For 2014: D2G

D2G-July-9th-A-Caner-StoryWhen it comes to hip-hop in Chicago, contrary to “popular” belief, there is a rather extensive history of successful artists. Perhaps most of them did not reach a national level in terms of popularity, but on a local level, they provided a soundtrack to many of our lives. I won’t regale you with tales of rapping along with Crucial Conflict, Da Brat or Do or Die, but I will tell you that in my somewhat biased opinion, Chicago hip-hop is experiencing a renaissance of sorts. A part of this new movement is artist/songwriter/hungry MC, D2G.

I first heard D2G on the DC-produced Hard Bars, a 2011 collaborative effort with fellow Chicago hip-hop artist, Vic Spencer. While I knew what to expect from Spencer and to an extent, DC, it was D2G’s performance that not only caught me off guard, but forced me to look at Chicago’s rap and hip-hop scene in an almost completely different way. Far too often rife with gang references and odes to violent acts, Chicago’s rap and hip-hop landscape can appear very watered down to some. And, not to dismiss trap artists like Lil’ Durk, Chief Keef and King Louie, but I always knew that there were artists who more accurately represented the struggle and desire to overcome it, in a less materialistic, self-centered way. Enter, D2G.

In December of 2011, D2G released The Blood Diamond Tape. Sixteen tracks long with features from Spencer, Lili K, Jay Rashard, A.M. and others, it was a very solid project, from start to finish. Evident was the fact that not only could D2G rap, but he actually gave a shit about his craft. Similar to Lil’ Wayne on Tha Carter, you could hear the hunger in D2G’s verses. You simply cannot listen to “Mom’s Prayin’” and tell me that D2G is half-assing it on the track. Period.

After a 2012 that seemingly came and went for just about everyone, whether in the music industry or not, D2G gifted us on his birthday, July 9, 2013, with July 9th: A Cancer Story. Holy shit, what a mixtape. What. A. Mixtape. I reviewed it earlier on this site, and if I were forced to review it again today, my opinion of it would probably be even more glowing and positive.

I listen to an awful lot of hip-hop and it’s not often that I can sit down and listen to a project in its entirety without thinking that the artist is bullshitting me, at some point. It happens; the need to appeal to your fans who are borderline hip-hop purists and those who simply want to hear good music without the requirement of it actually speaking to them in any way, shape or form. Maybe it’s harsh to call addressing the needs of one’s entire fanbase “bullshitting,” but it is frustrating to listen to such code-switching. D2G’s struggles are not mine, and mine are not his. However, to hear the raw effort on J9: ACS made me a believer in D2G. I have faith that D2G can establish himself as one of the premier hip-hop artists in Chicago, for years to come.

I’ve had the opportunity to do a little “Q & A” with D2G, and his answers didn’t seem contrived. They appeared to be thought out, in order to provide me with the insight that many artists seem to not think is very important in how they are viewed not only as artists, but as people. Regardless of what anyone says, we all judge. Most of us do so unfairly, but nevertheless, we all judge. And while I’d love to write that we as fans can easily separate the artist from the person, more times than not, it is incredibly difficult to do so.

In conclusion, I appreciate the music that D2G puts out, and the effort that goes into it. He certainly isn’t the only rap or hip-hop artist in Chicago who gives a damn about their product, but he’s one I rock with the most, arguably. With the momentum he built in 2013, especially after J9: ACS, it wouldn’t be surprising that he uses that to propel himself to another level in 2014. It’s a “GoILL” movement, y’all.

Vic Spencer’s ‘Red Button Series’ finale: “Run Roughshod”

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It’s been a while, hasn’t it? A hiatus of a bit over two months was more than long enough, and for whatever reason, I’m ready to get back to occasionally blogging on this page. Yeah. That.

If you’re familiar with Chicago MC Vic Spencer, you were probably hipped to his Red Button Series, which debuted in September. Spencer dropped a new track on each Monday and the first was “The Newport 500,” produced by Marc Moulin and The Jet Age of Tomorrow, featuring Monster Mike on the bars. Aggressively attacking each line, Spencer wanted to keep his fans amped for his November release, The Rapping Bastard, by giving their ears something to consume in the time being. With dope bars, insane production and “Vic Spencer-like” cover art, RBS was not something entirely new, as it has been done before, but admittedly, I don’t think I’ve ever come across an artist who so often put out B-side tracks that could have easily been on his album.

“Run Roughshod” serves as the finale for RBS, and it’s a fitting one. The Barry White loop is dope (guess what song it’s from and win a buffalo nickel!) and Spencer lets it be known to anyone within earshot that he’s done the music thing before, is doing it now, and will continue to do it in the future. Is his tone harsh? Yes, as always, but very few artists can spit with that demeanor and be taken seriously. Spencer is one of them, as I can personally attest that his persona is nowhere near contrived. RBS may be over, but it delivered a few gems, my personal favorite being the Word Mann-featured “Foes.” I know “V-i” has some more dope up his sleeve, and will deliver it when the time is right. Check out his SoundCloud page for the rest of the tunage. For now, Red Button Series, out.

King Lamar. Chance’s unconventional dopeness. Elli Ingram is 19 and here to stay.

KING HIM.

Last night was pretty monumental for the state of hip-hop, depending on who you ask. Rapper Big Sean took to his Twitter account to release “Control,” a track featuring Californian Kendrick Lamar and NOLA’s own, Jay Electronica. The song didn’t make the final cut of his upcoming album, Hall of Fame, apparently because of sample clearance issues. Big Sean is not exactly the most admired rap artist in the industry, so when I read a few tweets about the song, I didn’t pay it much mind. Shortly after, however, people got wind of, and then heard Kendrick Lamar’s verse. And all hell broke loose, digitally speaking.

Declaring, “I’m Makaveli’s offspring, I’m the king of New York” was what got more than a few in a tizzy. To follow that up, Lamar later spit, “I’m usually homeboys with the same niggas I’m rhymin’ wit’/But this is hip hop and them niggas should know what time it is/And that goes for Jermaine Cole, Big KRIT, Wale/Pusha T, Meek Mill, A$AP Rocky, Drake/Big Sean, Jay electron’, Tyler, Mac Miller/I got love for you all but I’m tryna murder you niggas/Tryna make sure your core fans never heard of you niggas/They don’t wanna hear not one more noun or verb from you niggas…”

Well. Alright. Some have opined that Lamar was out of line to proclaim himself the king of New York, considering he’s from Compton, and from what he told a concert crowd that I was a part of, his roots go as far east of Cali as Chicago. Others have chimed in that all Lamar did was give rap and hip-hop artists in New York motivation to step their game up. I’m somewhat in between. I didn’t necessarily get the purpose of boasting that he’s the king of New York, unless he wanted to ruffle feathers. Considering that the artists he appeared on the track with don’t have any ties to New York (Big Sean is from Cali/Detroit, and Jay from New Orleans, now in London), either, it seems to me like he went out of his way to take shots at the current state of the genre in New York State.

The bigger debate is over whether or not Kendrick was dissing the artists he named. (He previously mentioned Jay-Z, Nas, Eminem and Andre 3000 as the best MCs out right now, along with himself. I won’t even get into the absurdity of mentioning Andre 3K on that short list.) I feel he did, to an extent. Possibly, it could be considered healthy competition; what rap and hip-hop actually started as. Supposedly, you could argue that he was somewhat paying homage to the artists he named. If that’s the case, that’s an underwhelming cast of characters. Regardless of whether you believe he was insulting those artists or not, one thing should be sure…

Kendrick, your verse was pretty good. However, you called out a bunch of “meh” ass rappers and got lionized for it. You had folks on Twitter considering you some sort of all-time great in hip-hop. Somehow, these same folks all developed a severe case of amnesia, because they continued to insinuate that what you did has basically never been done before, or that it’s been so long, people have forgotten. No, it’s not your fault; their reaction. You are culpable for something, though.

If you consider yourself the Alabama of rap, you don’t call out Mississippi State or Vanderbilt football. You don’t declare yourself a Kennedy- or Obama-style politician and then clamor for Dubya to come correct. You’re apparently the king; the 1995-96 Chicago Bulls. Don’t call out the 95-96 Blazers, who were barely above .500 that season. I appreciate the old-school approach, I really do. But outside of Jay Electronica, you’re easily more talented than the others mentioned. In fact, I would agree that you are indeed one of the best MCs out at the moment. Who gives a shit about NY artists and their egos, to be honest. I couldn’t care less to address their taking offense. But… Mac Miller?! Tyler, The Creator?! MEEK FUCKING MILL?!?!?! Sir, sir

No path to any throne goes through mere peons.

From a 10-day suspension to ‘Acid Rap.’

I first heard Chicago hip-hop artist Chance The Rapper on Vic Spencer’s “National Geographical” single in 2011. If you’re familiar with Spencer, you know his flow can vary, but is mostly grungy. Having never heard Chance rap before, I was taken aback by his cadence, lyrical content, and just overall dopeness of his verse. Throw in that at times he sounded sing-songy on his part, and while he didn’t exactly fit the “norm,” I was intrigued, nonetheless.

Hoping Chance’s dopeness was more trend than blip, he gifted us with 10 Day, his debut mixtape. “Windows,” “U Got Me Fucked Up,” and “Family” immediately got heavy play and are still in rotation to this day. 10 Day, a debut effort essentially centered around an act of misbehavior, struck me as immature, initially. But then I realized that Chance was doing nothing more than telling a story. His story. And he did it in incredible, and quite unique fashion.

While I was certainly pleased with 10 Day, I admit that I didn’t have high hopes for his follow-up project, Acid RapI just simply felt that what he created on 10 Day, he wouldn’t be able to recreate on Acid Rap. I was incredibly glad to be proven wrong, as Acid Rap was not only seen as great by my somewhat high standards, but by many blogs, websites, journalists, and most importantly, rap and hip-hop fans. Where 10 Day seemingly fell short, Acid Rap compensated for it, and then some.

I’m sure Chance’s style irks some. His high-pitched voice can be a bit shrill at times, and sometimes it seems as if he doesn’t know what direction he wants to go in on a song. But it’s that organized chaos that is so alluring. The adlibs are dope. His features are even better. He tackles topics that a good number of artists his age would rather not be in the vicinity of, lyrically and artistically speaking. In an era in which so many hip-hop fans can’t discern who’s who, it is very easy to distinguish Chance The Rapper from the rest of the crowd. I’d be lying if I didn’t say I have a certain bias for his music because we are both native GoILLians, but if you were to remove that tidbit, the kid just puts out dope ass fucking music. Stay starving, Chano.

Stay sober, Ms. Ingram.

I was browsing different music websites online several days ago, when I came across an album cover that immediately caught my attention. After I finally stopped drooling over the cake in the artwork, I decided to find out a little more about the artist. British electronic production duo Chase & Status founded the independent record label, More Than Alot Records (MTA Records) in 2009 and 19 year-old British singer-songwriter was signed in 2013. At the age of 18, she covered Kendrick Lamar’s “Poetic Justice.” This, alone, is what ElliIngramOfficial-590x339turned me into an Elli Ingram fan. It didn’t take long after that for me to find her website and immediately download her first project, the 6-track EP, Sober.

The entire project was produced by Felix Joseph and Rudi Redz, who were also behind her cover of “Poetic Justice.” I instantly fell in love with the title track, 3 minutes and 31 seconds of greatness, glossing over, ironically, how she is not in a sober state. “Mad Love” is remarkable, and Ingram delectably croons to the object of her desires on “Elliot.” The mood becomes much sexier on “High Love,” as Elli sings, “Hit me with another taste/We can go to outer space/Lay me down and rest on Mars/Together we can watch the stars”. The production on this track is strong, but it doesn’t overshadow Ingram’s singing ability. She perfectly dictates the flow of a song that I feel a number of other songstresses would have struggled on. Over the piano-backed “Fun,” Elli showcases her emotional vulnerability, and honestly, this is about as close as she gets to sounding like Adele. Yet, listeners should be able to easily tell that she is her own artist.

It’s entirely possible that Ingram created this entire EP while under the influence. It would certainly make sense. For someone who is all of 19 years of age, Ingram sings with a maturity not found in many artists twice her age. Yet, Ingram doesn’t appear to be tired, or worn down. She is seemingly in control even when it appears that she may have completely lost it. It’s refreshing to hear someone who is genuinely sensitive, and not just trying to appeal to a certain contingent. She ended Sober with her cover of “Poetic Justice,” just to let you know that, even though this was your introduction to her musical stylings, she ain’t your average rookie.

Stay sober, Ms. Ingram.

Review: ‘July 9th: A Cancer Story,’ D2G

, It’s been a while since I’ve written a review, much less one for the work of Chicago hip-hop artist D2G. Not only do I enjoy the work that he releases, he seems to possess a certain work ethic that isn’t a part of the repertoire of many other artists, from my observations. Obviously, I await the release of music albums of all genres, all year. D2G’s July 9th: A Cancer Story was no different.

I hate pointless intros. I hate them with a fiery passion. I’m not sure who told music artists–especially rappers–that intros are necessary, but if that person exists, they misled them. Most times, it’s audio snippets or some crazed man screaming obscenities or the artist telling you how big of a chip is on their shoulder. Luckily, D2G’s “A Cancer Intro” gets right into the album, with him laying out what is part-mission statement/part-state of the rap union address. The reggae-tinged “I.R.A.N.” was produced by DC, and I’ve been playing it since I posted it on this page several weeks ago. “I Am Him” continues the swift pace, as D2G exclaims that he is “the shit.” Kudos to RelElite for the production.

Credit Doc Da Mindbenda with the production assist on “Drive Down The LS,” featuring Chicago vocalist Ben Official. This isn’t the typical D2G track, but I think the collab and sound worked very well. Continuing on with somewhat of an appeal to the ladies is “Agreement.” Finy the Genius provides vocal support and Maserati Myers’ production combines some elements of both modern and 90′s R&B. To validate my theory that when rap and hip-hop artist lean towards women at a certain point on an album or mixtape, they do it in threes, we get “The Search.” I actually really liked DC’s production on this track, but felt that a female voice was needed. Perhaps a female singer who also described her search as well would’ve complemented D2G’s tales a bit better.

Vic Spencer and Brian Fresco join the fray on “Not Sober,” and once again, DC is on production duty. Clearly, the subject matter of a song with this title will almost always be fairly light, but I still enjoyed the debauchery-filled lyrics of this one. Fresco’s verse got nastier as it went along, which is sometimes what happens when you’re last to bat.

“YNS” sounded a little too much like “The Search,” in terms of its overall tone, except the latter was smoother. If I read these lyrics before hearing the song, I would have expected something a bit grungier. Fortunately, D2g raps along with a beat better than most, so even on tracks that don’t seem to fit his style, he can “save” them by being fairly technically sound. One of my favorite performances on J9:ACS was by Chicago rapper Angel Davenport…and she didn’t even rap. However, her singing on the hook of “Hangover Syndrome” was extremely rhythmic along with B4 La$ers’ production, even though she has a somewhat unconventional sound. The emotional appeal on “If U Hear Me” is very strong, which is exactly what I expect from an artist of D2G’s caliber.

Producer R.A.D. and D2G rebound from “YNS” with the beautiful-sounding “Come On.” Chicago rapper Abstrak Mind contributes a very good verse, as he and D2G convey thoughts of how difficult it can be to just to make it to the finish line. “;” is officially my shit, and I think Vic Spencer should offer his services on hooks, if he can duplicate his effort from the track. O’Bonjour produced “;” and admittedly, the beat grew on me. “Hood Tales” were just that, but in typical D2G fashion, he took it a step further. With all due respect to the other vocalists on J9:ACS, they simply couldn’t match Alex Brittany on “Reoccurring Nightmares.” It’s her voice that I hoped to hear with each passing second, even though D2G’s lyrical effort was one of his best on the album. I’d argue that this was the best collaboration on the entire project.

J9:ACS ends with “A Cancer Outro,” and it’s appropriate that one of the first words D2G utters is “reflect,” since that is what he seems to do often, and very well. Every once in a while, I believe people should take self-inventory and reflect on things in the past that have contributed to their present and possibly, their future. Unfortunately, I’m unsure of the female vocalist in the background.

Knowing what went into this project is what makes it even better, in my opinion. To hear that an artist has been working on an album for nearly a decade is remarkable, and warrants much praise. Who knows if D2G is gaining traction in the Chicago hip-hop landscape. I, personally, don’t care. Politics dictate the flow of music. I think all any of us should hope for is that D2G continues to churn out good, meaningful music.

Album: ‘We’re Still Disappointed,’ Vic Spencer & Sulaiman

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About three years ago, Chicago rap artists Vic Spencer and Sulaiman teamed up to gift our ears with We’re Just Disappointed. Well, they’re still disappointed. The rappin’ ass duo released We’re Still Disappointed a few days ago, much to the delight of their fans. This album features production from Ikaz, Black Spade, Thelonious Martin and others. Also, there are no features. All you’ll get on this album is Vic and Sul, Sul and Vic. If you’re familiar with the theme of We’re Just Disappointed, then this project won’t catch you off guard. Head to their Bandcamp page, name your price, and download We’re Still Disappointed.

Download: We’re Still Disappointed (Album), Vic Spencer & Sulaiman

Video: “Duck Sauce,” Vic Spencer ft. MC Tree (Dir. by KP)

The homey Vic Spencer dropped this off in my inbox yesterday. One of my favorite singles from Post-Spence Ethic, a project he hammered out with French producer Ikaz, “Duck Sauce” now gets the visual treatment. Set in Chinatown (I’m assuming) with Vic getting assistance from MC Tree, being directed by KP and featuring cameos from a few Marie Josephine-loving Barbie dolls, this relatively dark track was nuts in its audio version. Enjoy the video.

AUDIO: “Savior”, Vic Spencer ft. Sulaiman and D2G (Prod. by Ikaz)

EEE. After a bit of a hiatus, I have decided to resume this thang here called blogging about randomness. While I wasn’t quite ready to make the foray back into this arena just yet, an email from Chicago MC Vic Spencer spurned this post. “Savior” is the third track leaked from Spencer and French producer Ikaz’s project, Spence Ethic. Fellow Chicago MCs Sulaiman and D2G, who have collaborated with Spencer on the Disappointed series and Hard Bars, respectively, appear on this track with Spencer and lend their verses to a dope track. Anyone familiar with the three artists knows that a blunt delivery are their forte, and each of them address a superior work ethic and also some of the bogus dealings in regards to the Chicago hip-hop scene. Ikaz provides the eery production for this one, and we are just a bit closer to the latest Spencer gift. You’re welcome.

Download: “Savior”, Vic Spencer ft. Sulaiman & D2G (Prod. by Ikaz)

Q & A with @VicSpencer and track-by-track review of his “Walk Away Music”.

 

The “selective blogger” is back…

More than a few folk have been anticipating Vic Spencer’s Walk Away Music, made available for the ears of the public today. 12 songs. No features. 12 different producers. All recorded while Spencer was without of the benefit of a motor vehicle. Fresh. Before I get into my review, here’s a little question and answer with Mr. Spencer:

Nigel Watson: It’s about time we got Walk Away Music! What do you expect your fans’ reception to be?

Vic Spencer: I want the fans to stop walking towards the negativity in rap. Just simply laugh and walk away.

NM: Why were there no features on this project? Do you think it helped or hurt your effort?

VS: There weren’t any features because I want people to know me as a solo artist, stripped down for who I am and who I knew. I had 30 records with plenty of artists and i felt like I got over flooded by the features. So now you get me. In the flesh.

NW: I’m partial to “Michigan Ave. Bully” because of the production. Which track did you enjoy recording the most?

VS: I enjoyed recording ALL of ‘em. I worked the producers out of them beats. I challenged them to create a dope sound. But the joint I really enjoyed recording was “Dip-Off Blessings”.

NW: The gritty and blunt lyrics are indeed present on Walk Away Music. What is your message for those who might find your persona a little…intimidating?

VS: I want people to stop taking me so serious. I’m a funny dude. I’m very confident in what I do. I just dont like a lot of shit and I’m very vocal about it. Nobody does that. I’m an entertainer. I want to be better than these fuckfaces out here so I’m gonna come off intimidating. But even the intimated got ears. Once they use them, they can understand Vic Spencer.

NW: What’s next for Vic Spencer?

VS: I’m flooding the world with 2 more projects. ANTIeRTHANG with Fat Boi Wiz and the Spence Ethic EP with French producer IKAZ due out 10/1/12. It’s done. I’m focused on 2013 right now. I’m going back to work.

1. “Michigan Ave. Bully” (Prod. by Big Budd)
Vic Spencer kicks off Walk Away Music with his own version of an ode to one of the world’s most well-renowned strips to shop. “Ill ass sneaks on my feet, just got off the Grand Red Line stop…,” Spencer raps before he gets into the song. Big Budd certainly graced Spencer with a dope beat for this one, as chops of something soulful perfectly complement Spencer’s grimy claim of “I don’t shop where everybody go at all/The Water Tower downtown, that son of a bitch is still a mall”.

2. “Ill Description” (Prod. by Tony Baines)
Admittedly, this sounds a bit campy, especially for Spencer, but it doesn’t sound half bad. The ODB bit in the background works fairly well and once again, Spencer’s humorous bars prevail on a track that seems rather scatterbrained: “I go ham on Twitter because I love turkey”. Don’t try to understand it.

3. “Respect Ya Elders” (Prod. by D2DaE)
Anyone who has listened to a Vic Spencer project in its entirety knows that while the rapper isn’t an enemy of the youth, he is certainly no enabler. On this song, he addresses young rappers (could also be applied to young people, period) who are going about finding success in the wrong ways. “Oh you think I’m just an elderly man?” raps Spencer before warning that beatings will be administered to those who are deserving.

4. “Tube Socks” (Prod. by O Bonjour)
This beat is perfectly maniacal, accompanied by smooth snippets of a saxophone that stopped me from completely flipping out upon first hearing it. I won’t go into the theme of this track. Instead, I will give kudos to Spencer for doing something that I’m sure no other rapper has ever done: Make a Rex Chapman reference.

5. “Midway Dagger” (Prod. by Doc Da Mindbenda)
Spencer laments over his lack of a vehicle even though Doc gave him “the green light” within the first few seconds of this track. Vintage Spencer makes an appearance on “Midway Dagger”; ranting, raving and eviscerating anyone who dares obstruct his path to prominence. “Niggas’ll make a list, and forget about Victor”. This is the type of emotional vulnerability I like to hear from rappers and not that emo ass trash that more than a few “hot artists” are guilty of nowadays.

6. “Earlobe” (Prod. by THEMpeople)
THEMpeople samples the Isley Brothers’ “Hello, It’s Me” for this one and both the sound of the song and cadence of Spencer’s flow are the antithesis of what he usually brings to the musical table. “I have sex with the beat lately/Me and her be goin’ crazy” raps Spencer over harmonious production.

7. “Green Presidential Suite” (Prod. by DC)
Chances are, if you’ve ever been around Vic Spencer for more than a few ticks, you’ve probably smoked Marie Josephine with him. The first time I ever met the guy, I left our encounter fully baked. Loud is his poison of choice and the reggae-tinged “Green Presidential Suite” highlights his love affair with the sticky stuff, along with some of his more memorable sessions and how they came to be. The dude with the “Englewood membership” unabashedly broadcasts over nearly 3 minutes just how he rocks with MJ.

8. “2 Liters of Salt” (Prod. by Nasim Williams)
The boy grows into a man, decides to leave the rats alone and puts a ring on the finger of the woman he wants to spend the rest of his life with. Maybe this theme reeks of some Hollywood fairy tale shit, but it is indeed true in Spencer’s case. “salty” has been a part of Chicago slang since I can remember, and Vic takes the time to not only make mention of his fiancée, but take not-so-subtle shots at the jealous women who weren’t worthy to sit atop the throne in his proverbial kingdom.

9. “Dip-Off Blessings” (Prod. by Nez and Rio)
Nez and Rio are two of my favorite producers, period. So I was definitely excited to learn that they would be lending production to this project. Sometimes their style overshadows the actual song-sort of like N.E.R.D.-but the soothing sound took a back seat to Spencer’s brash proclamations of essentially “blessing” another man’s house before dipping out with some of his goods. “Minor league fitted in your hallway/Foamposites in your living room/White tee in your fucking bathroom/Headphones and Nudie jeans chillin’ in yo’ back room”. Sorry, fella, but your spot has been blessed.

10. “Amphebean” (Prod. by Rashid Hadee)
Dope. That is all.

11. “Think Twice” (Prod. by Thelonious Martin)
I am a huge Donald Byrd & The Blackbyrds fan. “Steppin’ Into Tomorrow” is my favorite song, with “Think Twice” coming in a very close second. So how did you think I felt when I initially heard this beat? Exactly. Thelonious Martin and Spencer team up on this one as this seems to be a track specifically for the trekking headphone-lovers.

12. “Ski Mask” (Prod. by Illiad)
Walk Away Music concludes with what could be construed as an outro. Maybe it’s just me, but Spencer’s flow seems to be a bit more meticulous than it is on other tracks found on WAM. Once again, Spencer vents about the trife and their tendency to rough up what would be an otherwise smooth journey. And like that, Vic Spencer decides to walk away.

The concept behind this project is most intriguing; no features and different production for each track make it relatively unique. Vic Spencer didn’t run the risk of being outgunned on his own track and the different sounds ensure that the listener won’t find Walk Away Music boring, at least. I’m a fan of Spencer because he tells it like it is, in his own way. He is not KRS-One, nor is he Immortal Technique. However, he doesn’t try to be, and doesn’t seem to want to be, either. For this listener, that is just fine. Now let’s all hope Spencer’s next project is just as impressive as Walk Away Music.

Download: Walk Away Music, Vic Spencer