Between Two Worlds
by
Trip This review has been reprinted on NRT with permission from Rapzilla.com
In the four short years since his debut album 'If They Only Knew', Trip Lee has...
Bang The Drums - EP
by
Flynn This review has been reprinted on NRT with permission from Rapzilla.com
Where were you approximately 20 years ago? Me? I was a middle school...
Weapon Aid
by
Braille This review has been reprinted on NRT with permission from Rapzilla.com
Over the past decade, in addition to his work on projects like Acts...
Rapzilla.com Review: Trip Lee 'Between Two Worlds' | Posted June-24-2010
This review has been reprinted on NRT with permission from Rapzilla.com
In the four short years since his debut album 'If They Only Knew', Trip Lee has became one of he most recognizable artists in Christian Hip Hop. His love of down south beats paired along with his mid west flow, and 116 Clique membership, have made Trip Lee universally accepted. With his last album '20/20', Trip displayed insight on life that betrayed his young age. On his third album 'Between Two Worlds' Trip continues to provide unique insight on the world and it's ills. The album is focused on the believer living in this old fallen world while awaiting the glorious new world that Christ will inaugurate at His return.
The album opens up with "Real Life Music" where Trip Lee contrasts his brand of Hip Hop from what is usually played on the radio. Over a sample driven melody with sharp drums he riddles off lines such as "Too many spit that fake rap most just can't relate to / they don't got no Maybach they don't get to make rules / They ain't tryna make stacks they just tryna make do". This is a great intro and prepares audiences for a very accessible album. Trip more than ever seems to exert himself in communicating gospel truth in terms the average listener can easily grasp. Much of the album focuses on conveying the struggles that come along with living in a fallen world. The issues mentioned are not only things that Christians can identify with but many unsaved people may identify with even more.
Unlike most secular music, Trip does not just merely seek to identify with listeners over common problems, instead he seeks to point them to the common answer found in Christ. A great example of this is "Prognosis" where Trip assumes the true to life role of a person being diagnosed with a terminal illness, namely sin. He masterfully makes striking illustrations of the pervasiveness of this disease. "My heart pumped corruption through every single part of me / it pumped death and deception through my arteries." These parallels are drawn effortlessly and really challenges the listener to question the state of their own heart. Rather than fading out the song after the second verse leaving listeners troubled and confused, Trip recommends the Great Physician who is the only one certified to perform a life saving heart transplant.
The production on this album is a departure from the heavy soul and jazz influenced '20/20'; the sound is fresh and diverse. "Limitations" Is a somber song built on mesmerizing guitar strings, while "I Love Music" implements salsa inspired horns into it's sound. On the latter song Trip, along with Sho Baraka, recount the influence music had on their lives growing up. The album of course also has the mandatory concert favorites "No Worries" and the creative "Snitch" which deals with confessing sins to other believers.
An unfortunate aspect of the album is that amidst a ton of innovative production, there are a couple of songs with typical beats. For example "Bear with Em" is a good topical track that provides practical examples of bearing with your brothers and sisters in love. This song suffers however, from a G-Styles beat that sounds like it was from a batch that didn't make it on the Rhema Soul album.
"Twisted" is clearly the resident banger on B2W. The song is based on ------- and seeks to show listeners that anything they have in life even mildly desirable is a gift from God. This song features tight verses from Lecrae and Thi'sl, and an incredible hook courtesy of PRo.
A recurring theme throughout the album is Jesus stepping into time to redeem lives in this fallen world, and His second coming where He will ultimately set all things right. On "Invade" featuring singer J. Paul, Trip discusses the necessity of Christ coming back to save the day. He encourages believers to keep trusting in Christ and eagerly anticipate His imminent return where everything will be returned to proper order.
With 'Between Two Worlds' Trip Lee does much more than just add another solid album to his catalog. He paints a vivid picture of the fallen world that is, and gives brief foreshadows of the world that awaits us. The album properly ends with "The Invasion (Hero)". This is the climax of the album as Trip revels in what Christ has done and dreams about what he has yet to do. Along with singer Jai, believers can bellow "You already saved the day!" and Christ truly has. With his third release, Trip Lee has given believers everywhere a great album to blast in their speakerbox while we wait for the imminent return of Christ.
Rapzilla.com Review: Flynn Adam 'Bang the Drums' ep | Posted May-21-2010 This review has been reprinted on NRT with permission from Rapzilla.com
Where were you approximately 20 years ago? Me? I was a middle school hip hop head, who loved Eric B and Rakim, 3rd Bass, and, of course, MC Hammer. I was also into the sub genre of hip-house, which typically featured the quick tempos and electronic drums and synthesizers of house music mixed with the samples, scratches and vocal style of rap music. Groups like 2 In a Room, LA Style and Black Box succeeded in melding the two genres with aplomb, and while they may seem dated in 2010, trust me...in the early 90s, we loved that stuff. Well...I did anyway.
In a way, Flynn Adam's new EP, 'Bang the Drums,' is a successor to early 90s hip house in a lot of ways. The drum sounds, the modulated vocals, the myriad synthesizer sounds...they all combine to form a fun reminder of my youth, and an invitation to get out of your seat and move. But, more than that, he's taking a chance. The idea of taking a long forgotten, and much maligned sub-genre and updating it for 2010 could've come off as cheesy, or it could have been treated as nothing more than a novelty. However, the first three songs of the EP are a masterful take on what hip house might sound like if it were fresh for 2010. The title track does exactly what it says, it definitely bangs the drums. On the first listen, the bass drum totally reminded me of the bass drum from LA Style's “James Brown is Dead.” The second track, “It's So Wonderful,” lays the vocals over a beat that makes me think of breakbeats of several mid 90s jungle tracks. The third track, “Yeah!,” has a wonderfully bouncy beat, and a great hook, that totally makes me want to get up and dance. The beat actually reminds me of De La Soul's anti-hip-house track, “Kicked Out the House,” which was a great hip house song in and of itself. There's more great effects work here, including a section where it sounds as if Flynn's vocals have been run through a flanger, which cancels part of the single. Flanging was an oft used technique in early 90s house music, and it really works here. There are a two more tracks, “All Me” which moves away from hip house to a more standard (relatively speaking) beat. There is still great synthesizer work on this track, and even though it's not the same as the first three tracks, it fits in with them. However, the last track, “Up From Here” is a fun little track that breaks with the first four songs, in that it's a simple guitar and drum song. It's also the most lyrically complex track on the album, and provides a nice little dessert after the repetition of the main course.
Knowing, and appreciating, Flynn Adam's earlier work with LA Symphony, I know that he is a capable MC who delivers thoughtful, well written and delivered lyrics. But if hip house really ever had a weakness, it was that the lyrics almost always took a back seat to the beats and the hooks. Lyrical repetition is to be expected on hip house tracks, and the vocal modulation and effects serves to switch up the sound, even when lyrics are being banged into your head. Unfortunately, 'Bang the Drums' does not give listeners who are unfamiliar with Flynn Adam any sort of insight into his true skill as a lyricist and MC.
But, let's face it, hip house was never meant to be a vehicle for tightly crafted, complex lyricism. It was a vehicle to get people on dance floors, and make them move. With the tight drums and throwback synthesizer sounds present on 'Bang the Drums,' Flynn Adam has done just that
Rapzilla.com Review: Braille - Weapon Aid | Posted April-28-2010 This review has been reprinted on NRT with permission from Rapzilla.com
Over the past decade, in addition to his work on projects like Acts 29 and Light Headed, Braille has amassed quite the solo discography, constantly improving and refining his already promising writing and delivery. From his debut, Lifefirst: Half the Battle, to last year’s Cloud Nineteen, those who have cared to have been able to witness the evolution of a great emcee. He’s not a great “Christian” emcee. He’s not a great “backpacker” emcee. He is a great emcee. If you're one of those who have been paying attention, and you know how great Braille is, you're still not ready for this album.
Using an intricate rhyme style, Braille gets across that which is on his heart. And if there is one thing you can definitely say about Weapon Aid...it is apparent that every word, every line comes directly from his heart. As I took my first listen, I noticed that the songs on Weapon Aid are a roller coaster of emotion. I’ve often felt that structuring an album was a lost art. However, there appears to be a definite narrative built into Weapon Aid based on one man's struggles in life. In a way, it’s almost a concept album about the struggles in this life, and a Christian response to them. The exact nature of Braille's struggles are between the man himself, the people closest to him and the Lord. And while there are some specifics that can be inferred or found on the web, I would argue that the message has a strength that is enhanced by its generality/universality.
The album opens with the dense production of “Get Well Soon.” Hard hitting drums combine with lo-fi (in a good way) looped guitars and a Hammond B3 organ to create a wall of sound. This gives the track a weight that fits well with Braille’s flow, and the lyrical depiction of a society begging for God to be the Great Physician to a generation that needs healing. In my opinion, this is the perfect opening track, as it sets the stage for everything that is to follow. What comes over the next 9 tracks is a collection of beats that form the soundtrack to heartache. Most of the beats, including the afore mentioned “Get Well Soon” are created by BigJess from Unknown Prophets, and he shows some real skill. “Give Myself” is a heart wrenching portrait of a man struggling with love and its effects on the hearts of us and those we try to give it to, set to some great keyboard work, and a haunting vocal sample. “Poison” starts out with some very cool swirling wind type sounds, and ends up with a slow drum track, with some keyboard and other samples that combine to give the track a dark, almost apocalyptic feel. The rest of BigJess’ tracks are uniformly excellent, and he uses varied instrumentation to great effect. I love the combination of piano and bass on “Resurrect Me.” My absolute favorite track is “Surgical” which features a sample from the finale of the Stephen Schwartz musical Godspell (specifically, a guitar line and Jesus’ vocals while he is being crucified).
The rest of the tracks are no less polished. “Complexicated” has a bangin’ beat by DJ Cassidy, and features Braille with a more off kilter flow than he usually uses, showing his versatility. The beat for “Up” has an ambient feel, and makes use of a backward sample. It certainly fits a producer who calls himself Xperiment. Kid Hum handles production on “Shoeless Joe,” which features a loop of what sounds like a nylon string guitar, and when combined with the hook it has a sort of soothing effect.
As good as the beats are, though, Braille is the star. His lyricism and delivery have never been better, and his flow isn’t weighed down by the weighty topics that he has chosen to tackle. In fact, he seems to have come through the trials of life with a few scrapes and scratches, but thanks to his relationship with the Father, no mortal injuries.
My only real “complaint” really is the title. With its depiction of a grenade inside a Kool-Aid pitcher, one might expect this album to be heavy with battle rhymes, but that’s obviously not the case. It’s a curious choice, that just from listening I don’t really understand. I'm sure there's a meaning, and maybe I'll eventually puzzle it out. But really, if that’s the only thing I can find to pick on, then I suppose I can live with it.
Braille has always impressed me, but never as much as he has with Weapon Aid. From the concepts to the beats to the lyrics, he has dropped an instant classic.
Rapzilla.com Review: Sho Baraka 'Lions & Liars' | Posted March-31-2010 This review has been reprinted on NRT with permission from Rapzilla.com
116 Clique is a mainstay and one of the clear leaders in Christian Hip Hop. They have blazed trails with their curriculum and amazed with their focus on ministry and being in the mission field. There has been a great divide between those who are with Reach, Lampmode and Cross Movement Records and everyone else. However, at times I started to wonder if Reach artists were being elitist. Then I started seeing these artists building with others outside of their camps. I started seeing relationships being built publicly on Twitter. I probably should not have assumed anything.
With all that being said, Sho Baraka released his colossal new album, 'Lions and Liars'. This album is an obvious tug-o-war between the man of God and the sinful nature of man. This album features some heavy hitting guest artists including the expected, Tedashii, Trip Lee, and Lecrae. Outsiders that weren't so expected were reggae artist Benjah (don’t sleep on him), rock group After Edmund and even such artists as Propaganda and Cajo artist, Erica Cumbo. The beats are banging hard and the ministry aspect is strong, while Sho’s growth as a lyricist is very evident.
The “Lion’s Anthem” is an ode to those who are repping Christ in their respective jobs or ministries while “Liar’s Anthem” takes a look at the life of those who are controlled by the life of living in sin and walking after the flesh. Sho brings it home in the last verse and calls for all to give their allegiance to Christ. Both are bangers and both deserve to be listened to carefully.
Pro laces the track and sings the hook on “My Life (My Aim)”. Sho is very candid about where his past decisions took him along with the identity crisis that he dealt with. At times, I found myself lost in the beauty of the lyrics which reminded me of things that I went through. “Me Myself and I” is another look at the struggle of dealing with living for self, while striving to live for Christ. The hook and track (featuring a simple, but crazy syncopated beat) are so infectious. “Shut Us Down” is a rock-fused anthem for the ages. Don’t believe me? Just take a listen and get ready to pump your fist and nod your head. After Edmund brings the rock edge while Lecrae flows oh so nice. “Word” is a CERTIFIED BANGER... period.
It is good to see Sho take chances and do some things differently. This is evident with lead single, “We Can Be More”, featuring JR. This is song about seeking a pure and loving relationship and it is done with excellence, minus the cheese factor.
It was a pleasant surprise to hear Propaganda present the poetic interlude, “Boys”. Sho then gives props to men who are taking care of their families on “Revolutionary” featuring Trip Lee on the hook. Others songs to peep are “The Rising” featuring the clean raspy vocals of Erica Cumbo and the southern flow of Trip Lee. Also noteworthy is “I.T.W.N.O.I”, a song with the wow factor because of the good balance of gritty rappers, Tedashii and R-Swift, and singers Benjah and Honey LaRochelle.
There have been several Christian Hip Hop albums that I have been reluctant to recommend to others, but I recommend this album to anyone. There is so much to enjoy on “Lions and Liars”. This CD makes me even more proud to be a Christian and Sho challenges me not to live just a mediocre life on the sidelines. It was a well crafted and well put together album. Buy it. Enjoy it. Buy it for others and watch lives become impacted.
This review has been reprinted on NRT with permission from Rapzilla.com
Rhema Soul’s Fingerprints is pure, unadulterated “beast mode.” I could end the review right there, but I know you want to know why I think that. Let me put it this way. You know your album is hot when the album that came before ('Worn Soles') was awesome, but this release makes that release look like it will be an embarrassment to look back on. Fingerprints is a masterpiece in the truest sense of the word. Everything that worked on Worn Soles and the 'Dope Beats, Good News' EP has been ratcheted up several notches, creating a crisp, tight sound, complemented by exemplary and clever wordplay on the part of the talent trio.
After a slick, South Florida, G-Styles-produced intro stating, “I’m leavin’ my fingerprints,” the first track “Neva Lay Low” introduces the listener to a newer, fresher-sounding Rhema Soul. If you’re looking for the goofy, poppy “Steez” or “Yellow Cheese,” you’re going to have to look elsewhere. The tracks on Fingerprints boast a much more grown up sound. Informed by life circumstances, the new album naturally shows signs of maturation. But don’t think for a second that this album won’t get you bobbing your head. K-Nuff, Butta P, and JuanLove kill the track.
“Fly Away” is a great number about escaping from the past, our selves, our pain. It’s a nice, mid-tempo piece that just asks to be performed live and/or turned into a music video.
“Champions” begins with a nice epic sound declaring, “No they could never take who we are away/Cause we have been through the storm but we came out strong/We are champions/We can see beyond the walls that rise and fall/We put our faith in God so we overcome/We are champions!” Butta-P, who is, quite simply put, one of the best female rappers in Christian music today, starts the track and calls for Christians to act like the humble champions that they are.
“Boom Box” is the album’s lead single and with good reason. This is the “Steez” of Fingerprints. It is just a fun, hip song that will get you shaking your hips and lifting your hands. All the while, the group manages to glorify Christ. It’s a little subversive like that. Nice.
“Let Me Live” features some of the most clever wordplay, reminiscent of such artists as Mos Def, Kanye West, Promise or old school Talib Kwali. K-Nuff raps, “Yeah I’m a veteran/Been rappin’ for better than a decade/But I’ve never been lame and I never can/Not if the world is in need of this medicine/They dyin’ to the elements/I breathe peace/Let em’ in…”
“Sky’s Not The Limit” sounds oddly like everything on Cheno Lyfe’s 'Home' album. I suppose that’s to be expected with G-Styles producing the tracks (and a majority of the album). So, while the track doesn’t sound original, Rhema Soul makes it their own with their lyricism. All three emcees come hard with it. You’ll put this one on repeat, if only for Butta P’s flow. “Spotlight” also starts out sounding a lot like Cheno Lyfe’s “Love My Life,” forcing the trio to work hard to establish themselves.
“My Beat Go” is destined to be played in clubs. Period.
Title track “Fingerprints” is the best track on the album. It’s got a big sound, big message, and big presentation by the artists. K-Nuff’s verse is beautifully informed by Butta P’s and Juan Love’s is equally informed by K-Nuff’s verse. The theme of leaving one’s fingerprints on everything we do in life works as a good (near) closer for the project.
With the exception of guest appearances from G-Styles and Eddie Nigma, the trio chose to stand on their album. This makes sense given that they are a group and not a solo artist trying to break the monotony. Add to that the fact that Fingerprints is Rhema Soul’s first nationally released album, presenting yourself to the masses as “just you” seems like a wise move.
Despite the high marks this album gets, the only thing that could use some work is G-Styles’ ability/willingness to differentiate his tracks from tracks he’s produced on other albums. While not everyone will have listened to Rhema Soul’s Fingerprints, Cheno Lyfe’s 'Home', DJ Morph’s 'INTERNATIONAL', or select songs on several Reach Records projects, anyone who has may run the risk of feeling like they’re listening to recycled beats.
Rhema Soul continues the trend of Southen Florida Christian hip-hop artists who make culturally viable music while simultaneously refusing to compromise Christ or the quality of their sound. Fingerprints is the direction Christian hip-hop is heading. Listeners and artists alike need to sit up and take notice. We need more rap groups that are crossing racial boundaries, socio-economic boundaries, cultural barriers in order to share the gospel of Jesus Christ in fresh ways with a dying generation.
Rapzilla.com Review: Manafest 'The Chase' | Posted March-30-2010
This review has been reprinted on NRT with permission from Rapzilla.com
For years, Manafest has straddled the line between rock and rap, drawing comparisons to such groups as Linkin Park, Limp Bizkit, KJ-52’s Peace of Mind project and even Eminem. With the release of The Chase, it seems like the artist has finally become comfortable in his own skin, categorizing his project as “rock” rather than “rap.” And I’d say he’s somewhere on the spectrum between Linkin and Limp…kinda like Fort Minor. This may disappoint some of his longtime fans, but it will more than likely gain him far more fans than he will lose.
“No Plan B” is the lead single off the album and comes complete with a random music video featuring Manafest skateboarding across what appears to be Tokyo, Japan. It’s a strong start to the album, establishing that this is who he is and there’s “no turning back, no plan B.”
“Fire In The Kitchen” is the requisite rebellious youth anthem of the project. This is a “pump your fist in the air” kind of number that declares, “No we’re gonna rock it till the lights go out/There’s fire in the kitchen again/Now we’re gonna rock it till the wheels fall off/We got it going on!” There’s no underlying message. Just seems to be about fun and games.
“Supernatural” starts out with a haunting guitar before careening into a raucous din of drums, bass, electric guitars, and Manafest’s vocals rising to the for. The most spiritually-attuned song on the album, it could be referring to Jesus saving us or it could just be a nebulous rescuer. Interpretation will depend on the listener.
“Bring The Ruckus” is a lot like “Fire In The Kitchen,” which is why I suppose they put “Supernatural” between the two. Had one followed the other, you might not have known you’d moved on to the next track.
“Married In Vegas” is probably the most impulsive, irresponsible song on the album. I don’t foresee a lot of people running off to Vegas to get married because of this song, but given the intended audience, one can never be sure. Beyond that, the song is just stupid. What was likely intended to add variety to The Chase will leave discerning listeners scratching their heads as to how it has anything to do with the rest of what they’ve heard.
Title track “The Chase” is a solid number, but it is sometimes difficult to understand what is being said. Manafest depends more on his old school rapper chops, spitting too fast to pick up what is being said at times. The production mix isn’t as crystal clear as the rest of the album, so that might have something to do with it.
Make no mistake, The Chase is aimed squarely at the teenaged, skater, rocker, slacker demographic. There’s nothing wrong with that, especially given that this is getting more of a general market push. Manafest may be swimming in a bigger pond now, now, but I wonder how this album will be able to differentiate itself from all the other albums that sounds like it. “It’s newer” is not a strong selling point. However, if someone picks it up, they get a heavier dose of fun and hope than they’re used to in their music diet.
Overall, Manafest has a good project on his hands. Time will tell how well it does in the arena of public opinion.
Rapzilla.com Review: DJ Official 'Entermission' | Posted March-30-2010
This review has been reprinted on NRT with permission from Rapzilla.com
DJ Official is one of Holy Hip Hop’s most notable producers. Widely known for being The Cross Movement’s DJ in the late 90’s, he has been wracking up production credits for well over a decade. After the disbanding of CM, he gained new found recognition for producing songs such as “100” and “Eyes Open,” in addition to being the tour DJ for the 116 Clique. With his debut album DJ Official chooses to stay behind the boards while putting a pressing message on center stage with the help of a few friends.
Entermission is centered on the Great Commission and the practical fulfillment of it in the everyday life of believers. The album opens with Dr. Eric Mason stating “The Christian by identity is a missionary, we don’t just do missions. That’s the most important thing to understand… missions is who [we] are.” The songs that follow this intro seek to ensure listeners will never forget that essential truth. From the radio favorite “Show Off” ft. Lecrae and Flame to the break-neck rhyme patterns of “GO” with new-comers H.G.A. and Reach Records own Tedashii, each artist expresses their passion to preach the cross to the loss and hope that bones will catch ablaze with the same fuel.
This album excels musically because of its fantastic production urging each of the artists to bring forth their best offerings. Entermission presents listeners with a seemingly endless diverse blend of music, from the reggae influenced “Love Fallen” with Jahaziel to the blaring electric guitar of Sho Baraka’s “Chaos” no two songs sound the same. The sonic diversity makes this album seem like it was produced by a slew of beatsmiths instead of just one. There are also a slew of musical interludes between songs that help further shape the vibe of the cd. DJ Official even dares to show that he is not only limited to the realm of boom-bap as he voyages into the melodic “Nothing Without You” and “Forward Me,” featuring singers J.R. and Cam respectfully, with amazing results.
The problem with compilation albums is they tend to be either dull or disconnected because of too many features and a lack of conceptual cohesion. However, this is not an issue with Entermission as each and every artist surprisingly stays focused and on topic. One of the album’s most compelling songs is the previously mentioned “Forward Me” where Cam volunteers to be God’s living text message being sent to even those without cell phones. The goal of this album is clearly to inspire other to do the same. However, it is important to remember missions is not just something you go on it is who you are! We are carefully reminded of this truth by God’s Servant on the stellar “Missio Dei” that “missions aint taking a trip to nations or tracks passed out passed on the strips of pavements” instead it’s a life wholly submitted to Christ and lived out in an evangelistic fashion.
Though, Entermission is a fantastic album, it is not without a misstep or two. “Love Fallen” ft. England born Jahaziel, Gems, and Benjah is your typical blend of reggae and rap with very lackluster results. It’s not necessarily a bad song just an average song that feels out of place on an album filled with great innovative songs. Another rare low point is Trip Lee’s “Get Busy” while most of the production on the album sounds unique and fresh, this track follows the typical template for trunk rattling southern music. This song would probably be a stand out on any another album but is easily forgotten on an album with so much great music. Apart from these hiccups this is definitely an album that you will play straight through time and time again.
With Entermission DJ Official did much more than cement his legacy as a producer. Through this album he has sounded a timeless call to live out the Great Commission that will be ringing in the ears of Christians for years to come. You need to do more than just buy this album and listen to it. You MUST buy it, listen to it, and then go live it out. May God grace us with the strength to enter mission each and everyday of our lives as we seek to make Him known.
Rapzilla.com Review: Dwayne Tryumf - 777 (Mark of the Peace) | Posted March-15-2010
This review has been reprinted on NRT with permission from Rapzilla.com
777 (Mark of the Peace) is a wonderfully unique album that draws on influences outside the sphere of the usual Christian rap album. The production is inspired, it drawing on a multitude of instruments and beats that would feel out of place with anyone else on the track. Dwayne Tryumf draws the unusual elements, from strange samples to flutes, with ease through his skilled lyricism and his style.
Dwayne Tryumf is a Jamaican by way of Britain and his accent is amazingly subtle, which should not be an issue for a rapper but it stands in the way of the vast majority of British rap artists. He raps in an American style for the most part ignoring the cockney rhyming slang that many American listeners struggle with.
777 (Mark of the Peace) is 16 tracks long and none of the tracks feel like fillers. It feels like a major label release in a very good way, all the featured artists are top notch and the production is on another level. Every beat feels like a radio quality beat but with a unique twist, be it an unusual instrument selection or an unusual sample leaving the whole thing feel a bit more diverse.
“I Don't Pack a ‘Matic” has been making the rounds for a while and is still one of the best tracks on the album. It features an unusual hook that is simple but addictive. “I don't pack a ‘matic, but I pack a Matthew, Mark, Luke and John.” Overall the track has the feel of “What if Tricky did a Christian rap song?” and that is not a bad feel for a track to have. The beat is simply ferocious, the hook is ridiculous and the lyrical content goes from boisterous to serious.
“Our God Is,” featuring Copeland Green and Liane, is a nice ode to gospel music, fusing pieces of Delirious’ “I Could Sing of Your Love Forever” and Matt Redman’s “Better Is One Day” into the mix. Normally, the use of “worship songs” by Christian rap artists ends up sounding cheesy and/or gimmicky. Tryumf manages to make it work.
The first half of the album seems to be dedicated to the requisite “slick bangers” before effortlessly slipping into the R&B and gospel-tinged second half of the album. Not sure why Tryumf chose this particular method of setting up his project, but it doesn’t feel disjointed at all or offensive to the ears.
The inclusion of comedian Chris Williams on the interlude tracks is pretty funny, reminiscent of the late Bernie Mac on Kanye West’s debut album or the comedic interlude found on Sho Baraka’s “Why So Serious?” mixtape.
777 (Mark of the Peace) is sure to be one of the best Christian rap albums of the year. Dwayne Tryumf offers listeners what few British rappers can, an exotic but easily digestible sound. He maintains a wonderful style and flow that is British but even at his fastest he is understandable. His style is an obvious fusion between Jamaican and British (he is from Jamaica), but his sound is something different and unique. This is a long album, at 16 tracks it is ambitious and is remarkably good, nearly perfect.
Rapzilla.com Review: Everyday Process - Outtadisworld | Posted March-30-2010
This review has been reprinted on NRT with permission from Rapzilla.com
You know Da T.R.U.T.H. You know Ambassador. You know Flame. But, Cross Movement records hip-hop duo Everyday Process, comprised of Iz Real and Mac the Doulos, has managed to elude the attention of many listening to Christian hip-hop. They’ve shown up as guests on other artist’s tracks. They even released a full-length debut a couple of years ago, The Process of Illumination and Elimination, that went relatively unnoticed by most who bob their heads and dip their shoulders. Well, with Outtadisworld, you can expect all of that to change for this talented pair.
The album opens with the (robotic) statement, “If we find ourselves with a desire that nothing in this world can satisfy, the most probable explanation is that we were made for another world.” Leave it to a rap group to bring the words of C.S. Lewis into the future. And that is what the theme of this album is all about—the future of Christianity. In an age when Christianity is losing its distinctive perspective, Everyday Process enters the fray and says, “This is not our home. Here’s the plan till then.”
With the thesis of the album having been thoroughly established with the spacey intro track “Invasion,” the duo moves into the first full track, “Alien.” This number is a straight-forward banger—taken to the next level. “Fire” is Everyday Process’ way of putting Timberlands and Girbaud’s on the prophet Jeremiah, talking about fire being shut up in their bones. “New” features a thick, deep beat while also utilizing the futuristic vibe of an accompanying synthesizer. The quick flow on this one will require multiple listens, but once you get it…whoa. Everyday Process brings the gospel message of transformation like many are unable to communicate effectively from the pulpit on any given Sunday. “I Don’t Belong” and “Against The Grain” carry the “sojourning pilgrim” theme forward with decidedly R&B-influenced moods. “Make You Smile” slows things down, which for an Everyday Process project, is a feat in itself. It’s a much-needed respite from the shotgun pace that the rest of the album seems to timeout at. Of course, this slow down is just to prepare you for “Bye Bye,” which picks things back up and threatens to be the best track on the album, talking about the Rapture of Christ’s bride from the earth upon his imminent return.
The only “miss” on the album, in my opinion, is “Freak.” Given that dcTalk covered the same territory of being a Jesus Freak back in 1994, this one seems a bit dated. But, since the theme of the song can manage to transcend time, I’d really have to point to overall delivery on this one. Comparatively speaking, this track is not up to snuff with the rest of the album.
One of the things that sets this album apart from their previous effort is the fact they have virtually no guest spots on the album. Whereas their first project featured guest appearances from Lecrae, Ambassador, Phanatik, Trip Lee, Flame, R-Swift, La ‘Tia, Badia Jeter, J.R., and Keran, this time around the duo has chosen to stand and deliver on their own. Those who are all about collaborations might frown on this move, but as a duo that is still trying to establish itself in the ears of the Christian hip-hopper, it makes a lot of sense.
The most difficult thing about this album is that it is so difficult to pin down. Some might call it east coast. Some might consider it a mix of Midwest and east coast. But, it’s not like Everyday Process jumps styles like so many other artists these days. I guess the best moniker I could give their sound is “Signature Future Rap.” Their sound really is quite “out there” in terms of everything I could compare it to. They may be a little ahead of their time. Like Joss Whedon’s Firefly. Let’s just hope the fans treat them better than Fox treats television shows that defy description.
It is nice to know that while some are bringing the name of Christ into ill-repute with their “conversations” and abdicating of Christ-like morality, there are those out there who are willing to remind us that we are “not of this world.” I believe Everyday Process accomplishes this in spades. This is a message that needs to be shouted from the rooftops, reminding believers that while we live “in” the culture, we are not “of” the culture and should not be conformed to the patterns of this world. And, even if you don’t like the message preached here, you can’t sleep on their sound that is “outtadisworld,” light-years ahead of what others in the genre are doing right now.
Rapzilla's Music and Book Reviews 
