I don’t know if Esoteric actually spent time in the land of the Rising Sun, but Esoteric v. Japan (Pterodactyl Takes Japan!) is a vicarious adventure to the Far East via lush sample-based production. Tracks like “Feudal Lords” and “Knifegirl” are instant hip hop classics with punchy drums and sample chopping massacres that sound like the bastard children of the RZA and DJ Premier.

This album is more Matsumoto than Miyazaki, full of constant action and sporadic plot lines. Like most cool stuff from Japan, it should be enjoyed with your stoner friends and hidden from your girlfriends. Eso has dug deep to expose us to a broad range of inner nerdus, employing a flood of diverse source material ranging from Godzilla toy commercials to Japanese surf rock and everything in between. He beefs it up with versatile boom bap, and through precision sequencing creates the effect of channel surfing through a haunted Japanese film archive. Oh, and he raps on most of it and its really good.

7L and Esoteric (7LES) have been appealing to the young at heart since 1996, with their debut single “Be Alert” which sampled the theme from Transformers (including that coveted transformation sound effect). Esoteric v. Japan is in the same vein, with an abundance of clever references in both the production and vocal content: “I’m on some Rachael McAdams, you’re on some Jamie Lee Curtis” I know Esoteric has seen JLC endorsing that yogurt that helps you shit more often!

Golden Age aesthetics run rampant throughout this mix, including crisp drums, chopped samples interrupted by DJ cuts and dialogue, and Eso’s vicious rhymes. The pace is always quick, and there are endless instrumental and vocal breaks to let you forget you’re listening to a rap record.

A few legit Japanese emcees contribute for street cred, and folks with even a passing interest in Japanese music and film will find themselves wanting to practice flying roundhouse kicks in their bedrooms while this is playing. Esoteric v. Japan is as entertaining as the entire Karate Kid Trilogy, and dare I say, the esoteric-ness of it is worth the acquisition. Long live the creative vision. –Chris Seeger

Throughout his career, LB has pioneered a unique version of funk rap, using tongue-twisting rhyme patterns and over the top, often giddy production. The mood on Everywhere at Once is similar to the euphoric works of his past, which might be attributed to the warm Cali breeze he endures year round. Lucky bastard.

The lead single “I Like It, I Love It” picks up where “Callin Out” left off, employing a massive bass line and Cali-bounce percussion. P Funk-inspired synths are sprinkled throughout, setting a familiar foundation for LB to channel his inner-Bootsy. Does he keep sequined knee-high boots in the vocal booth for tracks like this?

“Cakewalk” maintains the high-energy on Everywhere at Once. The machine gun 808 bass and hand claps have been used hundreds of times in hip hop, but LB’s revival of the Bay Area party-funk sound breathes new life into the formula. The instrumental could get passed for a classic Eugene Blackwell gem, but Trackademiks take the production credit on this one.

Sometimes LB’s funkiness is too carefree, like on “Top Shelf” which combines an acoustic guitar riff with a two-step dancehall riddim. This kind of genre crossbreeding should be reserved for Santana albums that appeal to middle-aged soccer moms who don’t know any better.

“Do U Buy It” is another example of genre-splicing gone wrong. LB attempts to tackle social grievances, a noble cause indeed, but the 80s new wave influence of hand claps, electric guitar and synths, makes it impossible to take him seriously, let alone concentrate on the compelling lyrics. This could be handy for DJ’s though, if you are stuck trying to transition from Devo to King Tee.

“Rules Were Made To Be Broken” maintains the Quannum funk-hop trademark, and LB slithers throughout the beat at varying speeds. “Is It the Skin I’m In” is tailor made for cruising the boulevard with the windows down, while possibly blowing something in the wind.

Everywhere At Once is Lyrics Born’s most introspective record thus far, and he continues to raise the bar in the funky hip hop sub-genre. The absence of cameos from label-mates Lateef and Gift of Gab is upsetting, but LB proves he can rock solo on 18 tracks. Fans of the Quannum label will be pleased with LB’s growth, and plenty of these tracks could upgrade that summertime mixtape you’re working on. – Chris Seeger

Now 24, Black Milk has been elevating his status as a rapper/producer for the last few years, but his rep isn’t established enough for him to take any experimental chances on The Set Up. Rather, he continues to establish his trademark sound and confirm his status as the Motor City’s premier beat maker.

The long history of automobile production in Detroit has perhaps subconsciously crept into the minds of local sound engineers, because every record that comes out of Detroit sounds fantastic with the bass booming in the whip. The city’s lack of rap talent has led many fans to characterize Detroit hip hop by its instrumentation rather than rhyme style. More specifically, music that is produced by or sounds like it was produced by J Dilla.

Black Milk has definitely adopted some of Dilla’s production tendencies, but his beats have enough authenticity to avoid charges of style biting. Until Black Milk demands listeners “Turn it up”, the comparisons to J Dilla will remain as a musical influence, not a rip off.

The Set Up opens with “Flawless”, an urgent track with a rapid fire filtered guitar loop and Fat Ray doing his best Dipset impression, spitting a stop and go flow that doesn’t quite hang with the Harlem outfit.

Black Milk continues to flip rock samples with expert precision, as heard on “Not U” with its looped riff and crispy acoustic drum sequencing. At the end of the track Black Milk lets the drums ride solo, exposing his razor sharp high hat and snare sequences, a treat for the listeners who care more about the boom bap than the shit talk.

Speaking of shit talk, The Set Up is full of it, and subject matter rarely deviates from standard street rap themes. Guilty Simpson joins on “Bad Man”, and even his famous scathing charm is absent during a standard “this is how hard my hood is” verse. Phat Kat and Elzhi guest on “Get Focus”, dropping threats of violence over Black Milk’s twinkling synth and bone dry percussion.

Black Milk’s verses tend to be slightly more in depth than those of his cohorts, but his efforts are better focused on his MPC. He is one of many rapper/producers in the game, but he probably wouldn’t feel so obligated to improve the lyrical content of his tracks if they featured stronger emcees to begin with. A collaboration with a wordier, more versatile rapper might finally get Black Milk’s name in the rolodexes of major label big wigs, allowing him to carry Dilla’s torch to the top of the game. – Chris Seeger

His wit, charm and calculated swagger are all in top form for his solo debut. Folks expecting a lyrically diverse record should keep it moving, because Guilty is almost too consistent, to the point of sounding repetitive. Luckily he’s recruited some of the best producers in the game to diversify his thundering verses and rewind-worthy punchlines.

Madlib, Oh No, Mr. Porter, and Black Milk take turns at the helm with varying success on Ode To The Ghetto. Mr. Porter comes the weakest, especially on “Robbery” with its annoying and repetitive synth work. Luckily for Mr. Simpson, his label-mate Madlib saves the day with his spaced out boom-clap trademark. “Pigs” features Madlib’s psychedelic approach to a tribal dancehall riddim, and Guilty going nuts about rap’s favorite scapegoat—la policia. “Yikes” continues Madlib’s production dominance on the album. He apparently took a break from the boards to catch up on some Super Nintendo because this banger sounds like a hip hop version of the theme from Bowser’s Castle in Super Mario World.

I hate to be the one to say it, but it seems the J Dilla archives are finally dwindling. He has one posthumous contribution on the track “I Must Love You”, but the beat is sub-par by the standard Mr. Yancey established. Not to mention Guilty’s embarrassing attempt at singing on the hook. Black Milk, aka Junior J Dilla, drops some haunted synths on “My Moment” and chops up the “Big Beat” drums on “The Real Me”. Both tracks are superb, due to their Dilla-esque qualities.

You’re going to love or hate this album three tracks in, but at least you know what to expect from Mr. Simpson. He sticks to what he knows, which thankfully is the art of ripping mics. Lyrically, Ode to the Ghetto is a solid freshman full-length from one of Stones Throw’s finest. Maybe next time around he will stick with Madlib and become the weeded out Gang Starr of the 21st Century. That would be fantastic. – Chris Seeger

Their latest release, The Diary of an American Witch Doctor, falls short of the quality fans have come to expect from the animated indie trendsetters at Williams Street. With their headquarters in downtown Atlanta, Williams Street kept it local with this release, plucking Witchdoctor from the depths of the Dungeon Family collective, which is based in the ATL.

Known for their progressive vision, perhaps Williams Street’s biggest misstep was attempting to push a record from such a conservative southern rapper like Witchdoctor. Following compilations from hip hop innovators like Stones Throw and Def Jux, Witchdoctor’s dated style is an awkward step in the wrong direction. Modern southern rap superstars pride themselves on smooth, rhythmic flows (i.e. Big Boi, T.I.) and made-for-ring-tone productions. Witchdoctor offers neither of these attributes, and it’s not because he’s trying to reinvent the sound of the South, he’s trapped in the style of five years’ past.

There are numerous references to God on this record, including two interludes, “God Iz Good” and “Wonderful God”. Witchdoctor’s intentions are unclear with his inclusion of religious references, especially because his lines about God are usually followed by a line about murdering someone. Such conflicting messages are sure to repel the Christian fan base he might have been trying to reach. For example, on the track “Suicide Bomber” Witchdoctor raps, ‘No bodyguards, no body armor, keep angels close and surrounded by your karma/ Get up under God’s desert shield, nothing wicked can harm ya/ I came to inform ya” Sounds like a nice message to his fans to embrace God and surround yourself with good karma, right? Well ten seconds later Witchdoctor says, ‘I hook my enemies with my pistol in their six-pack”

Can I get a “What the fuck” from the congregation?

Numerous guest spots from unknown southern gangster emcees contribute to the lack of quality on The Diary…Worst of all, Witchdoctor’s latest doesn’t even have a club-tailored single to fall back on. The entire record is consistent, but the quality is sub par. The result? A consistently bad (meaning bad, not bad meaning good) record that fails to find its voice.

If two of your hobbies include praying and killing, you need help. But at least you can listen to this new Witchdoctor album on your way to therapy. – Chris Seeger

Tim Holland, a.k.a. Sole, is one of the label’s founders as well as one of its most consistent contributors in terms of quantity, and this record marks his debut with the Skyrider Band.

The self-titled project from Sole and the Skyrider Band is Sole’s most accessible to date, due largely to the contributions from the band, and the subsequent abandonment of his usual dark and abstract instrumentals. Recalling a line from Sole’s 2003 release Selling Live Water, he said, “I only rap cause I’m not smart enough to write a book.” While he still opts for auditory releases, his albums contain enough dialogue to give the feeling of a rhythmic book on tape. Each song is like a chapter, packed to the brim with tangential ideas until the music stops. Lyrically, this album will take longer to absorb and appreciate than most other hip hop releases, but the Skyrider Band offers a beautiful soundtrack so you can simultaneously nod and scratch your head.

Standout track, “The Shipwreckers” is a delicate soundscape anchored by a steady acoustic drum beat and occasional glitch, creating a warm canvas for Sole to proclaim, “Welcome to the ocean, let the champagne fill your lungs, the shipwreckers name is only remembered by the sea”

Before the Skyrider Band, there was just Skyrider, a.k.a. Bud Berning. An electronic musician and dub bassist, Berning lends his dubabilities to the track “Nothing Is Free”, a nu-dub adventure that combines a traditional dub snare and key harmony with a rapid fire bassline and synth fills that retain the cohesiveness of this song to the rest of the album. (Being a beer geek, I have to mention that Sole references Fat Tire beer, the famed Colorado brew that us East Coast dwellers can only obtain on ski trips to the Rockies.) Sole also offers the valuable advice that “you can’t kill God with a slingshot”. Just in case you had plans to do so.

The distorted guitar on “In Paradise” and the acoustic strumming on “A Hundred Light Years And Running” contribute to the welcomed production diversity. The jittery, bouncy drums and chopped keys on “The Bones Of My Pets” show that even when not rocking with the band, Sole is updating and refining his sound.

The initial lyrical overload on this record should be taken with a grain of salt, and patience is definitely a required virtue to soak up everything Sole has to say. The listener would benefit if he occasionally paused to let the more poignant lines sink in, but Sole would probably object that a pause is simply a void begging to be filled with more words. – Chris Seeger

Rick Rock isn’t an official member of the group, but his neck-snapping productions are the most appealing aspect of this album. Hyphy is not a style known for its lyricism, but the three emcees hold up their end of the bargain by delivering intense lyrics with a distinct Bay Area aesthetic. They attempt to keep content fresh, but Federation eventually find themselves rhyming about tired topics like rims (“My Rimz”), intoxication (“Got Me Fucked Up”), and baby’s daddies (“New Baby Daddy”). But hey, this is hyphy music, not neo soul, so these odes to deviance are to be expected in order for credibility to be maintained.

Check the E-40 collaboration “Scaper 2 A Benz” and its addictive minimal production. E-40 comes weaker than usual, but the Federation boys pick up the slack and exploit the opportunity to outshine the West Coast legend, which furthers their reputation as one of the Bay Area’s finest new groups. “From to the Bay” leans heavy on the synths, and its stutter step, hand clap infused drums create certified rider music for those hazy nights in the 707. Repeatedly yelling “I’m from the Bay nigga” is also a surefire way to catch some hometown support.

Like all regional sounds, there is a ‘typical’ way for a song to sound so it can be classified as such. 90s New York rap was classified by the boom bap drum structure, and the ‘dirty south’ style is easily identified by simple 3 or four note synth progressions. Well, hyphy has a typical sound too, and “Get Naked Beezy” is the manifestation of that style. After one listen, you’ll understand why the warning at the beginning of the record recommended opening your car doors and smoking purp. The chanting, the video game synths, and the stunna van references embody the hyphy culture to the fullest.

The energy of It’s Whateva takes a noticeable plunge in the second half of the record, and instead of inserting more typical hyphy tracks to wake up the listener, Federation drops two pseudo-metal meets crunk things, which certainly aren’t songs by any means of the definition. Don’t abandon hope too soon though, because the first two verses of “Bang Bang” flow better than any other track on the album.

Even though there are a few obvious missteps, Federation deliver enough bangers on It’s Whateva to ensure that fans of hyphy will continue to check for their releases. The album lacks an overall cohesion, but its uptempo singles should carry the weight while the group finds its collective intention. – Chris Seeger

Rappers have been making video game references for years. Biggie immortalized the two major game consoles of the 90s with his line, “Super Nintendo, Sega Genesis, when I was dead broke man I couldn’t picture this.” Thirteen years later, the relationship between hip hop and video games has developed an even tighter bond. Everyone from Madden to Tony Hawk have included hip hop tracks in their games, but no game publisher has gone as far as 2K Sports, who borrowed an essential aspect of hip hop, the mixtape, to promote their products and flaunt their soundtracks. The first installment was arranged by Decon Media & Okay Player with the NBA2K6 soundtrack, followed by last year’s NBA2K7 soundtrack produced by Dan the Automator. For the 2008 game line-up, 2K called on west coast heavyweight Peanut Butter Wolf to handle the selection duties. Somebody at the 2K office must have been feeling the Chrome Children mixes from earlier this year, because B-Ball Zombie War follows the same format of those albums: a who’s who of Stones Throw with no particular method to the madness. That’s okay though, because Stones Throw is currently sitting on some of the biggest names in indie hip hop, and this latest mix furthers their reputation as the West Coast’s most innovative label.

Guilty Simpson’s solo debut is so close you can taste it, so in the meantime, Detroit’s realest emcee delivers two new tracks produced by the late J Dilla to help fuel the hype. “Make it Fast” finds Guilty spitting over chopped strings reminiscent of “Tippi-Toes” by the Meters. Mr. Simpson spits like an experienced OG, with lines like, “I’ll stomp your bitch ass out, and wouldn’t scuff a kick.” His other track, “Mash’s Revenge” features MF Doom, and uses the instrumental “Mash” from J Dilla’s “Donuts” album. The understated drums allow Guilty and Doom to flaunt their typical tricks with minimal distraction.

Two Dilla tracks not enough for you? You’re in luck, as one of the heaviest tracks on B-Ball Zombie War is “Lightworking”, which is a remix of “Lightworks”-also from J Dilla’s Donuts album-with new verses from New York legends Q-Tip and Talib Kweli. Fans of Donuts are going to lose their shit when they hear the Abstract and Kweli freak this psychedelic scorcher. The final Dilla contribution is a remix of Quasimoto’s “Hydrant Game”, which trumps all previous versions.

Another instrumental track that gets revamped with lyrics is Oh No’s “Action” from his recent Dr. No’s Oxperiment. It was evident that it wouldn’t be too long before Oh No started releasing vocal versions of these tracks; they are just too damn fresh to remain word-less.

Madlib offers four tracks under four different aliases, with mixed results. His best, perhaps, is his debut as the Supreme Team with Karriem Riggins on the track “See”. They use a vocal sample of the word “see” to end each line in the fashion of the third verse of “Emcee” by J-Live (on his All of the Above album). Madlib’s solo tracks “The Wigflip” and “Trouble” simply sound like throwaways from past Beat Konducta projects.

Aloe Blacc’s track “Find A Way” is certified bananas. This self-produced gem finds Blacc crooning his way through a buttery smooth soundscape of horns and strings, and I hope this is an indicator of future endeavors.

The second half of this album contains some songs that could barely be categorized as music. Every aspect of CX Kidtronik and Tchaka Diallo’s “Big Girl, Skinny Girl” is annoying. In 2008, it’s hard to imagine anybody actually wanting to listen to these cheesy rhymes over pseudo-break production. The same goes for DJ Babu and Niko’s “Now You Know” which is a bland Babu production featuring a 4-year-old rhyming about being 4 years old. Listeners might feel outside of the loop with some inside joke at Stones Throw, but either way it’s curious as to why PB Wolf included these tunes on this project. Aside from those disasters, however, B-Ball Zombie War is the best Stones Throw Comp thus far, and provides a genuine look inside one of the most eclectic record labels in the game. – Chris Seeger

To be brutally honest, the higher ups could have told us that this was a Madlib record and we wouldn’t have thought twice about it. Oxperiment possesses the same blunted overtones found in the majority of production from the Stones Throw camp, and the only real difference between this album and a Beat Konducta album is the consistency of Oh No’s drum sequencing, where as Madlib often slides into broken beat structuring without warning. That being said, if your instrumental album is going to sound like the work of someone else, Oh No’s older brother, Madlib, is a damn fine choice for a point of comparison.

Check “Higher” for Oh No’s top notch chopping techniques, and one of the illest snare/high hat combos on the record. “Ox Broil” is a dizzying banger, beginning with the sound of water boiling, then diving into a psyched out whirlwind of noise. The abstract samples glide back and forth between headphones, and a bass-heavy set of beautiful mid-tempo drumming prevents the track from going too left-field. That seems to be the idea with a lot of Oh No’s and Madlib’s production these days: anything goes sample-wise, as long as a sturdy bounce aesthetic is maintained by the drums.

“Alarmsss” features the now-required buzzing bassline for a Stones Throw hip hop record, though the use of airy psyche sampling balances the dirty digital lows.  The funky strings of “My Luck” sound like the theme of a Turkish tv show about a detective who isn’t afraid to slap a grown man across the face to get some answers.

Overall, Dr. No’s Oxperiment is a consistent instrumental record that furthers Oh No’s reputation as one of the top boundary-pushing producers in the game. Paired with Madlib’s latest Beat Konducta in India project, you’ve got a solid 3-hour soundtrack for your next Middle Eastern themed hip hop party. Curry and Kangols till the break of dawn. – Chris Seeger

This album fits nicely the ‘crunk’ genre of southern rap, which prides itself in repetitive, flagrant lyrics over hard charging club beats. Therein lies the problem with Pastor Troy’s new record: there isn’t a damn thing on here that we haven’t heard before. Troy speaks on tired topics like intoxication (“I’m Fucked Up”), and sex (“Wanting You”). In addition to played out subject matter, Troy’s rhyme skills barely exceed a 3rd grade level. Don’t expect any complicated word play on this record, Troy sticks to simple, one syllable rhymes like stunt/blunt and down/town.

The beats on Tool Muziq are similarly predictable, relying heavily on synths laid over pounding basslines and electronic drum sequencing. Forget playing these tracks through crummy laptop speakers, as their booming lows are more suited for the club or a whip with a decent system. The only true instrumental diversity comes on the track “No Money” which features a silky smooth West Coast-style beat via Ice Cube’s “You Know How We Do It”. Unfortunately, Troy’s raspy, intense vocals sound best over the duurty south-style rhythms.

Pastor Troy also cashes in on a hit from the 80′s with his rendition of Donna Summer’s “She Works Hard for the Money”. His version, “Hard for the Money”, features a similar hook: “She works hard for the money, so the gangsters treat her right”. The song is void of any sample sources from Ms. Summers’ original, opting for-you guessed it…synths and big basslines.

Fans of crunk music might find a handful of singles on Tool Muziq that are worth bumping in the whip, but those in search of innovative, content focused tunes should look elsewhere. – Chris Seeger

    First of all, if you are a first generation Rawkus fan, you need to throw your preconceived notions of the ‘Rawkus’ sound to the wind, because 8 years after their original collapse, things were bound to change. Actually, this album sounds more Rhymesayers than Rawkus, but enough of the label semantics?  Blue Scholars is Geologic on the mic and Sabzi on the boards. The formula is pretty much the same for each song: midtempo new school boom bap with three verses of laid back, conscious rhymes. No guest spots or skits here, just two men out to show and prove. And that’s exactly what they do.

    In terms of production, there isn’t one song where Sabzi half steps. He runs the gamut of instrumentation, chopping strings, keys and horns with flawless precision. His talents result in an album consistently laced with melodic headnodders, and Sabzi never goes the Mannie Fresh route trying to outshine his vocalist. Thankfully Geologic is up to the challenge, delivering verse after verse of social commentaries that flaunt his lyrical prowess on the mic. He is one of the most content-focused emcees I have heard in years, never relying on lowbrow punchlines or grandiose hooks to win the respect of fans. His verse content deals with a variety of topics, from the fresh take on an anti-war song on “Back Home”, to the evocative and heart-wrenching tale of an immigrant in the U.S. on “The Distance”.

     The only downside lyrically is that Geologic’s cadence doesn’t really vary throughout the album, but his content is so relevant and poignant it often doesn’t matter. Bayani is a headphone masterpiece that won’t be finding its way onto the dance floor, but it’s clear that wasn’t their intent. The ultra punchy “North by Northwest” would probably work as the best single cut to check out, if you are curious about Blue Scholars. It’s horn stabs and chopped vocal samples will provoke instead simply get the head nodding, and it doesn’t carry the somber undertones found on the majority of the tracks on this album. On Bayani, Blue Scholars prove that perhaps there is a bright future ahead for Rawkus records, as long as they are the ones carrying the torch.

    Just like the first Chrome Children Project, this album acts as a brief introduction to the majority of the Stones Throw roster. The big names get just as much shine as the lesser-knowns, with everyone except Madlib getting just one track to show and prove. The production styles go way beyond hip-hop, so all you boom bap traditionalists should stop reading now and go check if we have any Gang Starr re-releases. Most of the songs could be classified as hip hop, but there’s also plenty of funk, jazz and break beats to keep things moving.

    This is one of the few Stones Throw mixes that doesn’t feature Madlib on nearly every production credit. His two instrumental tracks “Selah’s Children” and “Chrome Dreams” sound like the last 100+ beats he’s released under the Beat Konducta moniker, but this shit is still farm fresh. His only other appearance is on the Jazzistics track “Marcus, Martin, and Malcolm” which features the blunted abstract jazz sound that Stones Throw has championed in recent years.

     Speaking of getting blunted, the psychedelic scorcher of a beat that Four Tet drops on “Money Motivated Movements” is tailor made for those days the forecast in your dorm room is ‘extra cloudy with a chance of the munchies’. Just make sure you aren’t so stoned you miss the lyrics from Detroit’s man of the moment, Guilty Simpson, who drops raw heat as usual. More street talk can be heard on Roc C’s “Living for the City” which features production from Oh No. Throwing current trends to the wayside, Oh No lets the beautiful vocal sample play at a reasonable speed, and I couldn’t be happier. If I hear one more chipmunk diva Kanye knock-off I’m going to the trunk to pull them thangs out.

     On the funk tip, James Pants and Gary Wilson each deliver some uptempo loveliness with “Murder” and “Soul Traveling” respectively. Chocolate Star (aka Gary Davis) finds his groove on “Stay With Me” which features some nice key work and belongs on all of your late night playlists. (Not the one with Jodeci on it, the one you listen to when you’re falling asleep.) Meanwhile, J.Rocc takes a break from slicing and dicing funk 45′s to drop “Bubbha’s Dance”. The walking bassline is f-f-f-fresh and he hits us in a soft spot by cutting in a Dilla vocal sample during the bridge. Other notable cuts include Baron Zen’s “Theme” and Clifford Nyren’s “Keep Running Away”.

     Some of you might be upset that Stones Throw’s biggest star, MF Doom, didn’t make the album, but if you are dying for new material from the super villain, he’ll probably release three full lengths before Christmas. This mix is far more consistent than the first Chrome Children release, reinforcing Stones Throw’s role as a trendsetter in left-field urban music. If you react to jazz like the rednecks in Talladega Nights, this album is not for you, but if your record collection goes beyond hip hop this is a welcome addition to your stash.