Chace Infinite and DJ Khalil are back with this unapologetic new cut.

New music from original Soul Assassins crew members Self Scientific.

New video off of the duo’s solid Trials of the Blackhearted (FreEP), which features Game, Talib Kweli, Freddie Gibbs and Big K.R.I.T.

“In Ancient Kemet they believed the heart was the organ that controlled thought, logic and knowledge. The weighing of the heart, against a feather, was used to determine if people were righteous or wicked during their time on earth. If their heart was heavier than the feather, the Heart was devoured. With the world rapidly changing, and evolving beyond recognition, people are becoming even more desensitized to the conditions we exist in. The most heinous acts are applauded as “interesting” and “entertaining” while genuine acts of love, and justice are shunned. We can sensationalize but we are scared of true emotion, we have more information now than ever before but no one wants to read. The truth is scary, it is easier to escape through our favorite vice, than to deal with the harsh reality of the present. Our hearts are heavy, our hearts are dark, these are the Trials Of The Blackhearted.”

New material from longtime Cali crew, this time with some help from Big K.R.I.T.

LISTEN: Self Scientific – “War Stories” (feat. Big K.R.I.T.)

Self Scientific – “War Stories” (feat. Big K.R.I.T.)

Composed of a strong partnership between the lyrically prolific Chace Infinite and Grammy award winning producer, DJ Khalil, Self Scientific definitely makes a strong statement and gets Freddie Gibbs to add some southern-fried no-pork spit to the track along with L.A. veteran and Strong Arm Steady hook-minister, Krondon. The video is directed by The ICU and explores the historic scene of the 1992 L.A. riot that rocked South Central and includes various footage from the incredibly unjust lynching of Oscar Grant by the Oakland BART police.

Here’s some brand new Self Scientific off the free project titled Trials Of The Blackhearted which drops (tomorrow!) March 29th, 2011.Peep the track below and visit Chace Infinite’s site for more info.

Chace delivers the first selection from Frank The Butcher & Statik Selektah Present “Concepts: Selektions”. Here’s what we know:

Frank The Butcher & Statik Selektah have joined forces on “Concepts: Selektions”. This mixtape is inspired by seminal classic 90′s mixtapes like DJ Doo Wop’s “Live 95″ & Tony Touch’s “50 MCs”. Frank The Butcher worked with Statik on “selecting” some of his most classic beats and revisiting them with new emcees and new lyrics. The tape features veterans like DJ Doo Wop, Dj Clark Kent, Freeway, and Consequence– underground favorites like Detroit’s Black Milk and La Coka Nostra’s Ill Bill– while also featuring lyricists like Curt@!n$, Willie The Kid, Termanology and Ro Spit — and more– all featured over Statik Selektah production. Frank The Butcher & Statik Selektah Present “Concepts: Selektions” Mixtape will be released in January and features 26 tracks.

Chace Infinite of Self Scientific / Soul Assassins is the first song to be release. The video was directed by Frank The Butcher and filmed in the L.E.S.N.Y.C. at the Prohibit Boutique on Allen street. Directed by Frank The Butcher

    Chace and Khalil have really taken their craft to the next level with Change. As the title represents, the group has gone through some very beneficial changes, and through that, represent a shift with their sound that fits them to a tee. Khalil’s production on this album could instantly thrust him to the upper crust of producers, if it is heard by the right people. The oozing soul of “Tears” and moving melodies of “Love Bird” contrast sharply with the head banging “King Kong” and adrenaline pumping “Balance”, but it never interrupts the overall vibe of the album. Khalil’s ability to shift gears so beautifully is something to behold.

     As musically inclined as Khalil has become, it is also pleasing to know that Chace is no slouch on the mic. He pours himself into the album and makes sure that this doesn’t become a Khalil showcase. His crafty observation of the struggle within artists and minorities is certainly a breath of fresh air on “Tears.” When paired with Bun B on the rock solid “King Kong”, Chace excels again as the pounding bass line thrives and Bun B surprises many who thought he just did the “southern thing.”  

    Every album has its downs that go along with the ups, and this album only has one real downer. When King Tech gives you a disclaimer for a club song, you know that this may be an ill advised move. “2 Step” may bounce with Khalil’s thriving basslines, but Chace’s simplistic lyrics and hook doesn’t really convey the type of emcee that Chace is. Sure, it can be seen as dumbing down in order to gain more fans, but you wouldn’t want those new fans expecting more “2 Step” than “Tears.” Fortunately, this is the only blaring fault on the album.

   Change is certainly an album that will be slept on, but if it lands in the right hands it will hold its own amongst any release this year. Khalil and Chace Infinite have delivered a solid album and most definitely have many awaiting their next release. And for Self Scientific, this is something they have got to be proud of.

     Since 1996, the emcee and DJ/producer duo (Chace Infinite & DJ Khalil) collectively named Self Scientific, without the hyphen bridged together their constant quest for the knowledge of self with pounding, sinister beats that draw from the inner, unfelt soul and spirit. Keep these integral elements in mind when listening to their second album (actually, a mixtape – editor) in four years since the release of their self-titled debut in 2001. With the many 12″ singles, B-Sides and song collaborations by Chace Infinite on compilations or soundtracks continuously bubbling underground, DJ Khalil’s productions have also been lacing the streets recently under the microphones of artists such as Keith Murray, Xzibit, Living Legends and on “Lay your Ass Down” off the Beg for Mercy compilation featuring 50 Cent, Young Buck & Lloyd Banks. Finally, the Los Angeles two-man force come together again, getting the globe ready for an extra source of depth to plunge into on their latest, Gods And Gangsters.

     “Hip-hop music is the most powerful weapon Africa people have at this moment. It serves as a way of opening up the eyes and minds of our youth, the struggle against capitalism and for the liberation of African people. Is it any wonder mainstream labels seek to change the focus of conscious music? Look at what happened to Bob Marley and Marvin Gaye…think about it.”

     With this exclusive drop in the Intro by Dr. Ahmed Mbalia of the Pan-African Revolutionary Socialist Party, brace yourself for the direct in-your-face lyricism further on from Chace Infinite, as the title to this LP says it perfectly – balancing the preach-like ‘strong-black-man’ wisdom with a taste of that LA street life and lingo gangsters there have made world famous. Filled with a tirade of scratch-hooks by DJ Khalil bombarding the beginning of “Change Pt. 1,” the build up of drama in an orchestra-symphony sample comes to a mellow fizzle as the beat fades. From here on, their science seeps in, as on “Seven” featuring E-Rule, Big Reece, GT & Bad Azz, a blowing wind swirls gently in the background alongside the eerie guitar tingles raising your pores off your skin. Play this one only at night, and uncover the black hole darkness with the light from lessons revolving around the ‘scientific’ explanations of the gift and curse of the number ’7′.

     As the intricacies of LA gangster life is painted by the lyrics from Chace in a cinematic manner on “Jealousy” featuring Daude Sherelis, the fury of the most chaotic beat clarifies to outsiders that under the sunshine and palm trees, there’s blood on these streets just like Rwanda spilled. Other Crip and Blood sounds escape Hollywood for that authentic low-rider roll fulfilling the gangster attitude present in this LP, including the soulful strut of “Killaz & Builders” by Krondon featuring Paul Mooney, “Just when you thought” by Kombo who convincingly beats down any punks approaching him to the corner store and “Confrontation with a Gangsta” by Born Allah & Bro Tarik Ross, probably the best creeper track to test your sawed-off with.

     Onto more blessings of mind exercise, Self Scientific invite from the East Coast Talib Kweli to join them for definitely the album’s highlight, “Shame on a Nigga”. Also featuring Krondon and Planet Asia, this violin may bleed European tones, but the pushy hip-hop overrides the classical samples with Black niceness blasting proven power of the kick-drum and bass line past it, as emcees follow one another leaving little room for the commanding yet stylish chorus hook. If LA had to stand up to any territory’s best offering in hip-hop, this would stand any test once loaded in the chamber. With more excellent productions and relevant lyrics on other stand-out cuts such as “Amongst Gods” featuring Born Allah, “Pedals,” “Gimmie a Lift” and “Be Easy” featuring Phil Tha Agony, Self Allah & Mitchy Slick, it’ll be a ‘God’ damn shame if you miss this heavy, potent dose of hardcore hip-hop from some of LA’s best representatives, Self Scientific.

The Works opens with a new entry, “One”, a simple yet melodic track that captures Khalil’s understated brilliance as he affixes a warm piano sample underneath the boom bap of his signature drums.    The LP’s two other unreleased tracks, “My Word” f/ Chace and Lao Fai and Blitzkrieg Militia’s “Subterranean” fail to leave the same indelible mark of previous endeavors.

Unfortunately, some of the inclusions here should have remained in the vaults. One of those misplaced tracks, “Pop Shit”, featuring Kombo MC and Unspoken Heard, is a bouncy track you would expect to hear one of NY’s jiggy DJ’s testing out rather then appearing on an underground compilation of this variety.

The Works plays out like an effort to jump start a buzz for Self Scientifics’ forthcoming LP Change.  However, because of Chace Infinite’s spectator status, it manages to further highlight the fact that most of the buzz regarding the group lays primarily on DJ Khalil, who is quickly establishing himself as one of hip-hop’s top upcoming beatsmiths (evidenced by his recent work with Ras Kass, Keith Murray, and the rumored scouting of Dr. Dre).  So, minus three unreleased tracks and a few hard to find 12″ treats, there is nothing here that any avid Self Scientific fan has not already tracked down.  For those who maybe unfamiliar with Self Scientific, The Works is an adequate introduction, but if you want a more purposeful one peep the debut…

Like so many of the great left coast underground collectives, Self-Scientific’s musical platform emanates with a discernible East Coast vibe. Though it’s evident both members were weaned during hip-hop’s most progressive stage (early 90′s), Self-Science is a mixed collective of that glorious period. That duality is most prevalent in Chance Infinite’s cannoned voiced inflections. While Infinite’s Islamic beliefs and self-mastering ideologies play a major role in the LP’s theme (“Love Allah” feat. Krondon), (“The Covenant”) and (“The Self Science”). Tracks like the analytical “Anguish” and the Illuminati based “Dead Honest” portray a simple man who is not out to save the world, but survive it—” “why should I give a fuck in a world, that don’t give a fuck about you.” While the knowledge Infinite drops is refreshing, the righteous messages he conveys frequently clashes with the unflattering portrait he depicts of woman on the bland “You Can’t Fall”, and “Best Part” where Infinite passes on the swine, but advocates sexual promiscuity.

While emcees have long-overshadowed the DJ, Self-Scientific is an exception to that rule. Serving as the group’s backbone, DJ Khalil delivers a plethora of diverse aural selections; ranging from the plush violins, and subtle string backdrop of “The Covenant”, too the spine-tingling DJ Premier-esque instrumental, “Opus”, which is augmented by a melodious acoustic guitar sample, and angelic chanting. Though Khalil’s wonderfully melodic presentations give an obvious nod to super-producers like Primo (precise placing of cut-up vocal snippets), Jay Dee (stark minimalism) and Pete Rock (“Return” sounds like a lost cut from PR’s Main Ingredient heyday). However, comparisons to the aforementioned are strictly that, as Khalil’s lavish boardwork retains its own individual flair, as he does not burrow, merely revamp.

Self-Scientific delivers an impressive debut. And the duo proves with Self-Science that they are capable of exhibiting the same ying and yang chemistry that lead many to compare up-and coming combos like Encore & Architect to a young Gang Starr. Yet, similar too fellow West Coast cohorts, Dilated Peoples, Self-Science, is highlighted largely by the groups earlier material, as their latest studio-benders fail to resonate like the end to end burners (“Return”) contained in their previously released 12″ catalog.