By SUNEZ #SkillastratorLO 

LO but be beholden,

9I only hear scarred snippets in a snare coffin

chimed by pretty hiccups

Vagaries of rape abound so I clothe loved arts with the loyalty of tougher principles

So they carom off the hustles of homeless kings that pronounce the edicts of wicked letters

Teach in varied caps, patches and cookies using these thoughts on a song to sing the flag,


So as I write like a GOAT, what muddy animal shall ya be?

Still the #InvisibleRenaissance I say and another year passed with albums that will be heralded by only those learned ears that heard them. Another year where the invisibility was built off the acceptance of a regressed and lazy, over-melodic droning sound, the adherence to #RespectFAKE and a sick lust for the trended.

I only can will that these thoughts on records don’t merely praise or offend but add a clearer insight, albeit harsher perspective, and allow us to all do the same. To judge our music with the details we used to enjoyingly discuss and debate on corners, spaces and places. Because it’s ours and needs more than a fiscal success rate to judge it. It will never last that way, no counter-culture does no matter how many subs are thrown upon it.

Let an appreciation increase and may even glossed eyes become clear of the ruthlessly sold.

[Note: All selections followed by a ☆ quote some of my #ArtOnArt & #ScienceOnMusic review of the said LP that can be searched for in search engine]


Honorable Mention


A rugged, vicious Boom Bap with matching verses. The tough stuff that heals in this beta-man, #TransREAL world we are now engulfed in.


A workhorse who I will say can concentrate his illness into one impeccable LP with these three album proofs of consistent bars, dominant presence and strong beat selection.


There is such a wealth of hardcore music with real ideas from real people in 2017. This list could not be inclusive or do it all justice. Everything more of the tough stuff


A compilatory work where Jus-P fills with his  chopped to extreme enunciated cadence on dirty digi-beats. The kind of jewels we used to find in bins during the #DarkAges and reminded us why we hate Interscope, Hot 97 and BET so much.



Sunblaze is one of our hometown heroes from Sunset Park, Brooklyn. He rhymes everything with extreme heart and Quique b-boys the breaks for a nice team up. Something that holds until Sunblaze’s highly awaited LP all produced by Thanos.



A slight dilution in musical beds and a poppier effect than the stellar The Idea of Beautiful yet Rapsody’s unique and lovely idiosyncratic cadence and chopped phrasing and deft cleverness shines.



The illness disease when MCs are with Planet Asia and producers are siblings of Madlib. A hardcore sleeper with lyric cleverness.



Do we project our own hypocrisy by allowing others? Does a DJ that produced anthems of integrity let a culture vulture in the midst? Are these Ghosty stylistics bitten in a mist even monks in the temple of boom can’t detect? Does one of Hip Hop’s most rooted and street lived MCs from the frights of crime to the element’s sights and times need to cook with a plagiarizer of Starks’ illness?

Never not have I skillastrated with disrespect and every near great Lauren album I will LO and behold the same build. My L’s are still warm on my knighted heart but I know one L means nothing without the other. I remember being loyal to my little nigga and ghostwriting The Source’s cover with him. But when he later bit and thought loyalty would bail out the loveless act he was exiled.

How many years will our Black genius need a white benefactor benefiting for us to befit the bonuses we born bare? Jazz encrypted, I’ll ask this question every time, in varying tempos, cadences and formats whenever Meyhem–no, anyone–dilutes their liveness.

“Friends become foes, foes become alliances/Gold bars get stashed inside appliances…” Lauren notes on “Street Religion” and I know I been criticizing the man’s spiritual choices. Lauren has lost none of his vocal power and fills verses with cleverness (“I look in your eyes and see lavender”) and great word choices (“Now you got your life taken by reality”) as “Redrum.”

And Muggs is too ill. A legend of basslines in menace that go from the slowest of tempos (“Psychedelic Relic“) to the uppers (“Murder Rap“) or they may serenade in punctuated highs (“War Drums“) or flattened out through the room (“Hashashin“). Everything is contoured to Meyhem’s energies toward intensely hype, stream of conscious battle bars.

I war too against #RespectFAKE and few have greater artillery for recruitment than Meyhem Lauren. But this underground rap got levels and big money niches and so it’s keeping it real if it’s all in the hustle. Lost in the poverty of my arts I won’t bear witness.


Perfection is the way of the God’s ever living lesson.
Refinement is just an immaculate focus of Power,
The Supreme Sniper”


Once the beds are made, Sniper moves in the cloak of battle bars but powers ideas, insights and the culture’s ethics.”


Handclap snares, 808 drums, guns and drive bys, dead niggas, thick basslines, thick bitches too. Yuh know! West coast. Cliches  because Black life deserves all it gets from white folk – the opportunity to spectacle a hustle. But we used to spin the spectate with so much gangster. The soul on wax is invincible versus bullets, the funk shocks the driven over dead back to set trippin’ and clippin’. A synergy of sold game but never told, that is until the white man totally say it’s got to fold.

Hold the scold buster. This is love for the kids I muster. Deep in the bass grooves, I always see Eiht charging the way. Ways to talk about the worsening of it all, not be apologetic to making such daily wars sound so good because a driveby has a history. And MC Eiht has all the stories, the toughness and the thematic focus to make a tough place real and contradictory, exactly where Hip Hop is made. We get killed slow or sudden but we live and love so dominantly. MC Eiht is for those realized walks, whether in the blinding Sun where the shadows got colors or them family cookouts where the soldiering platoon.

Which Way Iz West is an illness that shouldn’t surprise. An MC whose subtle vocal drawl, a smooth low near baritone’d texture, is the drum to the trumpet when paired with high treble snares and obsessively active basslines in that midtempo gangsta pace.

The bulk of beatwork from Brenk Sinatra is not progressive but rather ideally perfected. The hand clap snares that sound like chained bracelets are on the wrists on “Sittin’ Around Smokin’,” the soul’d keyboard horns and lonely snare on the sparse break on “Compton Zoo,” the thickened bass drum stomp of “As I Proceed,” or the sinister horns and distant drumwork on “Heart Cold,” Sinatra captures the quality of the sound that beds Eiht’s legacy.

MC Eiht is a specialty lyricist for a specific real, never preachy just the honors of the fight. A fight that needs gunfire out the speaker that always could jam up the wrong pistols we aim at each other. Good music make God on the East Coast dream of a new gangsta gangsta.

  1. KASIM ALLAH – R.O.T.G.E.☆

“Living Almighty, a humility when you saw them work, a humanity when you saw them embrace children.”


“Return of the God Emcee is an album that navigates through the culture of the Gods living the knowledge of self, socio-political ideas and battle bars that offers a soulful link to the timeline of the music’s Black continuum.”


Savagery became an art excelled and cemented by Kool G Rap. Without it, the full spectrum of nigga shit not there on the wax’s recorded literature, then the complete depth of the Black peoples can’t be rhyme imprinted. And that savagery sells and turns the learned to hypocrites but who’s snitching? The street cameras catch too many features so imagine how many #RespectFAKE niche nooses the God hangs on literary lampposts as I see all I hear?

Hus Kingpin is a young brother from the particular savage savant school of Roc Marci, one of the great stylistic street slangers today. So Hus’ cadence has the same thrust, stop,  smirk inflections and disrespect every last weapon against man built and love affair with every last bag of coins they swim in. It’s all as fuck, these niggas–that is oppressed yet triumphed Black men–the ones wiggers and law abiding Blacks can walk tougher with. I don’t know why them other man need it but I know our oppression, whether my side of spiritual KOS revolution or the hustle wavy corners capably cunning, all need theme music.

Cocaine Beach with these monster breaks from Big Ghost LTD, from samples ill chopped to hateful basslines that must be loved, gives Hus moments to develop and continue to distinguish himself from the powerful lore of Marci. Some of the more prolific young beatmakers this year have weak sample games where an aged, fine auraled listener as I, SkillastratorLO, are left unimpressed. But whether the deafening bassline equalized perfectly with a sharp rolling break on “Carlos Lehder,” or the toughened 1,2 break with encapsulating organ notes on “The Gospel,” or the active drum action through endless bass notes on “Yeyo Jazz,” Big Ghost is one of today’s uniquely original music talents.  Through all this beat bliss, Hus Kingpin is hardly a chore with his demeaning punchlines and rugged slayings of wack rappers and those in the way of the cream. “Word to Allah, I wipe my blood on your Quran…” Word?! You doin the 85 niggas like that? “Bless a child who can hold his chrome…” through Hus’ “Coke Casa.”


Ain’t sure if Nike supported the hood but Chuck got some money from it, I first thought. “Shut em Down” got me more radicalized in sound can’t be in no commercial. Word. But it’s all fancy. That is, my #ArtOnArt and #ScienceOnMusic but I’m a journalist with a question I didn’t want to ask at first. I still asked and this absolute G.OA.T. candidate took the time and had a build for me. That we don’t know the complex stories of a song’s making and living. Living through the many that songed it, that now own it and must all come to some accord on how it shall play on. Chuck knows and respects LeBron and even appreciates many of Nike’s initiatives today.  The classic doesn’t lose its power in the tale attached to it now because the context is shared. This context is a core duty, an honor of the music journalist, we, few, rare, real immediate historians of the moment. To highlight the depth of songs for appreciation by sharing the builds of context for its creators and analyzing the wonderful science on the music itself. Some artists are endlessly deserving of it

As this for the public MC countering the enemy, Chuck D, leader of Public Enemy, on my Mt. Rushmore of essential G.O.A.T. MCs (Rakim Allah, KRS-One & Kool G Rap round it out for another build another cipher), giving something back to the people with Nothing is Quick in the Desert.

These aren’t B-sides or quick draft cuts but fleshed out songs with themes and all the hard break equalized quality and lyric equality all Public Enemy LPs have. The mastery to easily capture Ice-T’s Body Count flow and PMD’s strictly biz with their ideal beat changes, tempo variations and sound fluctuations melded by Chuck blasting, “Keep the catalog from fallin’ apart/Reach teaching new tunes from them old masters…But what the fuck is the problem that this world ain’t solvin’!” on “Smash The Crowd,” the thick bass suffocation of Threepeeoh’s “Toxic” using one of Chuck’s classic techniques of commentary, the massively clever layered question asking, “Can’t sing a song to save your life/But can you sing a song to save a life/Can a song save the world in this time of 45/45 beyond askin’/Can hip hop survive?” Interspersing it with builds on the fathers and mothers of civilization to supplement that knowledge degree (“Exit Your Mind”) and anthemic bursts of militancy as “If You Can’t Join Em Beat Em,” (“If you can’t join em
Know you gotta beat em) the success of the booming bass is a dominant success throughout as the full circle as the personal insight Chuck shared with me was already clued in on “SOC MED Digital Heroin” (“I ain’t talkin’ crack babies lost in the 1980’s/ Millennial grandkids who these gadgets made lazy/ People caught up in the triangle of their lies/ All comin’ out in the wash, will he survive?/ Triangle Twitter, Facebook, Tumblr…”). The one elevation in Chuck D’s lyricism I always witness growing is this poetically prose manner of concentrating countless ideas and insights in keyed phrasing, distinct questioning and wordplay that revises, reverses and remixes common sayings. Nothing is Quick in the Desert doesn’t sound quickly made and it is a brief listening gift that, like the greatest gifts is smaller, tougher and can be taken and cherished anywhere one goes. Public  Enemy Amplifies Chuck’s Excellence Almighty!


The Tao says of itself, the Way, that if it weren’t the Way then fools wouldn’t dismissively laugh when they witness it. And indeed, lots of lots of niggas think the Gods must be crazy. They chuckle when they drink, snicker when they smoke and sneer when their own humanity takes them the long way to right. So Sadat X remains unknown too many times because they dismiss so much of his natural humanity as a proof the gifts of his immortality are bestowed from some mystery. Some mystery God, energy or force that causes the illness all rooted in that Black man’s supreme mind. Always no when you understand, pressing rewind to gather The Sum of a Man and Sadat X’s infinite conversation with us has another finite capturing.

Diamond D, as with Large Professor on Cormega’s Mega Philosophy, produces around the inspirations of Sadat’s thematic ideals as the everyman uncovering his supremacy in the many daily toils. Many samples seem as Diamond’s opportunity taken to ill them greater as Nancy’s bang for a piercing G-Funk bassline on “Bang Bang,” and the 1,2 breaked womps of “Out Of Bounds.”  As most of the best music of this #InvisibleRenaissance, the musicality is in the subtleties exposed with good speakers and seasoned ears as most cuts are in a midtempo thickness like that the simple digi keys and talking bass rhythms of “Good Inside,” or the tinker belled chop on “Always Be My Lady.” Yet the glue are vibrant basslines that Sadat X verses uptempo (“The Five Boroughs”) to mid tempo (“Who’s Judging”). Sadat is a master conversationalist, an MC that never talks at us, but sits us down into the drums and speaks directly to our hearts and relates to the soul. His vocal tone is still absolutely dynamic and his inflections engage us with every story twist or every emphatic battle bars thrown. His insights to the knowledge of self are told as he puts his voice on your shoulder and volumizes a direction’s way to continue on our own. When we search for the presentation of Love and Loyalty of the Lo Lifes on wax or the life of the true and living God in all his glorious simplicity performed in song, Sadat X is the voice of this truly Hip Hop experience.

  1. CONWAY – G.O.A.T.

The mummified moguls and the grafted rappers buy the media. They already owned the press that counts–not this real rag but the one with all the tags. You know the magazines where talentless hacks take to the gram with rappers that write just as bad. And so these labels, mags, pods and media are all provoked towards the cardis that are weakly dealt. I wonder how tough real niggas in the streets really are. They almost always die on these billboards. When I listen to the brief, powerful, viciously raw and wonderfully ego rich G.O.A.T., them Rejects on Steroids were batting cages that barry bonded his power to survive all this dilution. I heard in the corners diluted can get you big money but also kill you. Maybe Conway, permanently talking ill shit out the side of his mouth, I’d like to think, will be as disrespectful to the successes coming to him. That’ll he’ll stay rhyming in ways that niggas can score their stupidest life threatening maneuvers and I can stretch out the use of this masterful mic gun stylistics for the righteous wars I shoot in. Cause, Sunez I see I, “I’m the God, keep it a thousand,” and I know the hardest work has gotta be coming soon.

So Daringer won’t listen to gentrifiers in print and try to vary and diversify beats but let them deeply bass sinister and clang the snares right on Conway’s every last punchline of disrespect. The style of our hatred, promised murder, storied shootings and stabbings and ruthless cream capers is such a fucking horrible beauty when the survivor tells it. Are you and Westside ready for the real hood? Signed, sealed and delivered by the good white auctioneer that scooped you, I won’t fucking be content with an endinem. We still need to learn about the real baton that Mobb Deep passed in to you and Gunn. Until the next war, G.O.A.T. keeps us enjoying the horrors.


“Times so synced with a peoples’ convenient cynicism
Them clones move freely,
Yet I, in stillness,
So stoneface”


“Stoneface’s thematic structure is literally a constant encrypted scripturing of revolutionary action, from the spiritual to the daily deeds.”


“They say that when the mumblers die in the trap they hear the Don G. A lisped sound of abnormal fluidity, as if words were meant to be manufactured for aural flight.”


Return of the Don is all literally another chance to see Jordan shoot in the gym, Baraka write another poem or Whitney sing another song.”


In this #InvisibleRenaissance where sampling is nearly outlawed by the mere genocide imposed by #TransReal rappers, the veteran greats are the new crates. Living crates that reshelf themselves in revamped sleeves for a future digger to find in secret glory. Tomorrow, the entire #InvisibleRenaissance era will be found and the 2010’s catalog of Showbiz & A.G (that will include them D.I.T.C. Sessions) inspiring someone in surprise.


Showbiz & A.G. are more Jazz A-Alike than the supreme samples we can attach to that supreme genre. They reveal the glory of musicians aged in the music, able to record songs that are so abnormally refined the layers unravel with deep listen yet the foolish will only dismissively hear Boom Bap.


On 2012’s Mugshot Music LP, Showbiz developed an intriguingly subtle highlighting of the treble smack of the snare, high hat and the deep clean basslines that merge it all. A newer type of dirty we hear there is even more impressive on Take It Back where the thickness of “Always Sound Hungry” lets the drum snares cough lively, the brooding boom of the bass drums on “Walkin On Air” lets snares tap in or the bass groove, whistle bell and rolling break like a mountain of chekeres rolling down a mountain on “Afro Child.”  Lyrically, A.G.’s content is magnified with the always vibrant Bronx mentality of its places, his experiences and Hip Hop ethics that now merge with his worldwide context as a performer, as a Black man with insight on our issues from a macro level (“Rise,” “Can’t Wake,” “The Answer”) and the ever calm fury of his battle bars (“Live With Show”). The entire LP is never without A.G.’s introspection and his emphasis on his Hip Hop ethos. Take It Back is a crate of tomorrow because this duo is so abnormally and amazingly effortless in their execution it will take years to notice.



The God rhymes stronger than ever before. There is a fury and freeness that collided in this decade, especially these last two years, where PA can’t stop rhyming. On an endless stream-of-conscious war where all of his thoughts from the near impossible hustle balanced with authenticity, the flyness of his acceleration and the knowledge of self he sees in more and more punchline power points, PA is ideal for this type of LP.

Clearly, Apollo Brown offers aural forums that the greatest MCs have destroyed in long players. On The Easy Truth with Skyzoo, his sample game really progressed and his formulas expanded with great success. So now, to admittingly use the sample/music highlighted track, made famous with Roc Marciano’s focus and made classic with reign of Brownsville Ka, is a great idea. To highlight PA’s lyricism is worth the price.

Apollo’s sample game here isn’t very original though his uses are unique, though not as complex as many of its earlier wielders. Still, Planet Asia is spotlighted and his incredible word choices are constantly demanding rewind. His stylistic phrasing inflects as another instrument and he always in-the-pocket with just a bassline or the barest melody.

Planet Asia is a rare MC whose entire catalog plays seamlessly and as it multiplies every few months, he is putting himself into the honor of GOAT candidacy. All the while Apollo Brown is reaching beyond the poor man’s Bronze Nazareth status for this now awkward mainstream underground and challenging himself with more concepts and themes. This is all peace.


“With words that scribble alpha into macros
Scramble #RespectFAKE into lower letters,
Capital punishments for micro-aggressions.

So sound the Wire! I sling crackers.
Take devils off the planet”


“…the depth of detail, the creativity of his word slang and its patterning of those fresh new words merged with the cleverest word choices become an all-time dynamic dialect.  In this poetic prose art of MCing it never really is about The GOAT only yet more so about the candidacy earned.  Raekwon is an absolute GOAT candidate….”


“I am #SkillastratorLO,
the man of the #ArtOnArt,
and yet my thickened pencil scraped in the soggy sheets
where no words could embed themselves.

Puncture a paper,
lose your forum and
excite a masochist stealing your lead.”


“Concise, dynamically memorable, diverse in ideas, insights and concepts whilst all focused in execution, Rapsploitation is Skanks’ greatest recorded proof of his MCing prowess and a powerful MC exalting production for Endemic Emerald.”



“Too many mind.
As niggas submit.
The devils conquer.
The God must masta.
My words I commit.
Rise levels o’ rancor.
Sunez, I just have to…”


“With RZA realizing there needs to be an immediate proof of the crew’s synergy, not merely their capabilities displayed robotically (i.e. A Better Tomorrow LP), he lends the God Allah Mathematics, their DJ and Wu logo creator, the production helm to re-establish that cohesive brotherhood in verse.  Without Method Man, none of it works and The Saga Continues truly is Method Man leading. And making it work.”


“Now you’ll be selling your soul
but you’ll be crazy enough to be original,
giving it all the honor it needs.
A terror in totality to topple the tariff they put on the good in our life.
We can sell all our thoughts in crafts
but they’ll never ruin our Waze, mighty souljah.
There’s a nova there.
Will I?
Will you see you?”


“Willie Waze didn’t just get into Hip Hop. He found his culture, this expressive form is his and he just rapped as he learned. So these are more than tracks. They are songs that play in streets and rooms, porches and parks, a canteen of emergent verses for souljahs by a fellow young souljah.”



“Just dance into a calculated cacophony

Alliterate all and alienate for the funk of fit, fly fullness

Internalize the traumas that the stylist grooved

The tough times behind the battle bars,

Hellish moments under the poeting lines needing to be unemptied

The stains of bad so good they write forever new

These just been a few metrics of a mister, a complex sir supreme.”


“With Forever New, Complex stretches himself even further with not merely the matter of meager MCs but with the subjects of our times.”
“My LO brother Lifelong noticed I stay writing while I saw he MCs from entrance into this LO & Lyrics showcase of LO Life MCs.  As he warmed up the crowd from his arrival, introducing himself to the people with sincerity, acknowledging his best of friends, he calmly enjoyed the LO family and Hip Hop lovers. His stage presence was slowly being birthed–I never saw the born months! Casually seated on the stage bench, he explained why the LO Life greats earned their due and how the earlier performers reveal a continuing legacy. Then he stood and entered us into chants. Back and forth we swayed and I resisted–I’m studying a technique, how dare I enjoy it all?! He rocked songs loud and I realized he could’ve whispered his verses with the lowest volume on his back breakbeats. We all would’ve listened. This was some page in the MC manual of the real, a stylistically voiced, perfectly enunciated,  grooved cadence, articulated warmth for daytime breaking or nighttime breakaways.  These books, if you read them are like reading Bruce Lee’s Jeet Kune Do pics and imagining you can enter the dragon furiously by posing the stances.  I crumbled up the other secrets and enjoyed his Bat Out The Cave LP another time.  Damn, those Master Controllers…damn…”

“So all your whole lifelong you really are under the ground, words on sound to find  those that wonder. Is there anyone, if there’s anyone here, let them know the acoustics are perfect.  I write on the cave and watch builders aware on their square fire out.  No one is as unheralded and deserving of much more than L.I.F.E.Long who has crafted the ideal hard core NYC MC career, the type that attracts through addictive battle bars and subtly injects the pains, struggles and reality of life. A survivor of the Dark Ages (2000s), this Bat Out The Cave LP in this decade of the Invisible Renaissance, may be his best ever. Bunty Beats achieves a grit that is marked by great tempo shifts that keeps the LP lively from slow to upper mid tempos with power scratching, diverse drumming, crescendos and isolations—arrangements that expose L.I.F.E.Long’s high pitch drone, layered delivery at his best excited paces. Bat Out The Cave masterfully displays the powerful cipher of NYC MCs (i.e. C-Rayz Walz, Poison Pen, etc) whilst displaying some nice talent out in the UK where Bunty Beats originates from. The 2017 collectors with a depth in their rugged collection will have this.”


“Sugar to carbs to electric motions,
Notions of metrics in witty barbs of rigor

The starvin is an orchestra, an anti-Donny Hathaway lead
Singing in the pen, souled letters to imprison ideas upon the world

Yet a loveliness of verbose soaring in prose of principle”

“The surroundings, our realities at that very moment, his health losing to his illness, Starvin B turned my scars into graffiti and I smiled, rooted and awed at the music again. No original recorded material performed. Starvin B knew it was only for that One Take. When we left and were back in the Digital Jungle again.”


“If the Teacha teach macro damage then Big Joe Krash gotta sometime shoot the micro savage

All world is mind and all children are mine

Killing Rapists & Sodomites-Of Niños Everyday”

“Prepared to pounce any pedophile, I still work to understand the larger picture of revolution that KRS-One has never wavered in focusing himself and us on to.”


“Oh! But if the cipher we could see. Oh see! We’d see the same sun–a mosaic of Black and Brown issues that live under the massive temperature in the palms of pressure and the feet of stagnation thrust upon us. We’d see the same moon–the ever rotating ciphers in the craters, crates of precision patchwork filled with the lyric scriptures that levitate the laymen, to everyman then to the supreme man. Oh! You see that grammar?! O.C.!”


“Same Moon Same Sun is an MC work of execution where all of O.C.’s gifts are exhibited abnormally flawless, the type of album that only pops when you undo it’s layers listening intently.”



“Damn, the cipher of these capitalists we return be a flush of flesh aired. In this world where cops rob and thieves cop, we need to listen to the talked text a legendary pimp funnels.”


“RR is Roc Marciano’s continuing theme to win the daily concrete crusades with the finances of finality (please enjoy verse two of the title track) and acknowledge the grand scheme of the bloodsuckers’ war all with MCing that appreciates with more listens over well mined and reworked music.”

    “Masta kill all in no mind
    Four devils returned, I dine
    A-Alikes, remembered in perfection,
    So royal a loyalty, a saga’s resurrection

Who would not be real even longer?”


“That theme of the brother, a streetwise righteous man of KOS, is upheld with real song concepts on Loyalty.”


“The uniforms camo’d with the three pillars blend:

knowledge of self–the blacks, browns and yellows;

love and loyalty–the reds of understanding and the royalty purples;

and the original creativity shades–the thinking man blues and only the earned green,

deemed only to redeem the precious precocious.

Camouflaged to weaponize the greatest warriors
in the plains of the leeches’ hatred,
the children’s assault commences…”


“Camouflage Children is another hardcore treasure and actually will only be diluted by the many more works Teraban releases afterwards on the same or higher level. Their MCing techniques and the possibilities for them to even dive deeper into concepts are even suggested here.”


“So howl and thirst in spree of three,
To steal everything
and yet the culture will never be robbed…”


“Ever working and releasing collected long players selecting from mass batches, he compiles the most concentrated hardcore batch that defines the General’s expansion as a leader in this poverty provoked progressive arts generation–the LO Lifes.”


“The paper in my tears wipe words,

melanated stanzas to spell on grafted sadness

The laughter of these scripture giggle a flood

The happiness a sediment of understanding formed”


“There are few who have such a merging of insightful writing skill with the ensuing vocal dexterity to perform it.  It all turns Hip Hop into the peak it ought to always be.”


I never forgot the God. I never overlooked the talent, absolutely gauged the talent and stood truly impressed with my forecast as an essential one becoming true. So brother, DJ Toshi and I wait for MCs as Gemz to show up because their words shape more and more but as a vessel for the people, even as they might be exposed more so to the worst of men. Would this not be the daily goings of a prophet in the most advanced Babylon the minds of indigenous intelligence could be raped for?

You, there with the drumming rosary. Are those beads the counted hopes of the desperate or are they the not the math’d options created in yesteryear’s mind now set forth to remember? May we daringly innovate and God damn it! Damned I, be the one that gives us a fighting chance!

In 2017, what Spit Gemz recorded was the good fight and he won so many rounds it was only right that they be recorded. The record’s only detriment is that I didn’t forget the drum patterning that riles up Gemz and they are oft used here without the diverse musical brilliance that marked Godly Features. Yet if production, more than beatmaking, is to allow the MC a forum, to release challenging ideas from personal experience–true spotlights of experienced wisdom to revealed understanding (the Biblical critique of “Heaven’s Dungeon,” to the meditative retrospection on self and his brother he worked/s to raise up with him on the title track) powerful concepts (the beautiful ode to his daughter on “Father of Purity,” the anthemic Lo Life ode of “Lo-verine,” the definitive purpose and mission statement of “Master of the Universe” and it’s posse cut remix or the ultimate integrity of “Bulletproof Drummer”) and capsule this moment of his ever growing skill sets (the extremely live wordplay of “Exorcise the Exorcism,” the tough stuff of “Blackbook of the Dead”) then Stu Bangas leads the charge. The God Who…becomes the ideal lyricist record that rewards the edutained study of repeat listenings whilst it works functionally as a warrior’s training playlist. If I miss building with my brother Gemz, please remember I didn’t forget about the God. Listen on repeat and don’t forget it’s always peace. Performed Essays, Allah’s Captured Excellence.

    “Complete freedom is the palette of the poet in the song. They wonder of general themes and place flowers into the grass of their technicalities.  Seeds of intention are everywhere. Rhymes of soil, sounds that change yet so familiar to the prior. You’ll hear the petals let raindrops smash snares on their lush bars and hummingbirds of the other elements inspect and invent with fluttering hearts.  A blooming cipher continues just by the lushness of the voice serving as a pollen that reproduces itself into countless songs.”


“… to hear a sister with so much natural talent and gathered wisdom start her journey of long player creations so powerfully is a blessing. Bask in these Marquee fields.”

  1. LORD JESSIAH – G.O.D. 2☆
    Justice is a judgment of hearing

    The rhythm of crime in the first snare

    That will one day equalize in the kicks

    Seeds in the high hats everywhere

    Thickened basslines curve around the Earth

    Wed in the verses, a grooved union.”


“Jessiah has painted himself into the top producers of this era with this third work and second masterpiece in a row. G.O.D.2 is a beat essential with Jessiah’s growing MC talents whilst historically, the inclusion of such skilled, accomplished yet criminally unheralded MCs of Detroit give the LP a special value.”

    “Alarmed spotlights are now on I, Blackheart man,
    Debarge tone, Lavoe lingo,
    with a serenade of cream clash in firewood of burnt bridges

    No roads I walk for a woke that’s just a wily wake
    Nigga, it’s Knowledge-Of-Self or Bust!”


“With just build numbered songs and two skits, the concentration of depth is enormous and with no guest features, it is entirely thematically driven by one of Wise Intelligent’s greatest attributes here at its acme. That is that he has no fucks to give and will speak the truth with proofs of insight….Gensu has inspired a long player of extended thematic illness with  extreme focus from an MC. It all borns another supreme album that absolutely ranks with the Poor Righteous Teachers’ classics of the 90’s.”




“P!, a supreme being return from whence he turned by the beckon of the button that wields his bars”


Mrs. Price has executively produced a testament to a family legacy of Original Creativity that honors its father figure, allowing us to remember in perfection.”



Let a Black man live lively, who lived a pain that surprises and agitates, terrorizes and paralyzes just as if chattel slavery divided its mementos into his bloodstream, a lynching in every drop, a middle passage in every navigation through the vessels.  A whole story of blood in a swinging sickle, defiantly looping bars from every cell of thought.”


“As his last LP where that last surge to share a growing knowledge of self continued–“You are now listening to the sounds of God in the flesh, my lineage is ancient”–and now one of the ancestors to be Remembered In Perfection.  Prodigy is a legend. Of the Rakim school and just as Guru took the voice to another level of depth so did Prodigy. P’s was one of sinister reflection,  unwavering resolve to survive savagery and yet saw the greater enemy. He took the blackonblack hells to their utmost contradiction.  He killed every nigga out there. But it all settled as dust of battles in a larger war, the one that nobody is safe from. On Hegelian, the beats are as most his solo works, filled with the more supposedly viable, more diluted tough that started in the #DarkAges (2000’s), but every last track he speaks to us as we are living, not down as we are his casualties, a whilst demanding we listen and continue to live stronger. This is a most honorable musical return to the essence.”

[NOTE: From an unpublished review on Prodigy’s Hegelian Dialectic]


-1. Kendrick Lamar – DAMN

The blackeminem is the most overrated rapper today, an MC of above average skill lauded as technically gifted for his massive in and out of the pocket flow failures at higher speeds and horribly afflicted with Kevin Hart’s “they-wasn’t-ready” voice sharing blackened neo-liberal themes that fit comfortably for the ever diluting BlackLivesMatter movement and as the urban pop beds played during NBA games.

-2. JAY-Z – 4:44

#RespectFAKE, they do, indeed. A vomit revival to vomit the math that marshall’s a masterful work of hypocrisy. See, we worship winners because our animal features aren’t from special cages. Like a pig in the law’s blanket, a mouse trying to pop out via yesterday’s treble trailer trap or a snake that slithers his success around us in smothering lore. Now all the real competition has been payola’d away, they hired the avengers to scavenge the soul’d armour of Tony Starks’ or anyone who is with the people.

Jay-Z is one of the most talented MCs of all time and one of history’s greatest appropriators and the time, 4:34, I wrote this, ten sixties before it happened I knew the revolution wasn’t coming from any billionaire. The grooves will be all well placed by 4:44, no one will notice the title track is equalized as if he spoke his disingenuous apology miles away in Puffy’s #TransREAL harem. Plastered pastor Mase, can we get a holy ish?! Illnesses of the talented with real legacies to compose. At 0:04, about 13 years ago, “Hell Yeah” with dead prez was supposed to signal the revolution. But the years have only been bad reppin’ with Barney’s racist rubble, charities that’ll lose your money as fast as any Clinton one, swallowing young gunz and electronicas and co-signing the gentrification of the same Marcy they wanna ‘brother brother mercy me’ on. Is “The Story of O.J.” a great song because it will be true of us field felines and languished lions in a too-tiny-to-place rat race or that now we finally can relate to the winner as he claims his realness is preserved because the authenticity of the cracker up top is intact? These are philosophical questions for niggas that may never be asked though the tempos are hideously slow and we have to bear a billionaire’s retrospection, not remorse, as he attaches himself to one of the greatest poverty palaces of song justice in the universe, Tuff Gong, via warrior Damian. The lore of this record is a black billionaire now champions for you and while Oprah reinvents herself for all the people, Jay now sets his roots in the mindset of us the people too. From Carnegie to Trump, the genius devil to the fool cracker, our hearts and minds are the last purchase, between Boardwalk and Go where the legacy of the illuminopoly reside. 4:44 will pass a billionaire that cares. The we-with-nothing but the similar concrete scars will thank his overcharged notes. Notes that only beautify the ferocious rugged individualism, the crucial proto-european-american ethos, that lets us stab ourselves so joyously. So what time is it? 4:44, when we empowered our own demise and when we pray for our only hope of financial freedom, we will all cheer, “#RespectMyFAKE!”

Sunez Allah #SkillastratorLO of the LO LIFES


The organization of these principles around a counterculture, an expressive arts of creation that uplifts the ideas and thoughts of an oppressed people, is why I’m an honored builder amongst legends, knighted by heroes of Medina (Rakim Supreme Shabazz Allah/Rudy Lo, Thirstin Howl the 3rd, Bonz Malone) to further create in my element as a Hip Hop Writer of #ArtOnArt & #ScienceOnMusic. So the world may find love that locks in with the action of loyalty though they may never find another writer with my kind of grammar…


Representing the pillars of:




Peace, Sunez Allah

#SkillastratorLO #PowerWrite