One or two years ago, when O.C. was on tour, promoting his "Jewelz" album, Big L came along, and when he entered the stage and rhymed some tracks from his album, most of the audience didn’t know who he was, but they also didn’t know most of O.C.’s first album too. I had the chance to talk to L for a short period of time, riding with him back to the hotel, and it only made the love I have for the D.I.T.C. stronger. Now with his untimely death, a lot of people are dropping R.I.P.’s left and right, and unlike with the big shots Tupac and Biggie, the love seems to be genuine, like Premo's "Big L rest in peace" shout at the beginning of Gang Starr’s "Full Clip". The real heads mourn Big L, while some will cash in and most will not care.
With this second release on Big’s own Flamboyant imprint, after the much hailed "Ebonics / Size Em Up" 12", we get back to what we always loved so much about L: punchlines and braggadocio, that only few could mess with. "We Got This" has a ‘scratch beat’, while L does what L does best: ripping the mic out of imposters hands. On the flipside there is more of the same, but we can’t complain. With a similar beat, well not similar, but following the same formula, we get Big L telling us a story of betrayal, murder, hunt and climax. And finally we have Big’s live performance of an updated "Day One" in every rappers favourite city: Amsterdam. "What’s this motherfuckin’ rap game without L?" A game that lacks the MVP.

Those of you who copped "Rain Dance" know that D.Auguste was a nice surprise coming from pretty much out of nowhere. Now back with his new 12", he teams up with the Last Emperor that is signed to Aftermath , but seems to be dropped again, since he's popping up with 12" outside of the Dre camp, and Tajai of the Hieroglyphics camp. Nice strings, courtesy of DJ Madsol-Desar guide us through these tales of three b-list Emcees, that every a-list emcee should nod their head to. Knowledge laced with braggadocio: you can’t really complain. On the flipside we get even more thoughtful and poetic on "Web.Of.Deception". And things remain intelligent on the relaxed "Sunset", that although with a familiar sample, still leads us into the summer night.

Them being from Sweden, this is some different release. Not really special, but it’s just kinda nice. It has this live instruments vibe to it, but the beats seem sample laden at the same time. This four track ep starts with "Heads Or Tails" an organic cut, containing a lyrical beatdown of sucker emcees. All equipped with that famous Mohawks sample "Champs", and another nice organ, a nice horns section, "Four Elements" celebrates exactly those and also celebrates an old schoolish vibe, without even sounding like old school material. The interesting production continues with "Rumours", while the cheap (keyboard?) bass sound, does kinda disturb the track. But nice percussions on that one. The same bass sound effect gets a wider use on "O21" and does not succeed on this track either. However, this is nothing like we usually get from anywhere. Even from the States. It’s pretty special. Or different.
[check their Swedish site at www.streetzone.com]

I will not start this review with the first track on the first side, but the second track on the second side, "Memories": butter sweet pianos embrace us and cover us, like our favorite blanket does. And Kimani and Oracle of the Masterminds guide us through tell tales, with light speed, while still remaining calm and secure. Confusing? No, beautiful. If you were fond of the "Cold War" release, with the magical "I’m Talented...", than you have to pay this EP your attention. Not only because "Hip-Hop Music" is lifting, bouncy, almost uptempo and got that hip hop party, small stage appeal to it, but also, because it shows us, why exactly we love this very music. Oh yeah, as an extra bonus L-Fudge, Mr Len (Company Flow) and Mr Khaliyl (Mr. Man of Da Bush Babees) are also featured on these Poisoned Ivy, Mr. Khaliyl, Kimani Rogers, EPOD and Emmai Alaquiva produced tracks. Be ready for the full length "Underground Railroad".

Rhyming over a minimalistic beat, that is laced with a mafioso-like guitar, the N.O.T.C. Click shares the mic time with the late great Big L. A nice track with every emcee holding his ground and a recognizable chorus. The flipside teams up another D.I.T.C. member with another group off the Official Jointz roaster. They jacked that old track by the Ultramagnetic MC's. On the DJ Creativity Remix, things get a little bit more sonic, with some synthy effect over a very stale drum. The mix is pretty bad, with the emcees almost getting lost in the distance and being too burried in the cut. That’s a letdown to an otherwise solid release.

White nerds are not that much of a novelty to hip hop these days. And while in high school they get teased by everybody and their hamster, we are here at the hip hop university, and we don’t do things like that. Well, at least not often. So we will remain fair in this review here: Mr Jason and Nabo Rawk bless us with a nice little 12". "Me & Him" is dope. For real. Check the funky bass line, check the cool, though strictly jacked intro sample. While the lyrics are mediocre and we have seen similar topics being put on wax in a nicer way, it’s nice to hear him being confident on the mic. It’s not even just or especially the content, but the flow is also very basic. However, the beats on "Catnip" or "My Imagination" compensate by far for the lyrical weakness. And these dope beats catapult this release to into the spheres of "should have".

My girlfriend likes Quasimoto. And I mean, she oftentimes does not even like hip hop that much. But she likes Quasimoto. And I like him too. Ever since his voice surfaced on Peanut Butter Wolf’s "Styles, Crew, Flows, Beats", me and my peeps were urging for some more. Now we got a 12" and we are confused. Quasimoto being Madlib? And why did no one ever tell me, when I was interviewing Lootpack and Peanut Butter Wolf. And who’s that guy in the video and on the back of the Lootpack album, wearing that Quasimoto t-shirt? Huh?
However, we now got the 12" and producer Madlib delivers all the beats. This is a change to his work on the Lootpack album, since it’s much jazzier. Only "Low Class Conspiracy" could have also been on the that album, while "Microphone Mathematics" is almost early 90’s style. Now Quasimoto does not even rhyme that much. The cuts are all very short, two minutes and some change. And what is a change to his performance on "Styles...", that his absolutely off beat rhymestyle, with more stops than flows, is very much toned down on here. That makes his rhymes pretty normal, apart from that voice. And the content is also a bit tamed down (remember: "I smack my bitch up, like a pimp"?).
And now, once again. This is Madlib? For real? Aight.

They used to be the Soleside MC’s, so to say. They never really were, but now with Soleside being defunct, and Quannum taking over, the guys of Latyrx, Blackalicious and DJ Shadow are dropping 12" on us, that has the headphones budge in pleasure and all those that know run to the stores. I don’t even wanna start talking about how dope this is. Let me just tell you that "The Extravaganza" features the Souls Of Mischief and the b-side is a collabo between Company Flow’s El-P and Latyrx. Well maybe the only let down has to be that again those in the know, already know that beat from "Little Johnny From The Hospital". However, this is a must have. Nuff said.

Sampling the horns from "The Look Of Love" by Isaac Hayes, and pretty much trying to be as sonic as El-P and doing their best Rebel Alliance impersonation, the Roundtable M.C.‘s from San Diego come through with the title song of their "SD Chargers EP". Bragging and boasting in a high form, these Southern Cali acts, rip it through a bare landscape of set apart drum kicks and bass thumps. For all the DJs out there (and you most likely are, since this is vinyl, y’all), we get some snippets to cut up, slice through and fry on our turntables on a special interlude. "Sight Through Sound" still has that sonic appeal to it, while it’s more bouncy with a strong guitar mixed into it. That’s all on the "westside", now on to the "eastside". Things get more straight forward with "Mad Mad World". Again a guitar rips through a basic bassline and a dominant drum. It gets hectic and abstract again with "Planet Panic", that gives us a lyrical break down of the momentary angst on our globe. With two extra instrumentals and another DJ interlude, this is a nicely rounded disc.

If you have checked several European hip hop compilations, like "New York State Of Mind", you will have come across the name Tommy Tee. This cat is from Norway, of all places, but the first listen to his beats, should stop everybody to doubt his skills. And with artists like Talib Kweli, High & Mighty, to only name a few, blessing his beats with rhymes, this northern act was quick to gain the respect that was due. And he's also fast to give some fellow Norwegians some shine on his own Tee Productions imprint. And he laces them with some dark, atmospheric beats, that don't have to hide behind the best, coming from the west side of the big pond. Like it gets real dramatic on "The 3rd Mission". The only real let down have to be the emcees. First, they oftentimes have horrible accents, what is understandable, due to their status of coming from a non English speaking country. And second their content desperately tries to live up to a Flatliners, Grave Diggaz level, and they just as desperately fail. European acts trying to sound hard, still is pretty ridiculous. Nevertheless a decent EP release.