The Alchemist ft. Action Bronson - "Diagnosis"

Fashion designer Dr. Romanelli is not a doctor. We know this because he is a fashion designer and not in any way associated with the medical profession. He is known primarily for collaborating with popular brands to create articles of clothing carefully priced at the lower end of abject madness. His impressive resume includes collaborations with Nike, Converse, Pete Wentz and his penis, and now Coca Cola.


Run the Jewels - "Get It"

When you logged into your Myspace page back in August, you were no doubt excited to learn about 'Music Video Collaborations With Artists We Like', the new program designed to produce music videos with handpicked artists and labels.

My top eight are huge fans of El-P and Killer Mike, having been big supporters of Definitive Jux back in the day, and won't stop blabbing about the new visuals for the "Get It" single released earlier this year on Fool's Gold Records. It was shot on the road during their recent tour of North America that definitely didn't have a stop in Buffalo and looked like a great time none of us got to have. Look for special cameos from Despot and Kool AD who still owes me an apology for breaking up Das Racist.




Childish Gambino - "Worldstar"

Mr. Glover's new record Because The Internet is scheduled to hit December 10th, and here's a rather appropriately titled leak to get you in the mood. Worldstarhiphop.com is, of course, one of the worst places on the entire internet, an aggregate of shitty music and videos of people committing acts of felony assault that celebrate the darkest parts of human nature. Naturally, I read it every day.

"Worldstar" doesn't delve as far into blatant mockery as I'd have liked, but I think Gambino would shoot me a knowing wink if I asked him about it before having me removed by security so I don't kill his vibe by being poor within fifty feet of him. Homie gots that TV money.



Drake Being Drake

Straight Dope will return next week. Let’s hope Kanye West does something stupid before then.

Coming off one of the most talked about mixtapes of 2011, LiveLoveA$AP, Harlem rapper A$AP Rocky has finally delivered his major label debut album after nearly four months of label pushback. LongLiveA$AP flaunts all of the MC's strengths that stood out on his debut and delivers the crossover appeal that his earlier material hinted at. Rocky's best asset has proved to be his taste and ability to create atmospheric tracks working with producers like Clams Casino which helped the rapper get noticed for his hazy aesthetic. While this heavy reliance on production could have led to a style over substance approach where the rhymes and lyrical content suffer as a result, it is clear that Rocky has become a more confident lyricist and has learned to match his flows to his instrumentals in a way that feels like the MC has gained vision as a songwriter and has the ability to create more resonant hooks and choruses.

The album's opening title track picks up where the Harlem artist left off on LiveLoveA$AP, with an airy beat whose crass vocal sample provides a percussive element that allows for an elusive flow to settle in and let Rocky provide his mission statement where he discusses his trajectory from an unknown rapper given a major label deal based on a few Youtube videos to a high profile artist who has been embraced by the hip hop community as well as high fashion designers responsible for some of the downright strange threads he can be caught wearing. The following track "Goldie" was released last year as a single and features a beat from producer Hit-Boy that is as bass heavy as it is instantly memorable for its' Houston style screwed and chopped hook.

On "PMW," Los Angeles rapper Schoolboy Q returns to collaborate after delivering the guest verse of the year on LiveLoveA$AP's "Brand New Guy" which brought him onto the radar of hip-hop blogs and publications. The track features a West coast style instrumental with Rocky's screwed and chopped vocal hook that he often relies upon. The production work of Clams Casino also returns on LongLiveA$AP with "LVL" where the New Jersey artist's hazy track allows A$AP to unleash one of his most unique flows on the record.

The second single from the album, "Fuckin' Problems" feels like a statement on Rocky's elevated status as an artist, bringing in Drake, 2 Chainz, and Kendrick Lamar for guest verses. Undoubtedly the track that will garner the most radio airplay given the hook, however the track sounds little like much of the work the rapper has thrived in and feels like a step away from the highly stylized production that initially brought him to our attention.

Perhaps the most unexpected collaboration of the record happens on "Wild for the Night" with a beat from Dubstep producer Skrillex. A high energy electronic beat lets Rocky go in on one of his most aggressive flows to date and create a track that brings together the EDM and Hip-hop worlds in a way that feels like a natural extension of both. "1 Train" brings us back to mid 90's New York rap where collaborations would feature multiple MC's dropping verse after verse for the duration of the track with no hook or chorus. The track features verses from Kendrick Lamar, Brooklyn boom-bap revivalist Joey Bada$$, Yelawolf, Danny Brown, who delivers his signature cartoonish flow, as well as Action Bronson and Big K.R.I.T. Despite the obvious stylistic differences among these artists, each verse complements the flow of the track and proves that talented rappers can create a song given any beat no matter how outside their element it may sound. LongLiveA$AP is an extension of the talents of a young artist who has an eclectic taste for instrumentals and the range to match his ambition. With only two full length releases to his name A$AP Rocky has taken steps to broaden the soundscape of Hip-hop and push the limits of what sounds can be used to create an aesthetic true to the genre's essence.

Grade: B+

The final day of the 2012 North By Northeast Music. Film. Interactive. Conference concluded with a powerful message of unity and awareness. The music at Younge and Dundas square centered around Hip-Hop on Sunday. Those who attended the week of long activities resiliently gathered along with a new crowd of Toronto's Hip-Hop connoisseurs. The mood was undefinable and tense.

On Wednesday night last week the NXNE showcase for SmashMouth Entertainment which was to be held at The Rivoli was canceled at the request of the Toronto Police and the Toronto Gang Unit. They cited potential gang affiliation with some artists in the showcase, and the potential threat for gang related violence that evening. This incident obviously created a stir of displeasure from fans. Rich Kidd, local Toronto Rapper, along with other artists on the bill are involved in community programs. It appears as though there was a gross misunderstanding and singling out of Hip-Hop artists and fans as those who promote gang violence. The festival released no other statement than that the event had been canceled due to unforeseen events. Really it was two events prior that likely had the cops tight. The fatal shooting at the Eaton Centre on June 2nd (close proximity to Sunday's events) and the fatal shooting of an attendee at a Young Jeezy concert at Sound Academy back in April.

I must admit I thought there would be more cops around Younge and Dundas on Sunday evening. Their presence was felt but they weren't getting ready for a riot or anything. When we arrived Tasha the Amazon came out on fire, high energy and whipping her long thin braids around. After two songs, she expressed her disappointment with the Law Enforcement of her own city's decision to facilitate the shut down of Wednesday's showcase. Tasha did so diplomatically. In stride brought out Rich Kidd and allowed him to do one of his tracks during her set! You could tell it was a personal scar for her as she is a voice of Toronto's scene. Then she got more ramped up and rode that energy through the rest of her powerful material.
Next up was Tre Mission, another Toronto rapper of international notoriety because of his association to the UK Grime style. His beats were strait future, and that particularly rapid style of spitting sounds so fitting over bass music. We left during Action Bronson out of spite for his skipping out of his show in Buffalo. Got that one back. Smartly we fueled up on ethnic food and returned for the thralling set of Killer Mike. His performance may have been my favorite of the entire week. Seemingly a large man such as Mike would have little control of his body or give the appearance of apathy, but absolutely every cell of his being was completely engaged in his performance. Talk about someone who is grateful for what they have. He loved the love! Mike also buffered the tension between the Police and crowd, but speaking the truth about people under pressure will rise up and "burn this motherfucker down."

When Mike walked off the stage that's when the Wu Tang fans began to get excited. Now I've experienced a couple Wu Tang reincarnations, and one thing that's always true is that the die-hards go apeshit when they play Wu classics. Personally I would've preferred to hear a couple more of Ghostface and Raekwon's  respective solo songs, but when they came out the plan appeared to be go back-to-back and mix in heavy hitting Wu Tang songs here and there. Since its two of nine members doing other guys' verses  the highlight had to be when they brought up two random people from the crowd to do Mehtod Man and ODB's parts in "Protect ya Neck." The guy playing Meth didn't fair to well, but ODB's stand-in did a hilariously good job! The mid-level Wu-Tang song "Triumph" which features Raekwon was probably my favorite on the night. And towards the end of the set they let the DJ play out Marvin Gaye's "What's Going On" while they sang in unison with the fans. A fitting and friendly fuck-you to the haters associating all of Hip-Hop culture with gang violence.