7L & Esoteric
A New Dope
(Babygrande Records, 2006)
www.babygrande.com

This duo has been around for almost fifteen years, hails from Boston and has been an associate of Mr. Lif for a great while. All of this being considered and being familiar with their work with Lif, hearing this album may be a bit surprising. To call into question the raps of Esoteric would be wrong, his flow, however, seems to be a bit suspect. In a grandly bizarre fashion, he occasionally sounds like Missy Elliot. But of course when examining a duo, there can not be only one suspect. 7L, as with any professional in an industry, has maintained a degree of knowledge in the changing tides of production. And while he doesn’t give us electro-beats, as has become fashionable, his beats have undergone a change over time. Again, though, one can’t be blamed for developing. Even without considering all of this, apart from the first track which aims to qualify a number of different situations as dumb (and it does so rather splendidly), after having a listen, nothing stands out. The raps are succinct; production is complete. There just isn’t anything to grab onto that would make one proclaim this as the real dope.

85 Decibel Monks
Tack-Fu Presents the Production Team
(Tack-Fu Productions, 2004)
www.tackfu.com

Iowa City doesn’t possess the most illustrious history in regards to hip-hip. But, it’s kinda like haranguing the Klan for not having more black folks working in its offices. But some white folks from IC, most likely sporting a delightful accent of some variety, have come through with a pretty damned quality hip-hop album. The master of the production is Tack-Fu, accompanied by his team of ruffians (The Chaircrusher, Hartless and drumk).  The fact that DJ Vadim, Manchild, Illogic and Blueprint appear on this release solidifies that fact that there is talent behind the boards in the mighty land of Iowa: those folks aren’t collaborating outta pity.The first track, “Enter Dependents” sports Mars Ill. If the track were of any note lyrically, I would further detail the other emcees appearances. The viola drone, hand drums and echo-laden snare hit make the track float, while it’s being ridden by average raps. Tack Fu spends time with the sounds he uses so he’s able to often times feel whether or not an emcee or a vocal sample is needed. More frequently than not he figures correctly. “Oh Yeah,” featuring DJ Skwint, comes off without any vocal accompaniment as does “Interlude in E-Minor.” Occasionally, he figures wrong (“Mr. World”).  A tune by drumk, however, is the highlight of the instrumental numbers. His “Mongolian Fire” best uses the eastern theme that is visited on this album a few times. A couple of electo-glitch tracks (“Hot Water for Tea”, “Key Player”) get stowed away on here as well, showcasing the collective’s ability to leave the complacency of most hip-hop and try somethin’ new. So friends, in closing, simply contribute to our national pastime of buying stuff and buy this. Go.