Mr.Top Hat's DJ BOOTH PROFILE

“The right kind of producers and instrumental selections have that kind of magic that make the good better, the better best, and the best immortal. Present is all the gravitas associated with Justice League instrumentals as well as the old-school flavor Premo adds in the scratching that Hip-Hops the construction together. There is drama and emotion in this composition from a thick bottom to reverb and piano work but getting more hip-Hop in its movement as the song draws to it’s close with more vocal samples and scratching. And if you love hip-hop, then you will care about all the meaning behind the rhymes and what it’s trying to accomplish. This collaboration is certainly not for the exercise of just another DJ Khaled's project. Every one was really into it! Both Nas & Scarface was given cinematic music to expound upon and with the help of DJ Premier, what you have is the final product worthy of every bit of praise it gets. A carefully crafted piece of Hip Hop perfection!”

“The right kind of producers and instrumental selections have that kind of magic that make the good better, the better best, and the best immortal. Present is all the gravitas associated with Justice League instrumentals as well as the old-school flavor Premo adds in the scratching that Hip-Hops the construction together. There is drama and emotion in this composition from a thick bottom to reverb and piano work but getting more hip-Hop in its movement as the song draws to it’s close with more vocal samples and scratching. And if you love hip-hop, then you will care about all the meaning behind the rhymes and what it’s trying to accomplish. This collaboration is certainly not for the exercise of just another DJ Khaled's project. Every one was really into it! Both Nas & Scarface was given cinematic music to expound upon and with the help of DJ Premier, what you have is the final product worthy of every bit of praise it gets. A carefully crafted piece of Hip Hop perfection!”

“The right kind of producers and instrumental selections have that kind of magic that make the good better, the better best, and the best immortal. Present is all the gravitas associated with Justice League instrumentals as well as the old-school flavor Premo adds in the scratching that Hip-Hops the construction together. There is drama and emotion in this composition from a thick bottom to reverb and piano work but getting more hip-Hop in its movement as the song draws to it’s close with more vocal samples and scratching. And if you love hip-hop, then you will care about all the meaning behind the rhymes and what it’s trying to accomplish. This collaboration is certainly not for the exercise of just another DJ Khaled's project. Every one was really into it! Both Nas & Scarface was given cinematic music to expound upon and with the help of DJ Premier, what you have is the final product worthy of every bit of praise it gets. A carefully crafted piece of Hip Hop perfection!”

“The right kind of producers and instrumental selections have that kind of magic that make the good better, the better best, and the best immortal. Present is all the gravitas associated with Justice League instrumentals as well as the old-school flavor Premo adds in the scratching that Hip-Hops the construction together. There is drama and emotion in this composition from a thick bottom to reverb and piano work but getting more hip-Hop in its movement as the song draws to it’s close with more vocal samples and scratching. And if you love hip-hop, then you will care about all the meaning behind the rhymes and what it’s trying to accomplish. This collaboration is certainly not for the exercise of just another DJ Khaled's project. Every one was really into it! Both Nas & Scarface was given cinematic music to expound upon and with the help of DJ Premier, what you have is the final product worthy of every bit of praise it gets. A carefully crafted piece of Hip Hop perfection!”

“So glad to hear, even on the verge of his major label debut release and he’s slowly hitting us with more of that same strong undeniably Kendrick Lamar music. Also, props go out to T-Minus for knocking out that TDE sound without letting go of any of his trademark style. The production and mixing is so tightly wound around his vocals which ebb and flow exactly where they should. Kendrick's vocals tone is methodical and measured with a pitch designed to create a deep and dark vibe. And of course, a well-crafted, catchy hook that suck you in and keep hold doesn't hurt the matters. But a legitimate musicality and songwriting ability is also a part and parcel with this package. It IS complex, but with style. It might appear to be the same topic that many rappers talk but with gusto and an overt skill level of execution that most can’t match, and I believe intentionally hides the message that a portion of radio-audience will definitely miss the point. It's a song that make you think about certain situations and habits in your life. Diving deep in a pool full of liquor is probably not the best way to put the brakes on my abuse, but acknowledging the issue is half the battle. Full marks !! Judging by Cartoons & Cereal, The Recipe, and now this gem - the album gone have a good balance of lyrics, beats, content and mass appeal. I'm hyped !!”

“"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”