Coined after Marcia Brown’s French fable, the Masterminds revision of Stone Soup includes a melting pot of afro-centric influences. Seemingly channeling the LP’s psychedelic cover-art thru his music, Kimani’s hazy production encompasses a variety of styles (drum and bass & acid jazz); exemplified by the muddy instrumental nod “Resolution” and the distorted guitar throbs that he affixes to Ramsey Lewis’ “Les Fleur” on the sublime “Good Morning Night”. However, though Kimani’s against the grain approach behind the boards is oft-times refreshing, the varying tempos that distinguish his production style has a too frequent tendency to clash (“Before All Hell Breaks Loose”) with his own and Oracle’s lyrical deliveries.

The Masterminds maturation on Stone Soup is evidenced by their willingness to discuss more life affirming topic matter. While Oracle continues to be the group’s lyrical anchor, both emcees shine on the post 9-11 ode (“September In NY”), and the moving “2 Moms”, where Kimani uses conventional methods to uplift Mom dukes and Oracle totally flips the script by weaving a haunting “Sixth Sense” narrative on the countless son’s that lost their mothers due to the slave trade.

Since 9-11, hip-hop has seemingly begun to undergo a reconstruction, with the focus slowly shifting from excess back to issues of importance. While we as hip-hop fans have a tendency to place undeserving emcees on a pedestal, one of the Masterminds main attributes is their ability to not only speak to us about issues that we can relate too (accumulating debt, school loans, being grossly underpaid), but as peers that are able to personalize the same day to day stresses that keep us hustling to keep food on the table. Consider this, while your favorite thug emcee speaks with gun claps and romanticizes fast money, the Masterminds shed light on what’s truly important with “Good Morning Night”—-”we only got one life to live, try to make it right for my wife and kids.” Props.

This album represents an evolution of the group’s style, almost chronologically building itself into what may one day be perfection. Easily describable as that old New York rap, the Masterminds bring it back to simple mic rocking over phat beats. “Liberty” pops shit off, working as the group’s reintroduction, showing much improvement in both rhymes and production since we last left them. The trend continues on newer songs like “The Professionals”, as well as classics like “OneTwoThree” (featuring L-Fudge) or the revisited “Joints 2000″ (w/ Mr. Khaliyl).

While tracks like “Shell Shocked” and “The Spinners” pack their usual trademark of incredibly dope drum programming, some heads may notice a slight change in style, leaning towards a harder mode of production. But even “Front To Back”, which packs this same amount of hardcore energy, bridges the gap between what could be considered trendy east coast production. Another common complaint might be that the guests sometimes outshine the ?Minds, as evident on the album’s official blazer, “Seven”, featuring blistering verses from El-P, J-Live, Shabaam Sahdeeq, J-Treds, and Mr. Complex. Both Mr. Lif and Mr. Khaliyl also do their share of show stealing on “No Test” and “Joints 2000″.

But while these joints will simply reel us in, the album’s true gems lie in the conceptual tracks, which help balance everything out. “2025″ freaks a dope James Bond sample, while Kimani and Oracle make their way through a post-apocalyptic world where hip-hop lies on the brink of extinction. Time-travelling back to the past to “Day One”, are two stories told from the perspectives of two Black men who were lynched simply for existing, with the song packing an intense amount of feeling. Following it up is “Memories”, something to feel, where Kimani vividly paints a sorrowful picture about his deceased father, and the hardships of growing up without him. It’s tracks like these that show where the group’s greatest talent lies.

While this album definitely shows growth for the group, it may take a short while more for them to mature into seasoned emcees, but they’re on the right track.

Jumping off with “Bring It Back” emcees Kimani and Oracle trade verses in between a familiar KRS-ONE sample. A quick clavichord loop runs throughout, begging DJs to attempt a beat juggle.

“The Fast Way” finds Company Flow’s Mr. Len slicing up B.I.G. on the EP’s least spectacular cut. It’s a little too methodical and lacks energy, aside from Len’s cutting. But that’s to be expected on an EP-and while most EP’s suffer from wack jams most of the way through, that doesn’t happen here. Things speed up nicely with Mr. Khaliyl (formerly Mr. Man of Bush Babees) on “Joints”. Kimani describes the track with deadly accuracy when he rhymes, “Three of the best that’s unsigned at one time.”

“Hip-Hop Music” contains a head nodding bass line and the duo offer heads even more slanguistics. The spontaneous sounding jam finds Kimani and Oracle having fun and explaining their love for hip-hop. While L-Fudge’s appearance on “Onetwothree” is unquestionably dope, the record’s gem is a more reflective cut “Memories”. An elongated piano loop over an unobtrusive ride cymbal provides the emotional background for two important stories. Kimani begins by recalling vivid memories of his father who died at an early age, and the lifetime of pain it has caused. Oracle then follows with a related tale. Faced with a similar situation to that of Kimani’s pops, Oracle talks of his own unexpected child and the complex problems and immense joy that came with it. Lyrical venom with a purpose? Don’t wait for their album, pick up the EP now.