1. Artist: Lorde

    Album: Self titled EP

    Rating: 8/ 10

    Lorde is a teenager hailing from Mt Eden in Auckland who is currently making waves internationally with an EP featuring a tidy collection of original tracks. Unheard of two months ago, her EP now has over 60000 plays and has become a common feature of many alternative radio stations around the world. Excitement over the EP was bolstered after a tweet by Grimes, simply stating ‘this is great’, and this is the truth, plain and simple. Each song on the EP is a treat to be unwrapped, her voice luring the listener into a world of quirky indie pop that could have the hardest bogan bobbing along in time. ‘Royals’ and ‘Love Club’ are the sort of songs that have international appeal, Lorde could very quickly become a household name. With her EP she has the worlds attention, and if her album is anywhere near as captivating as this initial it will surely propel her to global fame.

    - Liam

     
  2. Artist: The Underachievers

    Album: Indigoism

    Rating: 7/ 10

    After months of delay’s the Underachievers released their debut mixtape ‘Indigoism’ for free on datpiff, capitalising on the hype built after a number of successful underground hip hop releases and a record deal with Flying Lotus’ Brainfeeder label to attract over 50000 downloads in the first few days the mixtape became available. The Underachievers consist of Flatbush rappers Issa Dash and Ik, united as artists through a love of psychedelics, hip hop and mysticism; the overriding themes in the majority of their verses. The release of Indigoism is significant to Hip Hop heads for two reasons: it marks an expansion of the Brainfeeder foray into Hip Hop following the successful release of Captain Murphy’s mixtape Duality last year (whose identity provided one of them most intriguing puzzles in the scene last year, the man ‘behind the deep voice’ eventually emerging as Flying Lotus himself), and concurrently it is a continuation of the Beast Coast movement that looks set to take over the New York scene in 2013. The Indigoism mixtape carried high expectations with associations to many of those who helped define the Beast Coast in 2012 such as the Pro Era crew, Flatbush Zombies, Action Bronson and the A$ap Mob. So does the Indigoism mixtape fulfill the hype? Or are the Underachievers just smoke and mirrors?

    Indigoism consists of 17 tracks including the underground hit’s ‘Herb Shuttle’ and ‘Gold Soul Theory’ which were released months ago, but also a number of tracks that only found light with the release of the mixtape such as ‘Sun Through the Rain’. The mixtape also experienced a diverse range of producers, relative unknowns like Rich Flyer provided an encouraging psychedelic soundscape to the lyrics laid down by Issa and Ik on tracks such as ‘Gold Soul Theory’, ‘Max Power’ and ‘My Prism’. The standout tracks on the album remain those released by The Underachievers before the release of Indigoism, the jazzy sound of ‘The Mahdi’ would develope over time into my favourite track off the mix. Issa and Ik had good chemistry across the album, no doubt they are young up and comers as they’re flow attests. However they seemed to sell themselves as conscious rap as they flowed on the power of knowledge and the soul, yet the album as a whole never really touched on topics other than smoking buds, psychedelics and the Beast Coast scene. The lack of variation in themes between verses hurt an album of 17 tracks, in that sort of length a mixtape an MC should show variation and depth of knowledge. All together, it would’ve been a better release if it was cut down to around 12 tracks.

    With an exception of three or four tracks it is not good enough for a loop and a repeat. However, the tutelage of Flying Lotus and the Brainfeeder label means that The Underachievers are an act to watch in the future, especially if they’re production begins to emerge from the the Brainfeeder crew who are well known for an eclectic collection of producers. More promising young talent from the Beast Coast and a promising new sound emergent from the East Coast scene.

    - Liam

     
  3. Artist: J Dilla

    Album: Donuts

    Rating: 10

    Today marks the anniversary of James Yancey’s birthday, the man known to most as J Dilla. It also marks the anniversary of one the most important albums of the last decade: Donuts. Many know the story behind the record: J Dilla, admitted to hospital - following a massive downturn in his health due to the blood disease Thrombotic thrombocytopenic purpura (TTP) - asked family, friends and contemporaries to bring his records and demos in so he could finish Donuts before he passed away. Though the idea for Donuts had been in J Dilla’s mind for a few years, 29 of the 31 tracks on this album were finished in this period. The album was released on his 32nd birthday in 2006. Three days later, the hip-hop world lost a giant.

    The album itself is a number of instrumentals, all radically different yet familiar in their sound. Song length is immediately noticeable in this album - Workinonit being the only song on the album over two minutes. Often a beat will begin to marinade itself in your head before it quickly jumps away and you are presented with a new donut. At times this frustrates the listener but equally keeps the album vibrant almost urgent. There’s no stagnation.

    There are many  gems to be found in this album. From the soaring strings of Last Donut of the Night, the bonkers Lightworks, the menacing Geek Down, to the chopped vocal samples in Two Can WinDonuts is an album full of highlights. The beats are gritty, dirty and maintain a sense of cool throughout the album. As the Needledrop so eloquently put it:

    It’s like the Dirty Dozen, except instead of a dozen you get fuckin’ thirty one

    The various samples used also tell the listener much about who particular beats are for or aimed at. While the track called One for Ghost - made for Ghostface Killah on the album Fishscale - is a more obvious example, Don’t Cry gives us a touching word of comfort from a sick son to his worried mother. The final beat gives a farewell from Dilla to his fans. The sample is Canadian soul group Motherlode’s track When I Die and contains the lyric: “When I die/ I hope to be/ the kind of man that you thought  I would be/.” Donuts is full of the messages. In a recent interview, Questlove gave this theory credence: 

    "The last stage of this period, that to me was more exciting, because he really wasn’t able to communicate. Which really makes Donuts that much creepier for me to hear because all of those [samples], I’m now certain beyond a shadow of a doubt, were actual messages from him."

    This only adds to the potency of Donuts. For me, that is what makes this album a masterpiece. An idea here, an idea there, messages and samples purposely chosen for specific listeners and the general audience. Donuts is an album that surprises and delights at every turn, even on the ninth or tenth listen. The recent Stonesthrow Records reissue that splits the album onto individual sides of 45”s will only serve to cement this idea. Donuts is an album that deserves to be heard by everyone.

    RIP J Dilla. You are missed.

    Nat

    NB: This will probably be re-edited and polished up in the next few days. A lot of this review was written on a spur of inspiration. So please excuse any errors.

     
  4. Artist: ASAP Rocky

    Album: Long Live A$AP

    Rating: 6/10

    ASAP Rocky is a Harlem rapper who has been riding one of the largest waves of hype in hip-hop in recent memory. He first appeared on the radar with blunt and lean anthem Purple Swag. Following up from this success came one of the best mixtapes of 2011: Live Love A$AP. Rocky is clearly a product of the internet generation; being from Harlem has not limited his musical style. Live Love proved you could combine Bone Thugs flow, New York grittiness and a love for high fashion with Southern flavoured beats. He took the best of these elements and turned them into a truly good mixtape. Rocky was poised to be the next big thing in hip-hop. He may not have been the most lyrical or thoughtful rapper going, but he presented his style in a package that worked. If it knocks, then it knocks.

    Which brings us to Long Live A$AP, Rocky’s studio debut. After months of delays due to sample clearances and final mastering and mixing for the album, people began to lose interest. 2012 gave us a wealth of decent hip-hop from rappers who not only presented well, but were lyrically gifted (Kendrick, Joey Bad, Action Bronson just to name a few). Like many projects that get delayed, there is always doubt on whether the project will actually deliver. Long Live A$AP basically achieves this with a mixture of the entirely predictable and the refreshingly interesting.

    Like his mixtape, ASAP Rocky has proven yet again his immaculate ear for beats. Amongst the producers credited are old favourite Clams Casino, Soufein3000, Hit Boy, with a welcome return from the always great Dangermouse. Like Live Love there a few beats that stand separate from the others: the chopped up drums, great crashing chords and soaring strings of Phoenix; the slamming bass with the various chimes, gun cocks and cash registers of the title track; Clams Casino’s LVL showing why he ought to be remembered; the orchestral, theatrical strings of monster posse cut 1 Train. However, as good as all the production is, it lacks a certain memorability of the beats featured on the mixtapes. There is no Peso, Palace, Trilla or Get Lit here. The surprising guest feature (more on these later) of Skrillex provides one of the album’s “you’ll either love it or hate it” moments. From this reviewer’s perspective, it doesn’t work.

    You would be hard pressed to find someone who thinks Rocky is truly lyrical. Yet again, lack of lyricism proves to be his biggest short coming. By and large, the theme throughout the whole album is the braggadocios presentation of that “Pretty Motherfucker Lord Flacko.” After whole mixtapes of this theme, it is beginning to wear thin (that said, he easily holds his own with and even betters his fellow rappers on 1 Train, easily one of his strongest verses to date).
    That’s not to say ASAP Rocky is always talking about how great he is, he does touch on introspection at points on this album. And there is worthwhile content to be found. Some of the introspection is laughable though, with Rocky taking potshots at the YouTube community for claiming he is “Illuminati.” It is both difficult to connect with or care about. Furthermore, while Phoenix was a high point on the album for me, rhyming several bars ending with the words “n****s” is lazy. His constant name-dropping of high fashion brands is also grating (not too mention patronising as the measurement of the perfect woman) and makes Fashion Killa the worst track on the album despite it having a dream beat. Like his mixtapes there are some lyrical gems to be found. On the title track he raps:

    Where they shoot without a purpose, services ‘n hearses/Kids who ain’t deserve it, can’t survive a thing, you’re worthless/Strangers make me nervous, who’s that peekin’ in my window with a pistol to my curtains?

    A good line for sure, but these are too few and far between. You are far more likely to hear:Yes, I’m the shit/tell me do it stink? If Rocky wants to achieve true success, lyrics are an area he needs to work on. Plenty of rap artists have delivered party hits with lyrical content. Rocky should too.

    One thing this album is notable for is the number of (and strength of the) guest appearances. 1 Train is particularly notable for having six rappers and includes the strongest verses on the whole album - Big KRIT and Joey Bada$$ kill it big time. Elsewhere, Florence Welch, the most surprising guest, helps deliver one of the strongest cuts on the album - unlike Santigold, whose delivery on Hell felt uninspired, even forced. ScHoolboy Q and ASAP Rocky is always a good combo and PMW (All I Really Need) proves this once again. Mostly though, the guests are unremarkable. They simply occupy their verse (or hook) space and nothing else. Even Kendrick Lamar fails to truly deliver on his guest spots. The less said about ASAP Ferg’s atrocious guest spot the better.

    Overall, this is a good album. Cut down to about nine tracks and it makes an excellent EP or short album. However, thematic and lyrical content, a few shoddy or boring guest spots and slightly less impressive production than past releases let the whole project down. A strong debut from that Pretty Motherfucker, but he will need to pick his game up come next album.

    Nat

     
  5. Artist: Chet Faker

    Album: Thinking in Textures

    Rating: 9/10

    Chet Faker; an artist whose very name is an allusion (a play on legendary Jazz musician Chet Baker’s name), whose very first hit was a cover (of Backstreet’s 1996 R&B hit ‘No-Diggity’), yet he is without a doubt one of the most talented producers emergent from the Australian electronic scene. His music is like a marriage between Motown Jazz and contemporary electronic pop; creative, minimalist, ambient, combined with a talent for soft beautiful melodies comparable to Bon Iver. Chet Faker makes great sounds, great songs, and all together great music. The man behind the pseudonym is 22 year old Nick Murphy, a Melbourne local who spent almost 8 years working in his garage on the material that would become the Thinking in Textures EP, his debut release as Chet Faker. A release consisting of seven tracks that would be one of my favourite records throughout 2012, and a release that I would constantly return to for elevation all the way into 2013.

    The opening track “I’m into you” is a track that melts hearts and spreads legs with lyrics designed to make a girl swoon (when i press an ear up to your breast, I can hear the rhythm start it’s hard to tell our bass apart… the shit we do could warm the sun).  Soft piano melodies and slow bass are crafted into a recognisable style, able to morph a track like ‘No Diggity’ into a completely different set of harmonies. Chet Faker creates music that charms the senses, the kind of music suitable for lazy mornings, hazy nights and busy bedrooms. All the songs on the album blend into each other to create an infinitely repeatable listening experience, guitar riffs and synth layered perfectly on top of each other. It is an EP which almost prevents any amount of favouritism as each song features  fantastic production, honourable mention must however go to “Cigarettes and Chocolate” as the only instrumental on the album, but as a song with an ability to elevate the listeners; an interesting effect considering that Nick originally thought the song to be the most melancholy on the album.

    Chet Faker will be a rising star in 2013 just as he was in 2012,  collaborations with Flume and a remix album with Ta ku continue to bring his unique sound and vocal style to a larger audience. Already his production is finding larger recognition as he was featured with singer Rainy Milo in her Limey EP. Chet Faker had one of the best album’s released in 2012 and is an artist that Lucid Minds will be keeping a close eye on in the coming year, keep it in check.

    - Liam

     
  6. Artist: @Peace

    Album: Self Titled

    Rating: 7.5/10

    @peace is a hip hop group hailing from the Young, Gifted and Broke label and sharing many of the artists that have found mainstream success (at least in New Zealand) in acts such as Homebrew, including their frontman Tom Scott in the lineup and Nothing to Nobody MC Lui Tuiasu. However @peace achieves a distinctive artistic direction as YGB producers Christoph El Truento (Wonderful Noise), Hayden Dandruff Dicky and Brandon Haru supply beats of an almost ethereal quality; a soundscape reminiscent of still rainy nights and inner city poetry is given life through sound. It is an album for those living day to day in the uncaring urban; blue collar workers on the 9 to 5 fighting for scraps, the barely working dole bludger, the student living on ramen noodles in a ratshit flat; those whose lives flicker and disappear under soft yellow streetlights without anger or remark.

    In the space of nine songs Tom and Lui lay verse on New Zealand life interspersed with tales of drugs, women, colonial history, death and philosophy. ‘Nobody’ is a quick favourite as scratches float over synth and verse brings to life the dole bludging - weed smoking nobody, a song for the unsung and forgotten. It is not a message of condemnation thrown at the down and out, but one of empathy. This position is further emphasised when @peace comes to the defence of the disenfranchised in the single ‘Be Like’, opening with a dedication to the dreamer - Karl Marx, David Lange, Huey P - those who fought for real change to unequal societies, while looking at those in our society who face great hardship; the homeless sleeping on a park bench without support, begging for change just to nab a bottle of water from the dairy. The song is carried out by a sample of Wu Tang Clan’s C.R.E.A.M. with the line “living in a world no different to a cell” echoing across the outro, a timely reminder to listeners that not all prisons have four walls and iron bars. ‘Sky is Falling’ goes on to deal with the prickly issue of death from a position of peaceful reflection and consideration spun over a dreamy beat; clearly @peace takes no prisoners when it comes to tackling life’s problems. The final two tracks ‘@peace’ and ‘Nothing’ finally lull the listener into gentle contemplation of the Universe and the finite nature of man and all his creations, @peace is a “struggle for art’s sake”, both a rebellion and an acceptance of  fate, and the struggle to find satisfaction with life, to find peace.

    @peace represents a maturing of New Zealand Hip Hop into space unexplored, it does not mimic American artists but reflects the land of the long white cloud where it was born. In it’s location, it’s idioms, philosophical queries and quiet contemplation this album is wholly New Zealand, yet it’s subject matter deals with problems evident to all mankind, one’s seldom dealt with in any musical forum. It is a beautiful album, “a timeless waste of time” made from nothing for nothing and dealing with nothing. @peace is a rich album and shows world class talent from a small corner of the pacific, available from bandcamp on a pay what you want basis with artists worth supporting.

     
  7. Artist: Azealia Banks

    Song: BBD

    Azealia Banks dropped the track BBD late on New Years Eve, tweeting to followers an short summation of what was to be expected “It’s Trap, but it’s Rave. it’s Banjee, But still a lil classy”. BBD is an acronym for “Bad Bitches Do It”, a reflection of the attitude that has propelled the rapper to stardom. Azealia Banks emerged in 2012 as one of the world’s hottest artists after the dance phenomenon that was ‘212’, a perfect fusion of dance music and hip hop with one of the best hooks of the year. Followed up by the ‘1999’ EP which dropped to critical acclaim and fast becoming a club favourite around the world. Azealia’s debut album ‘Broke With Expensive Taste’ is set to drop in early February and looks to be one of the most exciting releases coming our way in the next couple of months, Azealia is a talent to watch in 2013.

    https://soundcloud.com/azealia-banks/bbd

     
  8. Artist: XXYYXX

    Album
    : XXYYXX

    Rating: 6.8/10

    XXYYXX is a young producer whose name would be on the tip of everyone’s tongue if his pseudonym was even vaguely pronounceable. Nevertheless, 16 year old Florida native Marcel Everett has garnered a large internet following with an ambient production style that has drawn in listeners from around the globe, the video for the first single of his self-titled album ‘About You’ has racked up well over 5 million views on Youtube. His music has escaped definition having been described as ‘contemporary blogwave’, ‘chillwave’,  ‘witchstep’ and almost everything in between. Marcel himself prefers the rather more vague term of ‘experimental bass’, but with a musical style that seems to deftly avoid contemporary definitions it seems to be the most apt description available. No one can deny that Marcel has been pushing his music in a unique direction; Marcel makes his own synths from scratch to achieve distinctive ambient soundscapes, a sound that he has been lauded for across the web.

    Marcels’ self titled album XXYYXX is the second full length release he has completed for Abstract Records, following on from 2011’s ‘Still Sound’ an album he released at the tender age of 15 which gave listeners a glimpse of the promising young producer. There is no doubt that the kids got talent, ‘About You’ with it’s slow synth and use of filters has a melody that lulls the listener into calm comfort before developing into a large slow bass reminiscent of big name producers such as Burial or James Blake. ‘About You’ is the albums best showcase of the style with which XXYYXX has become renowned for; dazzling synths over the top of a slow bass, accompanied with warped vocals and diverse samples. The second track off of the album, ‘Good Enough’ features a clever sample of the TLC hit ‘No Scrubs’ placed over the top of a disarmingly simple yet clever drum pattern. It is a strong start to the album yet slightly misleading. After these two tracks the listener has  heard the breadth of diversity represented over the whole album by XXYYXX, and to be blunt across his whole discography. This is not to say that the album is not enjoyable, Marcel has constructed a distinctive soundscape in which it is easy enough to lose oneself in a haze of smoke and carefully constructed synth patterns. It is beautiful. ambient, minimal, and it is completely XXYYXX.

    The final conclusions then on the XXYYXX album are mostly positive, and when Marcels’ youth is taken into consideration it is a wholly impressive album. He is pushing towards innovation with his albums brushing with greatness, however sometimes his minimalist ambient style is his downfall. Time could allow Marcel to be a brilliant producer, an increasingly likely scenario if he continues his frenetic creation of beautiful soundscapes, but not just yet can the young producer be called genius.

     
  9. Artist: Grimes

    Album: Visions

    Rating: 8.5/10

    Grimes, aka Claire Boucher, has been immersed in a cloud of hype following the popular success of her third album ‘Visions’. Critics were hailing it as one of the best albums of the year in early February, NME called it ‘13 perfect moments’ and Pitchfork quickly added it to there list of ‘best new music’. I was however not inclined to give Grimes a listen, discounting the brief snippets I had heard as more of the vacuous synthpop that has become ever popular since it’s Frankensteinian revival by the likes of Ke$ha or Lady Gaga. After being repeatedly accosted by friends for my lack of experience and with her impending sold out New Zealand shows it was definitely time to sit down and give ‘Visions’ more than just a cursory listen… and to my surprise it was good, maybe even excellent. Grimes forced me to reappraise my position on a genre that I had previously done my best to ignore. Boucher loops her vocals then peppers them with effects, reverbs and phasers that interact to create an ever distinctive, almost spiritual, sound. Those warped vocals are then accompanied by simple yet cleverly flowing melodies, intermingling to lull the listener into a dreamy soundscape.

    For all her mainstream success, she is one startlingly alternative lady. The music video for her single ‘Genesis’ exemplifies this strange juxtaposition, it has chalked up over 5 million views yet features oddly dressed women swinging swords while driving around the desert in a jeep. Of course Grimes directs her own music videos and as is often the case in music, the truth of Grimes is even stranger than the fiction she creates. In 2011 Boucher and her then boyfriend constructed a 20 foot boat house with which to sail the Mississippi river from Minneapolis to New Orleans containing a strange cargo of 2 chickens, a typewriter, 20 pounds of potatoes and a gifted copy of Mark Twain’s The Adventures of Huckleberry Finn. Problems with both their engine and the Minnesota police meant that the journey was unfortunately a short lived venture, but this is no doubt not the only strange episode within Bouchers life. It is difficult to listen to ‘Visions’ without thinking of the artist behind it as her voice acts as a dreamcatcher of the strange and beautiful, and Grimes is not one to disappoint containing in her life all of the ethereal vision that is so well captured in the album.

    ‘Visions’ is like sinking into a deep dream; from the foot tapping rhythms of ‘Oblivion’, the futuristic reflections of ‘Circumambient’, to the lullaby like ‘Symphonia’ Grimes voice carries the listener through lyrics that flow mysteriously through both artist and audience (Being myself feels like I can’t touch the ground/ Here on the Earth makes me feel like I can’t get the sound/ Being myself feels like i know who you are). It is an ambient yet evocative album that unlike many of its contemporaries can hold the listeners attention without resorting to completely vacuous hooks or atypical melodies. Grimes deserves critical acclaim, ‘Visions’ is one of the gems to emerge in 2012, those lucky enough to be catching her sold out NZ shows are definitely in for a treat. Grimes will be playing in Wellington at the San Fran Bathhouse on the 13th December followed by an Auckland show at the Powerstation on the 14th December, for all those who are missing this performance (myself included) lets hope it is only a brief interval before she again graces our shores.

    Liam.

     
  10. Artist: Joey Bada$$

    Album: 1999

    Rating: 8.8/10 (Tape of the year)

    Nostalgia for hip-hops “Golden Era” of the nineties (especially on the East Coast) has been a hindrance on some projects, with calls for tradition limiting hip-hop’s future direction. Some projects, such as Celph Titled and Buckwild’s excellent Ninety Ninety Now and now Bada$$’s 1999 prove that nostalgia, when done right, can be the future. 1999 is the tape of the year.  Bada$$ recorded the majority of this work when he was just 17(!), but already sounds like a vet. Joey’s apparent maturity as an emcee bears the heavy influences of East Coast kings NaS and MF DOOM. And that is more than okay.

    Lyrically, Joey Bada$$ shows off his skills with a mixture of insane wordplay, strong imagery and the rawest flow to be heard in the last year at least. Joey raps about what you’d expect a 17 year old New Yorker to rap about: pussy, weed, being the dopest emcee to hold  the mic (a standard in hip-hop it would be odd if there wasn’t a boastful track). Joey also strays into introspective territory on songs like Waves suggesting a possible future direction into more thoughtful, conscious hip-hop like fellow Brooklynites Yasiin Bey, Talib Kweli and Sene. However, sticking with the here and now, you’d be hard pressed to find a verse this rawer than what Joey spits in Survival Tactics: “Get your intel right, your intelligence is irrelevant/But it’s definite I spit more than speech impediments/Brooklyn’s the residence, the best and it’s evident/We got them niggas P-E-Nuts, like they elephants/Throw ‘em in a trunk if they hate though/We don’t give a fuck as long as we collect our pay, so/Ya’ll collect pesos, ya money ain’t right here.” The rawness of these bars, combined with the great wordplay (particularly surrounding the elephant metaphor) and the possible shot at ASAP Rocky certainly leave their mark on the listener. This kid is one to watch out for. Elsewhere, the guest features (all made up of other emcee’s from Joey Bada$$’s collective Pro(gressive) Era) truly add to this album. Particularly impressive are the verses from Capital STEEZ (on par with Bada$$ lyrically) and female emcee T’nah Apex. It will be great to hear what she comes up with in the future. She holds more in common with the likes of Apani B or Rah Digga than emcees like Azealia Banks or Iggy Azalea (no, Nicki Minaj absolutely does NOT count). The final nearly 12 minute posse cut Suspect featuring the whole PE crew makes Odd Future’s Oldie seem completely forgettable (and it is, really).

    As you’d expect on an album dedicated to reviving that supposedly lost sound of the mid-late nineties, the production is stellar. There a beats pinched from MF DOOM’s Special Herbs series (a fact acknowledged by Joey in his first line in World Domination – directly referencing the herb name the beat carries; Datura Stramonium), J Dilla, Knxwledge, Lord Finesse and the completely underrated Freddie Jaochim. What is really impressive though is some of the production provided by members of the PE crew such as Chuck Strangers who production style owes a lot to the Ummah/Soulquarian school of production (which boasted Dilla and Q-Tip amongst its numbers). The production is somehow a tribute towards the late 1990s yet remains its own integrity a production from the “new school.” Hella dope. It should go without saying that this is really a free album, not a mixtape.

    Have a listen to Joey Bada$$’s other mixtape Rejex, which contains b-sides to 1999 as well as material he released when he was 15. Jaylib fans will be glad to know Joey goes in on Madlib as well as he does Dilla.

    Nat