L.E.G.A.C.Y. - Suicide Music

North Carolina is not often looked at as a Mecca of Hip-hop, but unknown to most of the mainstream nation, the underground and independent scene breaths deep in Raleigh/Durham. Dark humored and powerful, rapper L.E.G.A.C.Y. is just one of the doors one could take down the Hall of Justus, codename for NC’s underdog collective The Justus League. On June 16th, the Legster dropped his sophomore effort, Suicide Music. The follow up to Project M.A.Y.H.E.M., a dark LP that borrowed heavily from cult classic, Fight Club, is more of the same you expect from Leg. That, of course, means more gritty beats, which are produced wholly by Away Team member, Khyrsis, and more dark lyrics. Unapologetic defines “Leggy McGee” as he declares if ‘M.A.Y.H.E.M. was too dark, you listen too lightly,’ during the album’s opener and he doesn’t break character at all during this 11-track endeavor.

The intro describes briefly how the album got it’s title, during which Leg says that HOJ founder Big Dho tells him he can’t break into mainstream because he makes Suicide Music. Immediately, the album kicks into 5th gear with the album’s title track. “Go for a ride, close your eyes,” is just one of the clever references made during the track relating to suicide. In fact, the song seems to be over far too soon which The Age (Fish) begins next. More political in it’s message, The Age deals more with tragic worldly issues. Congo drums and synths lace lyrics about the dangers of today’s society. Just as it starts to reach a fever pitch, the album’s biggest problem becomes apparent; many of the CD’s best tracks clock in at less than 3 minutes, barely giving the listener a chance to grasp the message in the music.

Bang, a title seemingly descriptive of Khrysis’ treatment of the instrumental portion of the track is a blueprint for every rapper’s “represent” track. The lyrics don’t impress as much here, but nonetheless make for wonderful rider music. Samples from the original Lethal Weapon makes for a good segue into 4 Cornered Room. Introspective and minimalist are the keywords here, as L.E.G.A.C.Y. reminisces on the uglier parts of his past and journey into the rap game. One of the few tracks that is timed perfectly, 4 Cornered Room is definitely a repeat play. Connector Man displays that there are still new ways to rhyme about the sale and purchase of drugs and women in this industry. Grunge influenced and movie-esque, Connector Man plays more the part of a skit with its emasculated length as it leads into TKO. Featuring appearances from HOJ mates Phonte, Chaundon and Sean Price, TKO is gem that stands out amongst an already great tracklist.

Policia, probably the albums most forgettable track, is still a step above the average radio-friendly tune. The lyrics allow an in-depth look into the oppressive nature of urban police presence, even if the hook is lacking majorly. A chorus sings eerily at the opening to The Greatest, questioning “Why wait? Kill yourself now.” Suicide Music closes with Fly So High and Looking Glass, which seem to fit together better as one song than separate entities. Suicide Music is the perfect example of how to make a proper sleeper album. The short track format works like a double edged sword, not giving listeners enough time to engage in each song before it’s over, but allowing for major replay power. While it will go mostly unnoticed by major music listeners, those in the know have an ill summer album on hand with L.E.G.A.C.Y.’s Suicide Music.

9/10

Drake - So Far Gone (Mixtape)

In 2001, Aubrey Graham was Jimmy Brooks, one of the many students attending television’s favorite Canadian high school, Degrassi. In 2004, Jimmy was confined to a wheelchair, having been shot in the back. In 2006, Jimmy became Drake, the suave, multi-talented entertainer who would soon be signed to Young Money Records and become wall candy for many a young girl’s bedroom.

So Far Gone, Drake’s mixtape/album affair is not just a random collection of scattered verses over popular beats. No, in fact, So Far Gone has just about as much depth as the TV show we first saw the rapper/singer/actor in. Playing more like a musical than an album, So Far Gone tells a story, and rarely deviates from its abstract format. The spacey instrumentation and smooth delivery of this 17-track deep vignette provide easy listening that most should be able to enjoy. Oh, and don’t worry fellas, you can play this around your old lady too.

So Far Gone opens with the minimalist, fairy-tale like song Lust For Life. While Lust plays more so the role of an introduction to the next track, it stands very well on its own. The phrase verbally descriptive doesn’t do Drake’s rhymes justice here. The rapper shows that he can certainly paint a picture with his lyrics. “It’s funny when you’re comin’ in first, but you hope that you last,” is just an example of the subtlety of the metaphors displayed throughout this song as well as the entire album. Lust For Life transitions into a song that’s become something of an internet single, Houstatlantavegas. The ballad about a stripper is not as vulgar as its description suggests. Melodic and passion filled, Houstatlantavegas allows Drake to stretch his vocal muscles more than most rappers, showing off his singing voice here predominantly. In fact, it’s when Drake stops singing, and starts rapping, that this song loses its flair. The balance of rapper/singer is much better on the next track, Successful, that features veteran rapper and vocalist Trey Songz, as well as a prerequisite verse from Lil’ Wayne. Although the song’s chorus parlays on money and women, Drake’s verses tell a story laden with sorrow and hardship. Hard times with his mother, the stress of being on the road for months at a time, and even failed attempts at love lace this track’s content. Wayne is mostly forgettable here.

Let’s Call It Off is a break up ballad that samples Swedish indie pop group, Peter Bjorn & John’s 2006 single of the same name. An apparent departure from the sounds presented thus far on the album, Let’s Call It Off still manages to not feel out of place when Drake lays his words over top of it. November 18th, which samples one of The Notorious B.I.G.’s most memorable lines, is easily one of the album’s smoothest tracks. Flipping between his regular rapping voice, a screwed up variation of it, and finally showcasing his higher-end vocal skills, it’s almost as if there’s three different acts tied to this production. Ignorant Sh*t, another song that steals the beat and title from a pre-existing song, feels like it was stuck in the middle of the album randomly to add more strictly rap tracks. While the verses from both Drake and label boss, Lil Wayne, are exceptionally delivered, it doesn’t save the fact that the song’s presence breaks the flow of the CD. Word to Vince Lombardi.

Returning to it’s slower programming, A Night Off will probably be the soundtrack to this generation’s coming baby boom. Sensual, seductive and unthreatening, it doesn’t hurt that Lloyd features here. Turning the emotional dial again, Say What’s Real is a song that fans have heard many times already. Nevertheless, it is a nice rendition of Kanye West’s Say You Will and worth a listen or two. Swedish vocalist Lykke Li provides the backing for “Little Bit,” a remixed ode to puppy love. The catchy tune isn’t heavy in lyrical presence but still makes the head nod. In May, Drake’s first single, Best I Ever Had, began garnering radio play. The ringtone happy song is both radio-friendly and pleasant to the subwoofers with it’s bassy sound. Other notable songs here include Uptown, a classic “rep your city”-type track that features Bun-B and, again, Lil’ Wayne, and Sooner Than Later, a heartfelt apology track. Drake truly does have a song for every occasion. Although many of the beats and song concepts are borrowed, So Far Gone stays consistently well paced and entertaining. Drake’s major label debut, Thank Me Later, is set to drop this winter, and while he has stated that it will differ from So Far Gone, Drake has still managed to set the table and build his fanbase for his entry into commercial urban music.

9/10

You can download So Far Gone here if you haven't already...

Kanye West - 808s And Heartbreak

“Goodbye, my friend.
Will I ever love again?”

That is the question asked by Kanye Omari West, and unfortunately, many of his fans. 808s and Heartbreak, the new album by super-producer Mr. West, is set to appear on shelves November 24th. Originally slated for a December 16th drop, rapper/producer West decided himself to push the date forward after finishing the album early in Hawaii, where most of the recording sessions were done. Produced solely by West, with minimal help from longtime friend No I.D., 808s promises to be his most emotionally involved effort yet. The question that remains is, will this also be his worst received effort to date?

A word to the wise, before placing your currency in the local FYE cashier’s hand, the rumors are true. Kanye does not rap much on this album, with the exceptions of the bonus freestyle track, Pinocchio Story, and a verse by Young Jeezy on the song Amazing. The entire album is sung by the rapper with the help of the Auto-Tune sound made popular recently by entertainer T-Pain. West himself has said that this is not a rap album, describing it as “pop-art.” Boasting only 12 tracks, most of which have previously leaked separately onto the internet, the album clocks in at close to 50 minutes.

On September 7th, 2008, during the MTV Awards, Kanye West closed the ceremony by performing a new song entitled Love Lockdown. West later revealed that the song, which had been written just ten days before the show, was to be the lead single from his new album. When a studio version was released to internet and radio, West was highly criticized for the mundane use of the Auto-Tune vocals and weak drum cadence used during the chorus. The song was then remastered with newly tuned vocals and stronger sounding Japanese Taiko drums laced throughout the record. The newer recording was praised as being better than the original, yet still an ill-attempt to capitalize on the Auto-Tune fad. By September 24th, less than a month after supposedly beginning Love Lockdown, Kanye posted on his internet blog that he had completed the album, and would be releasing it in November. The result is 808s and Heartbreak.

With the list of features amounting to only three names, Lil’ Wayne, Young Jeezy & GOOD Music artist Kid CuDi, 808s and Heartbreak is exactly what its title suggests, break-up music with hard backing. Say You Will, the album’s opener, is the first of these break-up ballads. Kanye pleads with an unheard assailant not to “say you will, if you won’t.” Welcome to Heartbreak, which comes next, is one of the more upbeat, and more depressing, tracks on the album. Ye’ croons about how the illusions fortune and fame doesn’t amount to they joys of family and human contact. From this track alone, listeners can feel just how deep and dark the hole is that the rapper is currently in. The album’s second single, Heartless, is emo-pop at its finest. Kanye spends the 3 and a half minutes telling of the “coldest story ever told” about a man who’s played by his girlfriend.

Not one to dwell forever, though, Kanye does momentarily return to his boastful ways. Amazing, which features Atlanta rapper Young Jeezy, is a very low-key ego track. Kanye proves that he can still talk himself up the way he’s been doing since 2003. Other notable tracks on the album include Robocop, which was recently retreated by jazz musician Herbie Hancock, See You In My Nightmares, which features rapper and fellow Auto-Tune lover, Lil’ Wayne, and Coldest Winter, a mournful record chronicling the loss of his late mother.

As it stands before the album’s scheduled release, early estimates say that Mr. West will have to pull on a completely new fanbase to reach the million-sold mark this time around. 808s and Heartbreak is an extreme departure from the rapper’s usual hard boiled egotistical delivery. Were is not for painfully wretched songs like Paranoid and Bad News, the album may have been considered a successful departure, but the rushed sound of many tracks and the half-hearted features bring the record below the skyscraper sized standards we’ve set for Kanye. While many of us doubt poor sales numbers will lead Ye’ back in the proper direction, we still hope that not winning any awards this year will.

6/10