Mr.Top Hat's DJ BOOTH PROFILE

“Can't say that I saw this collaboration coming together for the second time, but this is the kind of track any artist would be proud to have on their album. The production itself is simple, but the groove is undeniable from the start that takes this song up a notch and makes it so addictive. The drums alone are straight dripping with attitude. When it comes to on-mic performance, well there's a reason that not many can contest with Nas' output as he continues his lyrical assault on the mic. But Rozay also shows he is equipped enough to team up with Nas Escobar. The latter is unmistakingly the better MC, putting forth a verse more in-tune with the topic, but Ross also delivers his lyrics in such a focused way, he doesn´t ruin a single bar, either. Like it or not, Rick Ross' voice and ad-libs remains one of the most charismatic style in the current music landscape. Anyway, this is more anthemic than both have sounded in awhile. And although this kind of subject matter is not my preferred cup of rap-tea and can get a bit tiresome, this easily navigates potential pitfalls due to its immense sound, and both Nas & Ross are skilled enough to pull it off with style and quality. Plus, the length of the song goes down real easy as well. BANGER!!”

“This was a great listen! Production is something serious. The ridiculous knocking drums, and the clever Hindi-vocal sample selection in the background does wonders to set this product above its competition. Though I understand the wordings, I just can’t pinpoint where the sample from. It is one of the popular dialects of Bollywood movies. To translate it, it would mean something like - "O friend, how can my heart stay happy without your presence." Lyrically, it's doubtful that anyone will be truly blown away by Elite's performance, but the determination to make music that expresses raw emotion and passion shines through in his rhymes, and he keeps the song moving with an energetic flow creating a larger, more lasting effect as a result. All in all, the production is great, the sample is well played, and solid rapping from Elite easily push this song into banger territory!”

“What can I say about this song? I've heard it hundreds of times and never tire of it. Perfection. There are some fun songs that try far too hard to get you to love them, and then there are those that are so effortless that you can’t help but be completely charmed. This absolutely falls into the latter category with no difficulty whatsoever. It's got that infectious hook that no one can resist -- the kind you'd climb a mountain just to be able to play from the very top of the world. It's an anthem, and we all know how much everybody loves anthems. "Everybody's Nobody" have a handful of strong potential singles produced by Seven, but I agree with @Z this is the best of the bunch. Full to the brim with charm and simple melodies, it does have an undeniable pop surge to it, and is possibly one of the best example of simple but effective production !! As far as XV, I'd say the quality of his punchline-ridden rhymes has stood the test of time remarkably well. Plus, Pusha T adds a memorable verse that too effortlessly seams into the hook. It is a foregone conclusion that this song (with no big superstar feature) will be dominating the charts. But if you do get a chance to hear it, you can consider yourself very Awesome. For what this song does, the feel-good vibe it brings, I can not rate this any lower than 5-stars!”

“For an artist that shows its head so dramatically, so rarely, "Call Of Duty" is a letdown. Like many, my first few listens were also filled with disappointment because song is more naked in terms of lyrics. The abstract-minded lyricism felt toned down. Though I have to admit, the more I listen to the verses, the more it gives back to me. As expected, lyrics are remarkably well-written, making up for the lack of a connection with dull vocal performances from both Jay and Prodigy. I know, this sounds quite alright in theory, but in practice the results are just a tad on the disappointing side. Yes, it's not his best, and it doesn't have that Exhibition A/C "wow" factor, either. But it still is pretty damn great and Jay Electronica-Just Blaze standard output easily outpaces most of their contemporaries. Most rappers would kill to have a song as good as this in their oeuvre. Rating this song was difficult. Lyrically it naturally earned a high mark, but that is only half the formula. Purely based on lyrics and not delivery it still might also earn a high mark, but ultimately the near-repulsive instrumental limits its replay value. Rating: 3.5 stars, rounded up. This being a mid-recording throwaway release (according to Jay's tumblr post), I hope whatever follows "Call Of Duty" to scrap every ounce of sentiment found here, re-introducing how phenomenal the pair's output can be when they tick all the boxes.”

“After You Are Done Listening To It You Feel As Though You Have The World's Strongest Drug In Your Veins. "I don't even know what that means No one knows what it means, but it's provocative.. gets the people going!!"”

“I’ll admit that a lot of times an artist or a group comes along and people heap loads of praise on them, and for whatever reason, I don’t feel the same way. It’s frustrating, because at times I do the same thing, and I get upset when people don’t see the brilliance that I am pointing out to them, so I definitely sympathize when it happens. A BIG fan of the TV show "Community", I tried several times to get me to listen to Childish Gambino and see wats the big deal about, to no avail. Both “Culdesac” and "The EP" intrigued me and made me think I’d definitely come back for another listen, but I still wasn’t feeling it. Camp came out, I listened to it, and I fell immediately in love with it. This album is smart, personal, entertaining, and really shows that sometimes, the good ones find a way of getting the attention they deserve. It may not have happened the first few times I heard Childish Gambino, but I definitely see the light now. Glover wrote and produced the whole album, meaning that there was no barrier between writer and producer, and this is reflected in the album. Experimental without losing accessibility, electronic and acoustic, complex and simple, dark and energetic whilst intricate and introspective – there is a sense of progression, and, the similarity in composition of instrumentals is one element that gives the album its unity, but each of the pieces is complementary to the others – by the end of the album, you feel that you’ve heard a complete artistic statement, making Camp his most mature and complete album. He puts his whole life story on display on the first song of the entire album. It's a gutsy call to go there so early since people who have never heard of CG before this album might want to feel his flow before knowing him that well, but listening to him spit over soulful vocals (used well to highlight the important message conveyed in the song) on "Outside" just sounds truthful and straight, and I think that's what makes this song such a raw and intense way to start off the album. It’s not unreasonable to say that there are tracks like "Bonfire" or "You See Me" certainly wouldn’t sound out of place on other current artists’ albums, but crucially they don’t sound like re-hashes or cast-offs – they’re simply more of the CG at his no-nonsense 'got no love for inferior rappers' best. Lyrical display full of fresh metaphors and punchlines... done well. Yes, it has to be admitted that the main riff of "Fire Fly" sounds more than a little like "Good Life", but the thing is you don’t expect a feel-good chorus dat undeniably infectious to pop up on its own. If anything, Gambino's hookwriting skills have improved. "All The Shine" is exemplary piece of depressing but ultimately hopeful melodic song writing, as Gambino flips things in a way by making the hook a sort of motivational wake up call. It’s odd to feel that an artist, that at times so directly replicates the sound of a specific esteemed artist's past music is creating something important, authentic and memorable, but that’s how I feel about Camp. The "Heartbeat" is little overwhelming, but it would slip easily into "808s & Heartbreaks" and not seem out of place. And there’s no question that WTT play a noticeable role on the song structures for both "Backpackers" and "You See Me". Not denying its influences but creating a cohesive album that is undeniably the sound of the artist completely in control of his solid production abilities and strong songwriting skills - somehow managing to simultaneously pay homage to all of Kanye West's albums (including WTT) without once allowing the overall sound to stray too close to any single one of them, which is about as hard a trick as a producer can ever pull off !! This, at first glance disrespectful description of the young musician turned out with further listening to be a sign of respect. There’s an honesty and truth laid out amongst the quirkiness of all his clever punchlines which is a part of his allure and make listening memorable. However, when the lyrics on a few songs stray from the quirkiness and come more straightforward, like "Letter Home", the results are (equally) rewarding. Donald Glover has used his influences as a jumping point and infused them with his own personality and story. In the future though I hope that he gets a little more independent and choose to really develop his influences into his own unique sound, something like Drake. But still, one general positive thing I can take away from this album is that Childish Gambino is talented enough to produce a good quality sound, and as far as influences go – well, not many artists have been as influential as Kanye West. It’s perhaps an easy thing to say about an album I love, but there isn’t really a dud track on here – it would be easiest to pick at "Letter Home", but in the context of the album it’s interesting to hear a song that ditches the quiet/loud dynamic for a quiet/quiet one. At a lean 13 tracks, Camp is low on filler and high on content. With all the huge fourth quarter releases it hasn't been easy for an on-the-come-up artist to get the attention they deserve. His name may not carry weight like Drake or Wale, but you'd be mistaken if you thought his music doesn't. If Donald Gambino keeps this up, he shouldn't have a problem making the Dean's List of hip-hop's elite. Don't be surprised to see this sneaking into the more clued up writers' albums of the year charts come December. My Top Picks: 1. Fire Fly 2. Outside 3. Bonfire 4. All That Shine 5. Sunrise 6. That Power 7. Heartbeat 8. You See Me”

“In the interest of full disclosure, let me first say that no other album meant more to me in 2009 than Hawthorne's debut album, "A Strange Arrangement". In fact, I listened to it so much, I had to wean myself in that oh-so-painful way of any true fan that fears both getting sick of an absolutely favorite album, and who also feels a little guilty for lack of attention to other undeniably great, but slightly less favorite albums (this means you, Fashawn's "Boy Meets World"). An artist and album (A Strange Arrangement) that should have garnered more attention upon its release, as it represents the only time, in my opinion, when DJBooth missed a beat! on coverage of album dats most definitely worth checking out. To get it front and centre, it's impossible for me to do an objective review of this album. I'm just such a huge Mayer Hawthorne fan that my feedback will either be far too glowing, or knowing that, I'll overcompensate and be overly critical. I can't say anything you won't think is biased, so I won't even try. It was unlikely that the sophomore record would turn out to be underwhelming, and it delivers on the promise generated by singles. If anything, it’s slightly overwhelming in places. Balanced and unbiased my rating may not be, but this album is another damn good reason why Mayer Hawthorne has carved a special place in my life with his music. He's a talented artist who so obviously pours his heart and soul into every project. I'm just glad he keeps them coming. Use my bias as a warning if you must, but when all is said and done it's hard not to believe that "How Do You Do" could be anything less than the blueprint for what soulful retro-RnB should be. There's a certain soul and grit in music that's hard to imitate or fake. Some musicians are just born with it. Raphael Saadiq has it. Mayer Hawthorne has it. My Top Picks: 1. No Strings 2. The Walk 3. A Long Time 4. Stick Around 5. Henny & Gingerale 6. Finally Falling 7. Hooked”

“If an album gets too much hype prior to release, it can often lead to a backlash when it is discovered that the record is not the best thing since sliced bread, as had been expected. It’s much better, in my opinion, if there is little to no fanfare surrounding an album (for instance, Shane Eli's The Push) before it’s released: that way, if it’s good, it will always be appreciated all the more. We all know this right here falls straight into the former category, rolling in upon a sea of anticipation and sky-high expectations. Who could be blamed for getting excited? The artist's 2010 mix-album "Friday Night Lights" was lauded upon release in online communities and amongst the artist’s fans. It (FNL) found J. Cole expanding his horizons and pushing into more accessible territory, and it seemed that he was finally combining his lyricism with more direct elements. A step in the direction of immediacy, away from the conscious brand of hip-hop he had mined on his first two projects was a cause for concern? Yes! But today it gives me a great deal of pleasure and satisfaction to say that as many compromises as there are, "Cole World: The Sideline Story" is still a very artistic offering that is MORE concerned with quality than having a hit, despite having a very accessible, relatively polished sound. It’s not perfect, but for the most part the artist definitely has his head and heart in the right places. It shouldn't be confused with a classic, but it's another impressive addition to an already great catalog. Making a major label album is a commitment to the art of compromise, and Jermaine Lamarr Cole provides a prime example of this exercise. Courting the radio crowd while satisfying the artist within is a tough task, but Cole runs the emotional gamut from amusing to astute, and once listeners delve past the radio-friendly ditties, they’ll hear some of his most inspired work transpire. Although not a leading light in the genre, J.Cole demonstrates a surpassing ability to connect to the core concepts of hip-hop music. It’s an album that supplies more substance and less compromise. The second half of the album is a proof of this! Admittedly, the first few times I heard the album, before I had a chance to look closely into the lyrics or when I was unfavorably comparing some of the songs to the more intricate J. Cole songs from the past, the album didn't produced a tremendous impact on me. And although I still find a few flaws here and there, I think after learning this record – after studying it – it’s clear to me that it falls in an elite category of music, one that is defined by one simple rule: in order to find its true beauty it’s absolutely necessary to listen. It's an album that grows on you with each listen, and what was boring at first seems less so each go round as the lyrics sinks in. If there is a mainstream hip-hop album since "Attention Deficit" that needed time, it’s this one. If your first two records is to cultivate an original fanbase and the third is to extend the brand, the fourth should be about reconciling the three and J. Cole does that proficiently by adding new techniques and textures to what was already a fine, if infamously known for a lack of variation, style of music. J. Cole's skills hasn't grown by leaps and bounds. But more notably, to me anyway, is the vast improvement in arrangements. There's a breadth and diversity of style that had been previously lacking. His instrumentals proves to be more dynamic, moving around (though not changing directions drastically) but away from basic loop format. Both "Breakdown" & "Dollar And A Dream III" in particular comes to mind because production hints at a slickness, but still the real power for both joints lies in the breadth of emotional nakedness and the depth of thought. Piano has such an amazing presence on "Nothing Lasts Forever", with a mix of programmed beats & percussion playing on top, that somehow brings to mind MJ's "They Dont Care About Us", especially the arrangement after 3:58. Guess it comes down to the layering style. On mic, Cole displays a rather unsettling sense of despondency but evades being negatively dragged down by it, and the female vocals in the hook only adds to the feel of the song. “Dollar And A Dream III” has a lot of gravity to it. It’s hard enough to knock in the whip with enough elements to sound really interesting in your headphones. Flute and strings gently slides into the mix, and a pliable bass line that seems to merge with the drums pattern, recall to mind the best moments of Justice League's instrumentals. After you rock to this beat you go back and digest what he has to say. "Breakdown" sounds like No ID taking a stab at a Coldplay number. At least dats how I would describe. And anybody who can pull off something like that is definitely someone to be reckoned with. "Nobody's Perfect" features strong electronic drums teamed up with smooth guitar licks and bass notes popping strategically throughout the song that gives it a persuasive power all its own. Its very hard to not head-nod to it with guitar strums and vocals keeping it potent and catchy. “Sideline Story” tells a candid tale of the hardships that arise when trying to make it in the music industry. "Breakdown" is such a deeply poignant number, and the gripping "Lost Ones" - both sound like the work of a top shelf hip-hop veteran. J. Cole is a smart rapper who is concerned with the advancement of himself and his people, managing to describe the backward circular logic of the street without being too judgmental. Cole has a lot of strengths as a writer (witty punchlines, an ability to write an issue driven song that doesn't come across as condescending. Album also shows an artist with the ability to write songs equally interested in women's assets (Work Out), brain (Lights Please), and heart (Never Told). I admire his wordplay abilities, as he can loosen up and drag out the lyrics, then slip in a tight package of words a couple of lines later while walking such a lyrical tightrope. "Never Told" has a constant mesmerizing flow to the track that really does captivate. And it only helps that in J. Cole, you find an MC with a keen sense of self-awareness that knows how to make conscious rap accessible, with a strong feminist focus. Well, as accessible as it can be. While the piano still plays a major role in the music, it's not usually not the only focus. "Rise And Shine" is Cole's most dramatic efforts to date. The way he bring in the horns after Jay-Z's vocal sample is flat-out ill. Then he remove the drums at differing intervals, moving the spotlight to the expert sample work, giving every part of the arrangement attention. On the same end of the spectrum, "God's Gift" is a fuller, more all-encompassing sound than J. Cole ever really achieved. J. Cole has managed to accomplish a difficult task. He has come together with a long line of fans who have expectations based on previous work. With this record he kept his songs familiar sounding enough to placate those fans, while infusing just enough new elements to refrain from sounding derivative and tired. It was a hard balance to strike, but Jermaine has done it very well. With that out of the way, let's look at the bad. Well it's not bad really, more like this would be a standout on a weaker LP. But on here, it’s a bit of a disappointment. That's right, "Work Out" did not stand out as one of the great musical triumphs of the year, but it is not without charm, thanks to its up-front "sincerity" and ear-pleasing production. "Cant Get Enough" is that accessible, but much more varied & soulful than what you hear on the radio. "Mr. Nice Watch" features barely acceptable level of verses from Cole, but, considering his previous work and the courage to venture into some new sonic territory, the radio-ready sensibility shown here ultimately demonstrates that he is stylistically agile, not selling-out. Even though the song, as a whole, don't completely click, it does bode well for future efforts. Both title track and "Daddy's Little Girl", which depicts the complexities of promiscuous females thoughts and mannerisms, blends J. Cole's deep lyricism with production that have little to separate them from hundreds of generic 'street-ready' tunes in the current scene. And for this reason it leaves both songs feeling more ordinary than dramatic for which the artist seemed to be aiming. Lastly, both “In the Morning” and "Lights Please" are a little too old to be on this fresh project. But one of them is a great track, and the moody piano & vocal combination on "Lights Please", is incredibly difficult to be labelled dated. It feels timeless in the best way with a hook that dont just rhyme but give meaning to the lyrics. These are missteps, but nothing that could be used as a criticism to demean the album as a whole. However, Cole's journey to mainstream prominence is going to be longer and harder than we expected. He has not, indeed, successfully finished his trip from planet underground to planet mainstream. But what's most important, he hasn't surrendered to his new surroundings. Well, at least, not yet (hopefully never). The production is great (like on most big-record-company releases). But this time, what all the mainstream albums lack, is present on this record, in abundance. The larger portion of the LP is always pointed toward delivering a message and conveying dope music with feeling. More often than not singles are representative of the album as a whole and the singles released indicated J.Cole was going for more style than substance, but thankfully, they aren’t representative of the album as a whole. The bait and switch. It’s a classic ploy where you advertise one product but deliver another. Jermaine has employed a (positive) version of this for his debut long player, baiting us with three singles that are deceiving of how the rest of the album will sound because I think the album as a whole is ultimately more substance than style. Whether it gets J.Cole the wider attention that he surely deserves is something that will have to be seen, but you can be confident in knowing that... there will not be an album less commercially-inclined released on a major label this year - and it’s doubtful there will be many better, either. "Cole World: The Sideline Story" is not only one of the strongest debuts in a while, in my opinion, it's the third best album of 2011 coming only behind "WTT" and still the best hip-hop album of the year "Return Of 4eva". Rollin' just one step ahead of "Section.80", and the fifth-placed "The Red Album". It’s an album worthy of purchase on its own merit. Rating: 4.25/5 My Top Picks: 1. Breakdown 2. Lost Ones 3. Nothing Lasts Forever 4. Nobody's Perfect 5. Cant Get Enough 6. Lights Please 7. Rise And Shine 8. Never Told *finally adds J. Cole to favorite artists*”

“"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”