MoSS as well as a few others. On paper, this project looked to be another staple in his string of quality releases since he returned to rap, but did it live up to the expectations? Let's find out!

     If you were to pick one song from each of Supa's many releases, you'd quickly notice how consistent he is in his lyrical sound. He will always have hard hitting lines, high caliber stories and metaphors, and an extremely sophisticated delivery. By now, all of those qualities should be assumed when Supa announces he has new music, and that's inevitable. However, his consistent sonority equates to Gold Standard sounding like something he's already made, which is by no means a knock against the album, because the music is pretty freaking good, it's just that his past work sounds very similar to this, which is good, it just doesn't quite set this body of work aside from his others in the grand scheme of things.

     Since that's out in the air, I can now talk about what Gold Standard consists of, and why even though it's a sound Supa has unofficially trademarked, people should still listen to this project. For starters, the lyrical content on this ten-track arrangement is much more advanced than anything on the radio. Supa is a wonderful lyricist, and he contorts his thoughts and ideas into these well written raps when broken down. This album has a few tracks that illuminate that statement, such as "End of Forever" and my personal favorite "The Day After" which is a awesome sequel to his 2013 single "Best Worst Day" aka a masterpiece in its own right. 

     Not only does Gold Standard hold such pristine lyricism, but one can't help but notice Supastition's noteworthy delivery, and although I'm sure I compliment him on this aspect of his craft every time his music is posted on the site, it is something that separates him from the zillions of other rappers that there are in the world. Lastly, I did say that Gold Standard sounds too much like his past work for it to differentiate in any way, it would, however, be remiss of me to not state that some of his best lyrical deliveries can be found on this release.

     In terms of the production work, Supa used a number of producers, though he largely worked with Praise, and this pairing was a pleasant surprise as their sounds blended in a way that displayed both the producer and emcee's individual talent, on a cohesive basis. It sounds complex, but really it's just two artists that were on the same page time and time again. Additionally, I should note that there were no beats that really blew me away or stole the show on any singular track, rather all of the instrumentals used meshed well with Supa's uniform sound.

     One of the best beats on Gold Standard can be found on the track "Song for the Mrs" which interestingly enough was produced by Praise. This beat is smooth, serene, and great. It's hard to top that.

     All in all, Gold Standard is a very good album that all of the various styles of hip-hop heads can enjoy. This album excellently displays one of Supa's better attributes; his flow, and even has some really solid story-telling tracks on it as well. Be that as it may, this album still sounds far too much like many of Supa's past projects, which only hurts the short-term value of the album, because in five, ten, or fifteen years when someone looks at his catalog as a whole, Gold Standard will rightfully be labeled as a damn good album.

@Supasttion_NC

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The Good Fight by Oddisee

     While it has only been a month since the last time any new material has been posted here on The Under-Cover Album Review, it has been just a notch under two years since the DMV rhymer Oddisee released a full-length project, and I'm sure the latter was much more of an anticipated return. That being said, Odd just recently dropped his latest project, The Good Fight, and this album is without question his strongest body of work to date.

     I want to stress the word "strongest" used in the previous sentence, for this does not mean it is his best work, rather, his most complete, and I feel that differentiating the two is key when listening to this album in regards to his previous work. With that in mind, I'd like to dive right into what makes The Good Fight such a prominent piece. 

     For starters, it's the little things. The perfectly placed instrumentation, the cadence in which Odd's words are delivered in, and the earworms that seem to come along with each and every track on the album. Though, in terms of the production this record is much more versatile and dynamic than past Oddisee albums, and that alone made a massive difference. Oddisee's beats seem very unique to him, though his sound is often too consistent and his product is easy to point out due to this regularity. However, the fact that it doesn't completely sound like an Oddisee record is one of the first and foremost things that differentiate this project from past efforts. He just infuses a lot more diversity into the beats on The Good Fight, while his unique touch still shines through the cracks, serving as the affirmation that yes, this is indeed the Oddisee I know and love.

     The best instrumental found on The Good Fight is a toss-up for me, as I love the instrumentation, specifically the horns reminiscent of Steely Dan on the lead single "That's Love" yet, the smooth and serene piano and drum kicks found on "Book Covers" is equally as magnificent. Honestly, there isn't a bad, or even below par beat on the entire album, and believe me, I tried to find something to nit-pick, but it was a moot point. The guy is as good as it gets on the boards.

     As if that weren't enough, the vocals on The Good Fight are just as, if not better than the beats. Oddisee is one of the most talented lyricists around, and his subject matter has much more depth than the everyday rapper. All throughout the project he displays his lyrical range as he speaks on personal items, as well as universal topics making him relatable and identifiable which isn't a common trait found in rappers. 

     One of the more frequent praises I, along with many others give to Oddisee is his delivery. He has a unique way of enunciating his words and stressing certain syllables to give him a unique and above average flow. It's guys such as Oddisee that make everyone think they can rap, because  they make it seem so easy and it's not...he's just that good.

     The best lyrical track on this outstanding record, in my opinion, is "Want Something Done" and the reason is because this track is the embodiment of everything stated in the paragraph above. Not only that, but his attitude and swagger on this track go hand in hand with the message of the song. Additionally, he works so well with the beat, and that's such an underrated quality in an artist, yet Oddisee is sure to cover every last detail in his art, which is the reason he is regarded as one of the best.

     Truthfully, I'd love to find something wrong with this album. I've been listening to Oddisee for years now and I'm at the point where I tend to look for flaws in his work to serve as justification to why he's not the biggest name in hip-hop, but it's not justifiable. The man is a beast, plain and simple. He could have very easily released an album that sounded identical to Tangible Dream, or People Hear What They See, and the only nag I could possibly have is that it sounds like previous work. He added new elements to his craft which only elevated the album's listening experience, making The Good Fight one hell of a record.

@ODDISEE

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Oasis Black by Moteleola

     The highly anticipated debut project from the young and talented UK producer Moteleola is finally here, and it takes the title of Oasis Black. This eight-track hip-hop tape comes jam-packed with flows and rhymes from a number of artists including Sene, Has-Lo, Ozay Moore, Chaundon, Signif, Allen Poe and many more as Moteleola himself described this album as " my album of thoughts expressed through the words of others." With that in mind, let's dive straight in to take a further look at what could be a staple in the young beatsmiths career.

     Those who've heard the production work of Moteleola don't need to be reminded that this man possesses a vast amount of skill on the boards, and rarely ever makes a beat less than stellar. For those not so antiquated to Eola's sound, then this album will serve as a great introduction to the skilled and proficient artist.

     On Oasis Black, Moteleola really displays his range, with instrumentals ranging from classic boom-bap, to more commercial sounding beats. Eola definitely put in some of his best work on the project, however, on a few of the tracks the beats seemed to take a backseat to the vocals. This is especially noticeable on the two songs featuring vocalist Olivia Louise. Don't take those words out of context, because Louise has a stunningly beautiful and unique voice, and she has worked well with Eola in the past, it's just that their styles didn't mesh as well as it has previously, and it caused for a much slower start to the album.

     Aside from that, Moteola absolutely killed it in terms of the production, and his best work can be found on the albums most compelling song, "So Good" which features both Sene and Cheer Dolor. This beat has a somewhat simple sound that is so silky smooth (as much of the album is) and draws listeners in with its serene drum kicks, and perfect increase of tempo for the hook. This track was one of the first singles released from the album, and I still feel that it's the strongest of the bunch.

     To finalize the previous thoughts on the production work on Oasis Black, Moteleola showed out true and true, though there his hip-hop style didn't seem to blend too well with slow-paced, yet melodic voice of Olivia Louise. Though, Moteleola still did a wonderful job displaying his true range in only eight-tracks, and the album's best beat (and overall song) is "So Good" which is the last track of the project, but listeners should have no problem staying tuned until then.

      In regards to the vocals on Oasis Black, Moteleola did a great job at recruiting artists with similar styles and sounds to have a placement on the record. Other than the already mentioned blemish in the clash of styles, everything else sounded crisp and proper as if the beats were hand tailored for the rhymers. With that in mind, a complete list of the featured artists is as follows:  Has-Lo, Ozay Moore, Dubz D, Chaundon, Sene, Olivia Louise, Lafayette Stokely, Allen Poe, Signif, SWB, Big Rooz, Jeff Spec, Melodious Mike, SoulThePoet, Tre DeJean, Cheer Dolor, J. Manifesto and Chakkra Tara.

     Artists that had some of the stronger performances on Oasis Black are Cheer Dolor, Signif, Ozay Moore, and Lafayette Stokely. Yes, all the artists had great appearances, just that these four artists specifically brought the overall album to another level with their performances! Of those, I'd have to give femcee, Signif the award for best performance, and while she was featured on two separate tracks, she still was an excellent appearance. 

     With great beats, and solid vocals, Oasis Black is sure to have at least one track that will resonate with each and every listener. There are very few flaws on this album as a whole, and the running feel of each track bring the listening experience of OB to a whole new level. It's pretty exciting knowing that Moteleola put together a project of this caliber as his debut, expectations are definitely high, so here's to him in hopes that he continues his musical growth and progression. Give Oasis Black a listen and be sure to comment your thoughts below!

@Moteleola_

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Living Daylights by James Gardin

      Last year he had his EP Moleskins & Pocket Squares make our year-end list, and now he's back with another project titled Living Daylights which is entirely produced by Kuroioto. When featured on this site, he's often labeled as "hip-hop's good guy", but most people know this Lansing, Michigan rhymer by his real name; James Gardin.

     To quickly familiarize those not yet acquainted with Gardin's sound, know that this man possesses a plethora of talent and artistic range, as he truly has a little something for everyone. In fact, Living Daylights is an exact representation of that previous statement, as the array of sounds he presents in this eight-track offering is quite surprising. That being said, the cohesiveness of this record is something to mention, though, that may be due in large part to the singular producer featured on the album, Kuroioto.

     The featured production on Living Daylights isn't boom-bap, though, it's far from anything commercial. While it is tough to correctly categorize the beats, they can be described as having elements of soul, some jazz, blues, as well as infusing various synth sounds and having a borderline techno vibe. That may be a bit confusing from a readers perspective, but know that everything is well produced, and sounds great with Gardin rhyming over top. None of the tracks are too eccentric or outlandish, yet they all carry a similar feel, which is one of the many benefits to creating a one emcee, one producer album. 

     The best beat on Living Daylights can be found in the song " Freedom" which features a funky horn loop, and a spectacular live instrumentation sound. That being said, there really are no bad or poor beats on this project, just a wide variety of styles, so keep that in mind while listening.

     With the production in good hands, Gardin puts his ability to create songs with substance on full display. Never will a listener hear any cliche'e subject matter from Mr. Gardin, in fact, he could be defined as the common man's rapper, as he touches on everyday issues much deeper than smoking weed and getting girls. Gardin's underrated storytelling ability shines through as well, especially on tracks such as "City Limits" and "Feels Like" where he discusses his past, current disposition, and even his aspirations to be heard on a global level rather than on a local scale.

     Another thing worth noting, is Gardin's spirituality. While he shouldn't be classified as a Christian-Rapper, he is indeed a rapper that also happens to be a Christian. Meaning that his music is appropriate for all ears and having a product so pure in a diluted industry is a task in itself, so making clean music that actually sounds good is even more impressive!

     With all that in mind, Living Daylights is an interesting project because I can't help but get the feeling that if each individual track were out there floating around on the interweb waiting to be heard, then they would sound exponentially worse than when they are heard as a collection of tracks making up an album. Why do I feel this? No clue, but that is a recommendation to listen to this project in its entirety so that the full impact of this really exceptional release is truly felt. 

     Gardin and Kuroioto killed it with this one, plain and simple. While Living Daylights doesn't fit right in with the rest of Gardin's catalog, it definitely strengthen and expands it, because of the unique and strong sound it carries.

     Does Gardin revolutionize the game with this album? Not at all, but thankfully that's not what he was intending to do. His goal was to create a really strong assemblage of positive hip-hop music, and that's exactly what he did. To keep this ending as concise as possible; do yourself a favor a buy Living Daylights, then share it with a friend.

@JamesGardin | @Kuroioto

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The Change Up by The Battery

     What happens when battle rap aggression meets thought provoking and spiritual lyrics? Simple, you get The Change Up, otherwise known as the most recent release from rap group The Battery. Not familiar with the name? Well get familiar, because its members (Jurny Big and Peace 586) are no stranger to the industry, and they will more than likely be your  next favorite rappers.

     The Change Up features hard hitting beats, conscious subject matter, and a vocal aggression that is  well used and deceivingly sophisticated. What's interesting about this album, however, is how surprisingly good it truly is. That's not meant to be a knock against The Battery, but the detail put into this project well exceeded even the modest of my expectations. With that in mind, it wasn't the beats, vocals or subject matter that stole the show, rather it was the overall cohesion this album showed that made this listening experience so positive.

     For starters, the production work done on the album is well above-par. The beats give every track a cypher feel, and the hard hitting, head-nod inducing drum kicks make it almost impossible for listeners to not find even the slightest bit of enjoyment while tuned into The Change Up. Additionally, the versatility that these beats have was a tad bit unexpected, as the first few songs have a similar heavy sound, then the tempo and tone seems to drop for two songs, all before picking back up for an epic conclusion with the ending track "Copy Us" which also serves as the first track in years that the entire Tunnel Rats (rap group) posse has released.

     As good as the beats were, they were by no means anything earth-shattering, but they did blend exceptionally well with the vocals, and heck, they even featured some live instrumentation which is always refreshing to hear in the diluted and computerized hip-hop industry listeners have grown accustom to. All in all, the production was good, not great, but it was the right production for the right rappers and that's really what it comes down to in the end.

     To talk briefly on those "right rappers" we must first mention their subject matter; religion, more specifically their Christian faith. Both Jurny Big and Peace 586 are an odd commodity in the Christian-rap realm, as their sound is aggressive and in your face, while their lyrics are tasteful and composed. The rhymers pose questions and ideas in their lyrics to engage listeners, and to give them something more than just music. They speak their minds and don't think twice about it, and it is truly incredible to hear (as stated in the track "Bitter Pill") hip-hop from a Christian, rather than Christian hip-hop.

     To integrate all of my previous thoughts on the project into one, this is a unique album that is filled with heart-pumping production reminiscent of the golden age, with conscious rappers speaking their heart and mind in perfect unity with the beats. The point blank lyrics may make a few Christian-rappers uneasy as they intake the views of two realistic rhymers whose only filters lies in the language used to convey their possibly unpopular sentiments, however, the album is so freaking good that it doesn't quite matter whether anyone agrees or disagrees; just listen to the serene vibes of The Battery, and comment your thoughts on the record after doing so!

@therealpeace586 | @TheRealJURNYBIG | @illect

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Dreams Don't Chase Themselves by Hezekiah

     Hezekiah is an artist who consistently flies under the radar of hip-hop listeners everywhere, however, those who've been exposed to his soulful and smooth tunes can vouch for his exceptional rhyming and producing ability. Hez puts those abilities on full-display on his fourth solo album titled, Dreams Don't Chase Themselves which features some outstanding lyrics, great jazz infused beats, and one of the coolest/weirdest album covers of the year.

     As stated above, the lyrical content on this project is outstanding. Hezekiah has a somewhat flawless flow, as well as one of the better deliveries in the industry. His subject matter includes a large amount of social commentary, some self-reflection, and good bit of empowering rhymes. His conscious and thought provoking lyrics should really blow away listeners who have yet to get acquainted with the Philly native, simply because the depth in his lyrics is an extremely undervalued aspect of his craft.

     To exemplify Hez's above-average rhyming skill, take the track "Lets Network" as an illustration.  This song is all about the grouping of people within our society, and the way Hezekiah conveys his thoughts is truly incredible. While he brings the same intensity to every track, there seems to be something extra added on this specific song that makes his message that much stronger. Even with all of that, "Lets Network" still isn't the best track on the album, this due to the fact that the track succeeding it, "Don't Get In Your Way" is one of the best, and most underrated hip-hop tracks I've heard this year. In layman's terms, this is just an incredible song that all listeners should love, simple as that.

     Additionally, this album also features some uncomplicated yet catchy hooks on just about every track. This makes the listening quality of this album that much higher, because even if the verses are the best thing since slice bread, listeners will need some hook to hum throughout the day, so kudos yet again to Hezekiah for hitting the nail on the head in that aspect. 

     If it seemed like I enjoyed the album's vocal content, then I'm just getting started, because the beats and production on this album is undoubtedly incredible! Now, I may be a bit partial to these beats because they have a heavy jazz influence, but from beginning to the end of  Dreams Don't Chase Themselves the beats get better and better. 

     Hezekiah produced every beat on the track, and he did a very commendable job at giving a lot of the beats that live instrumentation feel. In fact, a few of the tracks sound as if Hez recruited Questlove and The Roots to have a jam session right there in the studio! The production on this album aren't quite the backbone to the project, but they definitely go hand-in-hand with the vocal work as both compliment one another ever so well. 

     The last album I remember liking as much as this one, is Oddisee's 2012 release, People Hear What They See, in which Odd also produced the entire album as well as rapped on every track. Though, that project took me some time to come around to, as opposed to this one which I liked instantly.

     With that said, I'm a bit hesitant to label this album as a perfect 10, just because I'm not too sure what a perfect album sounds like, however, Dreams Don't Chase Themselves has to be pretty freaking close. The lyical matter is deep, conscious, and entertaining while the beats are smooth, serene, and soulful. Everything is complimented on this project, and there just doesn't seem to be anything wrong with album as a whole. Though, I do feel it is necessary to listen to this project in its entirety to fully attain its cohesive and thematic sound. This is a really awesome project that everyone needs to check out, so do just that, and comment your thoughts!

@hezekiah3rd

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Brunch (Food For Thought) by King Callis

     Making his site and industry debut is the rapper based in Charlotte, North Carolina, King Calis. Callis' first official project is titled Brunch (Food For Thought), and his fifteen-track project should put him on all new listener's radar.

     In terms of King Callis' actual ability to rap, let's just say he's got the goods. Callis is a new name, but you wouldn't know it by his confidence and swagger that he brings to each and every verse. This is not to say that every line he spits is gold, but he does have a mature and somewhat polished sound, which is rare to hear on an artist's debut project.

     What makes Callis sound so developed is his delivery. This is one of the most crucial, as well as the most overlooked aspect in a rhymer's arsenal. Though, Callis does it with ease as he continuously adds the right emphasis on words, or stresses that certain syllable in a word to make a given line really stand out. So kudos to Callis for excelling in something most listeners wouldn't even think about.

     To speak on his lyrical content, Callis is sort of all over the place. He teeters in and out of the cliche' rap subjects, to conscious and thought provoking rhymes. While I personally don't care much for the cliche' rhymes, this does make him appealing to a much broader spectrum of hip-hop heads. Additionally, King Callis loves to mention his crew within his raps. There is nothing wrong with this at all, in fact, this is more of an observation rather than a critique. 

     Speaking of a critique, there is one facet on this album that truly hurt the listening experience, and that was the addition of a project "host." For those unfamiliar with what a host does on a hip-hop project, they simply are featured talking on the tracks and kind of throw out the rhymers name and such. On Brunch, the host is a female that goes by DJ Daz, and by no means does the problem with the host arise because said host is female. The problem is simply that there is a host. It's fine to have someone speak on two, three, even four tracks, but to have a constant voice before and after a good portion of the tracks is just too much.It hinders the listening experience and takes away from the fluency of the album. This may just be a personal gripe, but other than this, I saw no problem whatsoever with the vocal content on Brunch.

     To quickly touch on the production of this album, it could be said with great sureness that any fan of the 90's hip-hop sound should take a great liking to Brunch's smooth boom-bap flair. The beats come from a number of producers, but Callis did a commendable job at selecting beats that had common similarities, giving this album a great addition to its final sound. There's nothing too out of the water to say on the production work, other than the fact that its thematic, cohesive, and really compliments King's vocal talent and ability.

           Lastly, even though album artwork has nothing to do with the actual music, it is often an overlooked aspect in the indie hip-hop realm. King Callis, however, wanted made sure that his first full-length had some aesthetically pleasing artwork, and although I'm no art expert, I can still say that this album's cover is pretty freaking cool! Now go give Brunch by King Callis a listen, and be sure to comment your thoughts!

     

@KingCallis

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Monks Too EP by Gone Wallace

     One of Philadelphia's finest rhymers, Gone Wallace may be the best when it comes to constructing an EP. He put that skill on full display back in September when he released the three-track EP titled Monks. Now, a little more than four months later, Gone is back with the second installment of the "Monks" series. Rightfully dubbed Monks Too, Wallace doubles the EP's length as he brings listeners six new songs to jam to, and this one brings another great dimension to the proficient young artist. 

     One of the notable differences in Monks Too and its predecessor is the tempo. Gone Wallace has frequently carried a smooth, smoky, and jazz infused sound, however, on this EP he decides to take things in a new direction and display his versatility. A few of the tracks on Too have a more upbeat, old-school era sound, but Gone still has his unique flow and voice, and in that aspect, the songs sound great.

     Not only does Gone Wallace have an extreme amount of charisma and coolness when he gets on the mic, but he also is a very clever and underrated lyricist. His wordplay is above-par and makes sure listeners knows just that. One of my favorite one-liners from this project can be found on the track "Morning" when Wallace states, "I rolled the bud inside my homework/ that's a blown assignment." It's little one liners such as that one that make this album, and not only that, but Gone Wallace has a very crafty flow that elevates his tracks to great heights.

     While the vocal work from Wallace is superb, the production on Monks Too was diverse yet cohesive. As stated earlier, this project does have a more upbeat sound in comparison to Wallace's previous work, and for the most part, it works. While he seems to be more "at home" while rapping over a slow-paced, jazzy beat, his best song to date may be on this EP, and it is by no means slow paced. The track is "From Belgium" which is a really cool and fun tune that comes jam-packed with great raps, and a great beat that samples Charles Bradley's "The World (Is Going Up In Flames)." The beat itself is produced by Rise From The Ashez, and that track alone, with its tempo, style, and sound, brings this EP from ok, to pretty freakin' good.

     Mentioned in the above paragraph is the fact that these beats are diverse yet cohesive. To elaborate a little more on that, I simply mean to say that the theme and mood from all the beats seems to fit fairly well, however, they are all produced by someone different, which gives them their unique and varied feel. That being said, Monks Too is still a smooth listening experience that has a lot to offer in both the instrumental, and vocal aspects.

     On that note, let it be said that Gone Wallace is one hell of an emcee and this EP only adds depth to his ever expanding catalog. The beats are solid, his rhymes are sharp, and there really is no down side to anything that this project has on it. Two thumbs up from The Under-Cover Album Review, so go snag Monks Too, and let us know what you think!

@GoneWallace

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Between a View of the Moon by Mike Ramsey

     It was about eight months ago when we last heard from singer/songwriter Mike Ramsey. At that time he was pushing his online fundraising campaign so that he could release his first studio project. We're now on the tail end of January, and Ramsey just released his album Between a View of the Moon, (the final product from that campaign) and although it's merely a five-track EP, this North Carolina based artist made sure to give the listeners the biggest bang for their buck.

     Frequent readers of the site may be accustom to the indie hip-hop material that is commonly reviewed, however, we're going to switch gears with this one, as Between a View of the Moon has a very John Mayer-esqe sound that closely aligns with the Rock/Americana genre.

     It's the detail put into the instrumentation that makes this bluesy rock project stand out. The smooth acoustic riffs by Ramsey run both clean and pure as subtle trumpets, saxophones, and organs can be heard throughout. Not only that, but this short EP has both great musical depth and versatility on each and every track, making for a wonderful listening experience. 

      For example, The album's lead single "Amelia Claire" offers an upbeat rhythm, a repetitive yet catchy riff, and some great piano sounds giving it that "radio" appeal. While on one of the album's slower tracks, "Oscar Daniels" it is the mellowed, foot tapping groove and timely horns that will have listeners nodding their heads and grinning as they intake the smooth tune.

     While Ramsey's voice isn't the most polished, he is never out of key nor does it make this album hard to listen to. In fact, his natural voice blends well with the down-to-earth feel of the music, and his voice will really grow on listeners as time goes on. That being said, Mike's vocals are good, but his lyrics...well they're pretty freakin' great!

     Ramsey's ability to tell a story or convey his emotions within his lyrics seems somewhat effortless. He just appears to have an innate ability to write songs, and that testament is proved true by the previously mentioned "Oscar Daniels." On the surface, this track tells the heartbreaking and emotional story of a man with a painting that he's really proud of, except no one will come out to see it. However, on the deeper level, this is a track about the depreciation of art of all forms in today's world. In my opinion, this is the best track on the EP hands down. Actually, I'd go as far to say that this is the best song I've heard in 2015.

     Additionally, there is just something to be said about an artist who doesn't simply sing the cliche' "she broke my heart" song, and literally state that a girl broke their heart. On Between a View of the Moon, Ramsey takes a different approach to that very subject with his song "Crown and Water" and if you ask me, that tittle alone should tell you how cool the actual track is. (Note: This song will be stuck in your head for hours)

     Consisting of only five-tracks leaves no room for error or even a sub-par song. It's like in school when you take a quiz, if the quiz is only five questions long, and you only got three questions right, well you got a sixty, and that's not too good by most standards. Thankfully, however, Ramsey did not disappoint. Not every song is great (other than Oscar Daniels of course) but every song is good and above average. Heck, even the album's weaker song "Comin' Up Down the Road" is still a really solid tune and it serves as a wonderful intro to the EP!

     Although the instrumentation is great, it's the vocals and lyrics that serve as the backbone to this project. Ramsey put his talent on full display, and the end result is really solid five-song EP. As stated earlier, there is a lot of depth and versatility on Between a View, and that means that there should be a little something for everyone to enjoy. Do yourself a favor and go snag this album, then come back and comment what you thought of the record!

 @MikeRamseyMusic | Mike Ramsey Facebook | Mike Ramsey ReverbNation

Get this album on ITunes by clicking on the icon 

Between a View of the Moon is also available for streaming on spotify!

     

     

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