“"The Push" is one of those multi-emotion albums, which are perfect for listening in a range of situations, suiting whatever your needs. The flow refuses to stay steady, and Shane Eli adjusts his flow impeccably to match the hills and valleys. He can can do the slowed-down mellow beats, but also has a penchant for rocking out with up-tempo, slightly erratic instrumentals that a lot of rappers would stumble over. This type of flow is seen through­out the record wonderfully, but most tracks don’t jump large tempos or keys away from each other to cause the listening to become jagged from one song to the next. Instead, the entire album progresses in style and maintains a sense of direction and an identity. He did it all by himself! Both the production and content are worthy of high recognition; a job well done. Right off the bat, Eli come extra phat with the "I'm a Winner". The beat kicks in so hard, you need to hold the loudspeakers down as the drums are a healthy dose of attitude in the presence of organ. More of this braggadocios rhetoric can be heard on "Knuckle Up", where Shane jabs left and right and drops dope lines over a dirty bassline accompanying banging beat that stamps the song with the seal of hotness to emerge as one of the most take-notice cut on the record. "Dear Music" is a soulful and uplifting number about Shane's message and music. He gets preachy for a line or two, but overall presents himself well. "Grey Area" offers a heady backdrop of a sharp, bouncy piano keys and Shane dropping in some suitably emotive lyrics into the mix. It's a simple arrangement, with good use of repeating piano and drums backing the vocals, but its executed nicely. The lyrical delivery is steady, and each phrase seems tuned and well-thought, focus is on the vocals, with a background to get you moving, or, in this reflective case, moved. This is definitely one of the best tracks on the album. "We Mean Business" is one of the most hard-hitting tracks on the project, a blast of energy driven by vintage guitar slashes and layered clicky snares. The lyrics are self-indulgent and arrogant which suit the backing to a tee. He unveils his personality pretty strongly here, as he is responsible for programming beats, lyrics, and the hooks. His music depicts a talented man, determined to rise above everyone through fearless self-promotion and tireless craftsmanship. The flow is tight and sharp as a butcher's knife. It's pretty intense, but not overwhelming. Hands down, my favorite song on the album. At the same time, Shane Eli shows he has as much precision behind the boards as he does behind the mic. The music transcends genre, building an edifice with elements of rock, soul, electronic synths and RnB without really leaning towards any of them, sometimes laid-back, sometimes husky, but often proclamatory. Shane Eli brings a diverse set of skills to his beat-making craft, dabbled in a wide array of sounds to back his raps, with a pretty solid rate of success. The other thing that catches your attention with album are the drums, as it contains live-sounding patterns, that sound more man than machine. An element that you don't hear very often. For an independent album, "The Push" has a very rich, full sound; these beats were definitely not hastily made on a crappy keyboard. Every note, range is clear, clean cut, and it does not lose any emotion off Shane Eli's lyrics with those musical notes. The calm production on the "Poor Me" gives weight to Shane's narrative abilities. And as the track progress Eli's narrative ability begins to grip, it's gritty, intellectual, honest, and just brilliant. Its music devoid of delusions of grandeur - just stripped to its raw essence, it couldn’t have been executed any better. The production is simply perfect for the affecting soliloquy that is "Poor Me". On "I'm Different", Shane Eli chooses the route of the synthesizers and more club-ready computerized sound. It's not particularly 'different' but album as a whole benefits because of that change in style. In "Baby You're The One", (where a lady, actually ladies are the center of attention) a rhythmic, radio friendly effort, joining the "I'm Different" that will raise the artist's profile. These song topics and execution are not original, but it is by no means cringe-inducing and are quite enjoyable especially when played out loud. Accessible and rather smart style choices. "Haters", where Shane at it destroying/brushing-off competition/haters one chunky riff at a time. This may not push the envelope in completely new ways or step into extremely technical territory, but it IS a "it succeeds in its purpose" record. When the going gets rough, one is often told to “roll with the punches” in order to surmount this adversity. When relaying a similar message in “Push”, Shane Eli opt for a direct approach that calls for one to fight through hard times as — you guessed it — keep pushing. Technical lyrical writing is on point. Shane Eli's words are spare, well chosen and effective. Shane Eli doesn't overdo it with punchlines, but doesn't underwhelm by being too simplistic either. And it fits in well with the the themes that run through the album, the struggle and the determination to persevere through trying times to make it in the music industry. He is a charismatic, struggling MC: at times brutal but uplifting, cocky yet broken. His lyrics burn with a desire to be the best, and he cares so much and pushes so hard that he sometimes spins out of control - teetering on the edge of egocentrism that's as noticeable as blobs of ink on blotting paper. Though in my opinion that is one of the very building blocks of hip hop itself. Though Shane’s rhymes are a bit direct on few tracks, they remain proficient in projecting genuine emotion and he does execute his rhymes over production that is consistently dope. Though the above mentioned missteps are minor, the particular one which inhibit the record from being perfect; are the hooks which fail to charm or stick with the audience as much as the verses or backdrops. The largest complaint to be leveled at them are the way that most of the hooks are far too wordy and not particularly interesting word selections. On occasion, one can't help but feel that a hook could be a little bit sharper or the wording he puts out just come across awkward (See: "Push"). But those too are wrinkles that I'm confident the artist will iron out as time goes on. With "Happiest Regret", as Shane illustrates how he is helpless when seeking out love, even knowing fully well the grim consequences. The topic in itself is interesting, but the composition of the song is what makes it one of the highlights of the record as Kamilah Gibson (the sole feature on album) gives quite the hearty vocal performance. Right from the off, "Swing Low", inner searching and trundling riffs sets out a recipe for a broth of rhythm and honesty. His manner switches swiftly from one of determination, to confusion, then he gives in to worrisome, making a striking impact. A dose of brooding self-delving is espoused, but it is done in such a deft mood-building way (and the chorus proves to be one of the album’s better sing-alongs) that it doesn't come across as too self-indulgent. One of my clear favorites on the album. "I Wonder" is just one great example of the openness of Shane's lyrics. Possessing a yearning backdrop to aid the reflective nature of the material and the low-key, yet confident vocal display from Eli. Uncertainity and a hint of desperation is well-threaded in the lyrics with drive to succeed, the guy come across as endearing and believable. Here's to hoping he eventually finds what he's looking for, as proclaimed by the album's closer "Departure", there is still progress to be made but suggests he'd be on board for better or worse. The ending gives a message of hope and promise, and with the quality demonstrated on this accomplished debut it's safe to say that the hip-hop can add the name Shane Eli to a growing list of genuinely talented artists. Shane’s skills on the mic never pose a question, but his ability to pen memorable hooks does. Both “Taste of What's To Come” and “Haters” show Shane Eli’s deficiency for writing hooks as potent as his verses. And the delivery on "I'm Different" does not lend itself to a very enticing hook. Not every track is hurt by this, it just depends on the song. All of the remaining joints make a positive impression with semi-catchy hooks. Anyway, a weak chorus here and a less-than-great beat there won’t stop him from eventually becoming the new big men on campus. And then Shane Eli is still growing as an artist so missteps are to be expected, but with better hook-writing, improved musicianship and an amplified focus on melodic sensibilities in future, he would actually give his craftsmanship a big boost. Overall, save for a few soft spots, he is pushing all the right buttons and "The Push" feels like an honest project where the artist gets to say what he wants to say and gets to play what he wants to play. This northern native has a level of talent and heart that exceeds most, and while this current collection of 15 joints have turned their final page, we can only expect further excellence to follow in their wake. If he get more comfortable in this medium and continue to sharpen already apparent skills, it would be hard for everyone not to bump his music, with or without a major label push. 4.25/5 My Top Picks: 1. We Mean Business 2. Swing Low 3. Happiest Regret 4. Poor Me 5. I'm A Winner 6. Grey Area 7. I Wonder”

“Dominique Larue nailed her arrival with this impressive mini-album. Its a well-rounded offering that got character and a likability that I haven’t found in a minute. The variety of beats allows Dominique to demonstrate her lyrical diversity and well-honed delivery while, Idasa Tariq, gets your feet tapping and your head nodding with sometimes hitting a smooth jazz drive then a straighter hip-hop feel. Dominique Larue packs a lot into these songs, which, even though all are under 4 minutes (some under 3), feel quite complete, never lacking in content or pay off. Complete with show-off muscles, sex appeal, storytelling and then some. It’s powerful, clever and crafted strategically. These six fantastic tracks (and there isn't a duff one on here) all sparkle with her character and personality. Idasa Tariq bring it all together skillfully and Dominique Larue succeeds in leaving a sense of anticipation in its listeners for what comes next. I am a big fan of this mini album. 4.5/5”

“This is a slow burner, it took me several listens to love this record as much as I do now. I just didn’t get it the first time. Or the second time. In fact, somewhere along the fifth or sixth listen all the way through, and you’ll wonder why you didn’t love it in the first place. The track that I keep bringing myself back to is "Heaven", written about deceased loved ones, the lyrics are relateable and honest too; heartfelt and simple in their presentation and also having a real innocent and pure vibe. While "Come In" is about ILLZ, who's often away from his loved one. Both tracks are atmospheric and extremely poignant. It’s thick with raw emotions and melodically dense; it’s deeply personal, sometimes despairing but carries a resounding strength, determined to see the struggles through but it never asks you to pity it. With a beat keeping its melancholic vibe, somewhere in its saddening heartbreak, "In Between Us" still clings to hope even when all is lost. From denial through depression, to optimism and then moving on. ILLZ is preparing to move on with his life, looking back with both remorse and fondness on what once was, but looking to the future, since the future is all he has left. The track #8, "Shine", has us listen to him in his most braggadocios, and he's good at it. On "Pursuit" he discusses his struggle, in a personal, but also general way, never loosing a connection with the listener. Sure the rhyming ability is solid but the production, handled by ILLZ himself, is an absolute trip in itself. The music is incredible, mixing shoegazing guitar swirls, absorbing art-rock and distant, yet attached vocal harmonies, all seamlessly sewn into the mix and the effect is nothing short of stunning. The drums take cues from live rock-sets, mushy vocal harmonies, cinematic strings, horns and assorted electronic flourishes dot the landscape of "The Pursuit LP", making the album a multi-layered affair, even in its more serene moments. Its repeating patterns are built on oh-so-gradually until it sucks you in altogether, carrying aching emotion with it. Besides the outstanding beats, ILLZ's lyrics are just as noteworthy. He breaks it down to regular dude's concerns. There are constant references to the ILLZ's outlook on life, music, family, love, and growth, expressed through rhymes AND melodic undertones, sensual basslines, and harmonic vocals, all combined to create one incredible listening session. "The Pursuit LP" is a mish-mash of disparate sounds clashing to make for some surprisingly beautiful and accessible music. Beautifully melodramatic and expertly emotional, ILLZ succeeds in making this a personal album. My Top Picks: 1. Heaven (Higher) 2. Come In 3. Let It fall 4. In Between Us 5. Faded 6. Pursuit”

“Far more complex than simple metaphors and punchlines, CyMarshall Law's hyper-lyrical steez runs circles around diverse subject matter, switching cadences, while spitting hard-as-nails rhymes. A well-balanced mix of clever humor, slick bravado, thought-provoking seriousness, and straight mic skills. There are no weak tracks on this project, some are better than others, but there is NO wackness. CyMarshall Law delivers carefully constructed bars that proudly display his rhyming ability, one track after another and switching up his delivery from time to time which keeps things fresh. With more than 1 hour and 30 tracks of lyrical wizardry over a few well known beats, and equally dope fresh beats, CyMarshall Law not only prove his talent as an MC but his potential for big success on the scene. “The Creator’s Craft Mix CD” serves as a placeholder to keep fans satiated for the slew of projects that CyMarshall Law have on deck for 2010. I'm tuned in! My Top Picks: 1. Harder Than Thou 2. No Sleep 3. How You Like Us Now? 4. Discrimination 5. What Would You Do? 6. Growing Up 7. Family 8. Meteowrite”

“This is a calculated project and I fcuk with that. Love the flow and how the mixtape is put together. It bangs hard like po po going door to door looking for a cop killer. DJ RTC keeping the mixing skills sharp as ever and you get some dope artwork by DJ Ohms. Work was most def put in on this project and it's appreciated. Huge props to all parties/artists involved on this tape. And major love to DJBooth Crew, I appreciate the work that you guys put in day after day. Definitely a mixtape for collection!”

“As Pugs & Rashid kick off first track "Back Again," they immediately unleash a flood of positivism and good vibes. Its sped-up sample is irresistible, its optimism infectious, the duo hits it out of the park on the first try. Followed by 14 more tracks, it's the first peak of several, which come at a steady pace. They basically create feel good music with a message, which they certainly accomplish, in my opinion. The beauty of "Stormy LP" is that there are sixteen such moments, conjoined in tight cohesion, yet flowing with a fluid motion. And while the mood is often a laid back one, the product is never less than enthralling. It flows together remarkably well, which is a testament to the duo's acumen. The chemistry conveyed from these individuals indicates no fleeting relationship. Production is crackly and warm, borrowing from the old boom bap design of the rap's earlier days, providing a smooth and rich environment for Pugs & Rashid to flex their lyrical muscles. A sonic feast!!! 16 tracks in length, there are NO filler tracks. Throughout Pugs proves his worth as a solid emcee with a great voice, tight rhyme structure, solid delivery, and lyrics for days. Rashid also proves he has enough talent to share the stage with Pugs, though not being quite as rock solid as Pugs on the mic. Still, with its combination of challenging rhythms, vibrant samples and articulate lyricism, the two have carved out a solid entry in their catalog. Whether or not this release points to any future direction the duo takes is to be seen, but after hearing this, I hope that this won't be their last album. Truly a gripping project that totally flexes the skills of some young and very talented artists. Huge props to all parties involved on this tape. A healthy 4 for me. Straight up SOLID album and I have no complaints and couldn’t ask for more from it. My Top Picks: 1. I'll Wait For You 2. Back Again 3. Mercy 4. Take The Hurt Away 5. Tell You Bout It 6. In The Air 7. Hand On The Bible (Seriously, I could've listed all of 'em 16 on the Picks)”

“This one will definitely be returning to all manner of music players in my life. 810 take us back to the golden age of hip hop while revamping it and upgrading it for the current era. Mydus and DCypher really put their foot in this one. Each track is packed with beats that would make Golden Age-heads a little misty-eyed. From the drums patterns to the soul samples to the creative use of instruments, everything works and then some. Lyrically, this project is tight, tight, tight and tight. 810 expertly combines thought-inspiring lyrics with personal touches and battle rhymes. At all time his delivery is in tune with the music. Label problems, female problems, the state of hip hop, and the struggles of making it as musicians are all discussed over the course of the seventeen tracks. There is hardly ever a moment when a track drags on too long or a beat just doesn’t feel right. Mydus is in a real rhythm right now, first "GodSound" with Black Sunn and now this, turning out to be one hell of a producer, and the fluency with which his beats move from beginning to end is really enjoyable to listen to. He expertly lays down a thick and brilliant funk with brassy horns on title track "Glass Half Full", while, "U Won't Like This" takes it a level that would snap necks as an instrumental alone. Irresistible groove. Cameo appearances from Black Sunn on "Hire Us" and Black Diamond on "Cheat" only help to improve this Mixalbum more. The result is a cohesive project that flows seamlessly from top to bottom and feels completely unforced. I give 810's "Glass Half Full" a 4.5 out of 5 stars for fresh lyrics, timeless beats and a complete, concise package that lives up to all of my expectations. My Top Picks: 1. U Won't Like This 2. Issues 3. Shame On Me 4. The Oath 5. Pressure Is On 6. They Don't Wanna Know”

“The first track, "Save The Game", the beat is a straight up banger and it truly starts off the project with a bang. Cause come on spitting some tight rhymes, attacking the current glut of Cristal popping thugs trying to rap about the same garbage over and over. Track #2 is another banger, with Cause attacking the track with authority. "In A Daze" is a more subdued in terms of the beat, the production fits the lyrics well, and the flow is extra nice. "On My Mind" with its sentimental sing-along hook backed with a carefully arranged set of measured melodic bass, keyboard tricklings wrapped up in a thick groove, will definitely please ladies. For what is essentially a demo/EP, this product is fairly well rounded, with a nice variety in track sound/feel and subject matter. Cause comes with tight flows throughout, and his lyrics are on point throughout, if not stunning. And the production is high-quality on every track. Overall, a pretty solid effort, with virtually no excess. But, even if there's no filler (which is unsurprising, anyway), it doesn't mean individual tracks couldn't be improved. It would be a much better product, though, if his vocals/content would evolve towards some distinction. With only nine tracks, it is hard to get a full gauge of Cause's potential, but this EP definitely shows promise. Four shining stars. My Top Picks: 1. In A Daze 2. Just Another Day 3. Birth Of A Rebel 4. Keep It Real 5. Life Ain't A Playground”