Slept on Rappers

Blueprint's highly anticipated sophomore release Adventures in Counter-Culture finds him focusing on the unexpected while experimenting heavily with his musical past. First trained in his church choir, Print played in R&B bands in high school and later developed a rep as a standout rapper. Here, he experiments with the synths, keyboards, and drum machines that connected the musical dots of those early days.

Print began pursing his career as a musician in 2001, working on several hip hop projects including his collaborative project Soul Position with DJ/Producer RJD2. Releasing The Unlimited EP & 8,000,000 Stories on Rhymesayers Entertainment with RJ, Blueprint began work in 2004 on what would become his first solo album, 1988. The success of that album allowed him to tour extensively throughout North America and Europe, before returning home to focus on writing and recording his next album.

When he sat down to work on this sophomore effort, Print began with the dark, soulful and sample heavy hip hop of the early 90's, but soon found himself hitting a creative wall. What shook him loose was a new mission: to create an album that encompassed every facet of music he knew, blurring genre lines and bringing it back home as one cohesive listening experience. The more he worked to pair new found interest in rock & electronic music with his love of hip hop, the more he was able to break down that creative barrier.

Thus began his Adventures in Counter-Culture, a monumental undertaking that would involve reinventing himself as a musician and person. His growing cynicism with the world, his disdain for pop culture, the state of politics, and an apathetic, uninspired society, all worked as fuel to inspire this sophomore album. Moved by the impact that sampling lawsuits were having on the music community, Blueprint also decided return to his roots and began writing and producing his own original content.

After a five year musical journey and experiment, Blueprint has emerged with his greatest effort to date. A culmination of self discovery and societal critique, Adventures in Counter-Culture is just that. The adventure begins April 5th, 2011.

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Single: Radio-Inactive

Raised in a Buddhist household, immersing himself in Black history, world culture, and community work, Toki Wright's awareness of the diverse world we live in is translated through his content driven music. He has taken paths that run the gamut from a non-profit youth organization in North Minneapolis to work with war-affected children in Northern Uganda. As an artist, Wright's travels have taken him throughout the United States and Canada as support and hypeman for Brother Ali. Other performance credits include Soundset, Coachella, CMJ, Bumbershoot , Paid Dues, Scribble Jam, and SXSW.

Being an active presence in the Twin Cities hip-hop scene, Wright has been featured on recordings by Atmosphere, P.O.S, and C-Rayz Walz, to name a few. With years of experience and numerous accolades (2007 Twin Cities Hip-Hop Awards "Best Knowledge Spitta" Winner, 2006 KMOJ Radio Artist of the Year, 2003 Star Tribune Artist of the Year - Honorable Mention, 2002 City Pages Hip-Hop Artists of the Year, 2002 Minnesota Music Award Nominee: Best Hip-Hop Artist, and more...), Toki Wright is ready to go to the next level with his debut solo, full-length release, A Different Mirror on Rhymesayers Entertainment June 9th, 2009.

As the first artist in the newly developed Rhymesayers Spotlight Series, aimed at bringing new emerging, independent artists to the masses. Toki Wright comes armed with skill and determination. His insightful lyrics are balanced by smooth, flowing beats by local stand out producers Benzilla and Medium Zach of Fam Feud, and Rhymesayers own Brother Ali.

Toki recently wrote of the leaked track "State of Emergency": "Never before has this generation been at more of a critical point than now... the present day. War and Peace. Poverty and Gluttony. Enslavement and Freedom. Each measure of the spectrum entangled in the ultimate fight for power. Obtaining justice and equality are no easy tasks, our forefathers and mothers have proven this to be true. May this surge of energy be the catalyst for global understanding. In our struggle let us not forget the trials and tribulations of the great many who have walked along the hazardous path. Recognize history. Prepare yourself for the future. We are in a STATE OF EMERGENCY!"?

Toki Wright is a thoughtful and important voice prepared to educate and challenge as well as entertain. As promised, audiences will be afforded access to A Different Mirror.

"One of the dopest emcees around, who makes noise both on the microphone and as an un-compromising community activist..." -Davey D

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Single: Devil's Advocate

With a Mexican identity, and using music as the backdrop, Los Nativos brings a new element to Hip Hop. Los Nativos was established in 1996 in St. Paul, Minnesota and was also one of the original groups in the Head Shots crew (later to become Rhyme Sayers Entertainment). Since that time, they have been nominated by the Minnesota Music Awards for "Best New Band" in 1996, "Best Hip Hop Group" in 1999, and "Best Hip Hop Recording" in 2003.

The group consists of Felipe Espinoza-Day (Felipe Cuauhtli) and Jermain Ybarra (Chilam Balam). Both of them being lyricists, Cuauhtli often lends live percussion talents, while Balam (the mastermind behind the production) conducts the keyboard. Needless to say, Los Nativos transports an aboriginal musical alliance while staying genuine to the Hip Hop culture.

Throughout their eight years in existence, Los Nativos have polished their craft by taking all the music they have experienced to develop a Hip Hop structure accented by a broken Spanish and English flavor. With a conscious message, the lyrical style adds a political motivation, community awareness and current events of the world to give the listener a sense of what's going on in their world. By integrating Hip Hop, Jazz, Funk, Rhythm and Blues, Tejano, Mariachi, Salsa and Cumbia, the groups delivers an original musical collage of their own.

The Los Nativos mission is simple - to be heard. Bringing their music to the people was the priority, which meant years of performing in church basements, house parties, political rallies, youth conferences, community events and finally making their way into concert venues. Los Nativos has now played venues in Minneapolis, Chicago, Texas, Arizona, Wisconsin, New Mexico, Iowa, Michigan, Washington and California. Most recently they have completed a 10 city tour throughout Mexico and were featured in the December 2003 issue of The Source magazine. They have shared the stage with The Roots, Ozomatli, RUN DMC, Atmosphere, and Black Eyed Peas to list a few.

In 2002, Los Nativos released a three-song single titled "AtLtLACHINOLLi" or "The Water Between Water and Fire" (a battle cry of the Aztec Warrios). The single contained the songs "Sobrenatural," "Tengolallave," and "Sincontrol." Los Nativos deals with the struggles of everyday youth, while still allowing entertainment to be the baseline of their message.

The album, Dia De Los Muertos, or "Day of the Dead," after years of preparation, is a well-balanced album focused on Indigenous issues while bringing the message of the "calle" (street) to the music. Available on CD from Rhyme Sayers Entertainment.

"If Emiliano Zapata and Ernesto "Che" Guevara were alive today, Los Nativos would be their rap group of choice." - The Source

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Single: Atltlachinolli

Today's rap industry is a mental wasteland of studio gangsterism, materialism , imitation, perpetrators, and bland predictable ignorance. An era in which DJ's compromise their integrity to the will of commercial radio while leading millions sheep in the monotonous materialistic circles of illusion. A time best described as a lack of artistry haphazardly wobbling out of sync. In the midst of all this corruption, one must ask; who will champion the cause of truth, originality and righteousness in the realm of Hip Hop.

Enter the Micranots...traveling at the speed of light and sound come two individuals on the long and winding path to assist in the restoration within the Hip Hop landscape. Emotions swell from the sound system, the meditative study of the rhythm, the beat and drum grappling your head forcing a hypnotic nodding motion.

The heavy sonic imagery of Kool Akiem's production skill lays forth a grand illustrious empire, a solid land mass of steady ground, providing the building blocks on which only the truest of MC can facilitate. From the mind of I self Devine comes a steady stream of consciousness focused on cadence, delivery, and tangible content. A great world war is being waged, the Micranots, determined to be victorious, do battle for the best ground... the stage. In the midst of battle the stage implodes with masterful manipulation of the sound and visual elements designed to command, enlighten embrace, provoke, and propel the crowd into the grand unified theory of Hip Hop collectively.

In 1999 the Micranots signed a licensing deal with the New York based label Subverse. The year 2000 marked the release of the premiere album entitled: "Obelisk Movements", as well as the lead off single "Pitch Black Ark" and the second single "Culture / Illegal Busyness." In 2002 the Micranots signed a licensing deal with the minneapolis label Rhymesayers which oversaw the re-release of the limited run of "the Return of the Travelers" as well as the long awaited highly anticipated follow up to the "Obelisk Movements" "The Emperor and The Assassin" with the lead off single "glorious / heat." What you should expect to see from the Micranots is constant touring bringing their message to the people.

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Single: Balance

Rappers have been rhyming about hustling, living in the ghetto and the perils of street life since the dawn of Hip Hop. But what distinguishes Freeway, is his unique approach to tackling these subjects. Freeway neither boastfully brags about his days hustling on the crime-ridden street corners of North Philly, nor does he dogmatically preach at his listeners while lecturing them to live righteously. Instead, his lyrics are laced with ghetto-weary "been there, done that" sentiment that implies there is life beyond the block.

After a pact made with fellow Philly native Beanie Sigel, Freeway was brought to Roc-A-Fella records where he made his recording debut on "1-900-Hustler" from Jay-Z's multi-platinum The Dynasty: Roc La Familia CD. Shortly after it's release, Freeway's North Philly ways caught up with him and he found himself serving a six-month jail sentence for possession of illegal narcotics with intent to deliver. Faced with the realities of street life, Freeway thankfully opted to put all his efforts into his music.

In 2003 Freeway released his debut album Philadelphia Freeway, solidifying himself as a force to be reckoned with amongst the other stars of the Roc. After achieving gold status (selling over 500,000 units), Freeway played an instrumental role in establishing he and Beans' Philly crew State Property. It seemed as though Freeway was on an unstoppable roll. But as life teaches us all good things must come to an end...and the next four years found State Property head Beanie Sigel convicted of federal weapons charges, group turmoil and most importantly the historic breakup of the Roc-A-Fella dynasty of Jay-Z and Dame Dash.

With all the chaos, Freeway, a devout Muslim, accepted an opportunity to travel to the holy city of Mecca on Hajj (a journey required by every Muslim at least once in his or her lifetime if he or she is able to). Upon his return, Freeway recorded his long-awaited sophomore release, Free at Last. Uncertain about his standing amongst all the label drama, Freeway found a new ally with Hip Hop heavyweight 50 Cent and a deal was brokered to have Jay-Z and 50 Cent co-executive produce the album. While both were featured on the record, the project ended up solely a Roc-A-Fella release, with 50 giving up his co-executive producer's role. Released in 2007, Free at Last was a moderate success but unfortunately lacked the label focus and attention of his debut release.

Never one to complain or sit stagnant, Freeway got on his grind and started blasting the internet and the streets with mixtapes, remixes and free tracks, raising his profile to new levels. In 2008, Freeway would reconnect with producer Jake One (who produced on his sophomore outing, Free at Last) to record two tracks for his Rhymesayers debut, White Van Music. The sessions not only resulted in two of the album’s highlights, including the classic collaboration with Brother Ali called "The Truth", but numerous additional songs that showed a real connection between the G-Unit beatsmith and Freeway.

With his release from Roc-A-Fella records, the path had been set for Freeway’s next official album, The Stimulus Package. The Stimulus Package presented an opportunity to not only take it back to the basics of: one Producer, one MC, but also provide a chance for Freeway to spread his independent wings and give something special back to Hip Hop, the culture that saved his life years earlier on those North Philly streets.

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Single: Beautiful Music

In these days of disposable music and ringtone rap very few producers are able to build a sound. Seattle producer Jake One is one of those exceptions. With an impressive and diverse discography that includes artists from 50 Cent to De La Soul, Jake has managed to bring his sound all the way from the underground to Billboards top 10. Combining the ethics of his early influences DJ Premier, Dr. Dre and DJ Quik with a touch of today, Jake has been able to bridge the gap between the past and the present.

While Jake is widely known for being a mainstay on G Unit affiliated projects, he got his start working with local talent in Seattle for the Conception Records label in the late 90's. From then he started to make his way on to the national scene with extensive work with the Gift of Gab and a unlikely rapper, wrestler Jon Cena producing Cena's ring anthem "The Time Is Now" among others. Jake's first taste of the big time was a spot on G Unit's triple platinum album "Beg For Mercy". Appearances on albums by Young Buck, 50 Cent, Lil Scrappy, E-40, De La Soul and Freeway followed firmly establishing Jake's place in the hierarchy of top producers in hip hop. 2008 marks a return to the underground for Jake with his debut album "White Van Music" on indie heavyweight Rhymesayers Entertainment. Featuring artists ranging from Young Buck to MF Doom, the album is Jake's first opportunity to direct a project in its entirety.

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Single: Home

Musab “Sab The Artist” Saad’s music career began as a hip hop artist named Beyond in his hometown Minneapolis, MN.

A member of the Headshots crew he went on to co-found Indie Hip Hop label Rhymesayers Entertainment and released the labels’ first album Beyond Comparison. Sab is a member of Dynospectrum which includes Slug and Ant of Atmosphere, I Self Devine of the Micronauts and Mr. Gene Poole. The Dynospectrum’s self titled album is revered by fans and critics alike. His solo catalog includes the vinyl EP Actin' Rich, “The BE-sides” tape, Respect The Life, Slicks Box and his most recent release Sab The Artist EP which has garnered rave reviews.

Sab has been working towards the release of his new album HGH (Heaven, Girls, Hell) with Ultra Chorus, consisting of Jeffrey Lorentzen and Chris Heidman (Sukpatch) of Minneapolis, MN. The 3 have been fusing together Hip Hop, Pop, R&B, and Electronic sounds for this project.

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Single: Hat & Shoes

BK-One's love of music has been a lifelong affair. From an early age, he studied classical piano and jazz theory, taught himself to play the vibraphone, and began collecting records. Before he was old enough to get into clubs, BK was touring the country as a vibes player in a jazz band and experimenting with multiple genres alongside local music veterans. After moving to Minneapolis in 1996, BK wasted no time finding a place for himself in the local hip hop scene. He helped to start the city's first independent hip hop radio show and put his record collection to work, DJing regularly across the city. After meeting a hungry young rapper named Brother Ali and introducing him to the local Rhymesayers crew, BK-One found his best job yet...as the backbone of Ali's live show. Crafting elaborate routines with quick mixes and pounding beats, he and Ali have spent 10 straight years earning their reputation as masters of the stage. In that time, BK has also released several popular mix-cd's, like "For The Love Of Music" and "Set In Motion", which skillfully blend hip hop, funk, afrobeat, reggae, and jazz records.

This year, BK recorded his first solo album, "Rádio do Canibal". With music drawn entirely from records collected on a recent visit to Brazil, "Rádio do Canibal" features artists like Black Thought, Scarface, Raekwon, Slug, Murs, The Hypnotic Brass Ensemble, Phonte, The Grouch, and of course Brother Ali. BK's years of experience in different styles of music shine through on this album, as he collaborates with rappers, jazz musicians, and singers alike. He says of the experience, "This album combines my three favorite things...music, travel, and working alongside my friends."

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Single: Tema Do Canibal

Don't take Grayskul's sometimes dark, mystical aesthetic the wrong way--MCs Onry Ozzborn and JFK aren't trying to be Goth or ghoulish. "We never go into anything like 'oohh, let's be eeevil on this one. We're gonna get 'em!' It just comes how it comes," explains Onry.

Born out of the Pacific Northwest's Oldominion hip-hop collective, Grayskul emerged as a group in 2004 touring with Rhymesayers artists Eyedea and Abilities. And they made quite an impression as the opening act. In addition to holding an unrelenting energy, Grayskul brought to the stage their animated bassist Rob Castro, a television with no signal, and alien dummies propped atop their shoulders.

With their 2005 Rhymesayers debut, Deadlivers, this Seattle group kept the uncommon visuals coming in the form of imaginative storytelling. Going by the alter egos Fiddleback Recluse (JFK), Reason (Onry Ozzborn), and Phantom Ghost El Topo (Rob Castro), Grayskul conquered corrupt MCs and societal ills utilizing razor-sharp raps and electrifying boom-bap beats (from Onry, Fakts One, Oldomion's Mr. Hill and others).

Despite the comic book-like theme of the album, Onry clarifies how real the record actually is: "Deadlivers was taken by most as this dark, superhero journey through this crazy made up world of MCing, when in actuality, it was what MCs go through today in real life situations."

Not wanting to repeat themselves in the slightest, Onry and JFK are taking a more conceptual approach with their new album, Bloody Radio, which features Slug, Cage, Pigeon John, Aesop Rock, and vocalist Andrea Zollo. Produced by their Oldominion brethren (Mr. Hill, Smoke, Coley Cole, The Gigantics) and other Pacific Northwest reps (Sapient, Bean One), this release is an experiment in reconstructing the many sub-genres of hip-hop today and throwing them back in the face of those who insist on dividing the culture.

"Haunted" is an eerie synth-driven track that brings some Lil Jon-esque crunk down to a subterraneous level while "How To Load A Tech" with Cage is a curious dissection of hardcore, gun-happy hip-hop. And if you ever wondered what Onry and JFK would sound like flowing in the ever popular double-time style, look no further than the bubbly lead single "Scarecrow."

Reflecting on the concept of Bloody Radio, Onry says, "Back in the day, it used to just be categorized as 'hip-hop'--nowadays there's crunk, screwed, emo, gangsta, underground, club, horrorcore, etc. We basically look at our new album as reversal brainwash--hip-hop music somewhat sounding like all these genres, but interwoven with message, substance, concepts, wittiness, opinion, and most of all, honesty while still maintaining a sense of humor, imagination, and originality. Bloody Radio has something for everybody."

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"I have been terrified of success, as well as the responsibility associated with it. I have sabotaged myself, both consciously and subconsciously. I have immersed myself in the struggle not as a means to an end, but as a buffer to never reach success. Only to fail, which justifies the struggle. This album was put together as therapy. To move on, knowing that I am deserving of success."- I Self Devine, Minneapolis, MN 2004

Born in 1972 in Los Angeles, California, I Self Devine exists as a testament of survival. Raised in the brutal streets during the gang and government funded crack epidemic, he strived for understanding and deeper meaning to life's movement. His father, once a member of the Solidad Brothers, taught and exposed him to the underbelly of society. In 1980, when I Self was only eight years old, his dad left him and his mother on Christmas day.

During I Self's childhood, he frequently moved around the Los Angeles area living in Compton, Watts and South Central. Growing up in Los Angeles provided a wide range of exposure to different art forms and all walks of life. Through much of his youth, his mother had him bused out for school to obtain a better education. The journeys to the outer school systems gave I Self his first examples of racism and in his resistance forced him to be expelled and change school districts.

I Self's mother, a culturally aware artist and social worker, continued to teach him about Africa and the importance of knowing yourself and history. Being that his mother was radically progressive, she thought nothing of taking the young I Self Devine to go see Wild Style in 1982. This experience further cultivated the seed she planted three years previous when she purchased him the Rapper's Delight twelve-inch for this seventh birthday. Wild Style caused a metamorphosis in the already rebellious I Self introducing him to a new phenomenon-Hip Hop.

Initially, there was a continuous struggle for I Self between gang involvement and Hip Hop. With his constant need to travel the LA area between moving and busing to school, gangs became more problematic and coerced I Self to living an involuntarily isolated life. After a falling out with gang activity, he began writing graffiti, which eventually saved his life from the downward spiral of gang life and allowed him to travel more freely. I Self would test his writing and graffiti skills while rhyming in the confines of his home until 1985 when he was then ready to proclaim himself, "I AM" and emerge on the scene. I Self was only thirteen years old.

Content with just freestylin' on the corner, a few neighbors noticed his skills and told him about the club I Fresh in Lemeirt Park (which was a precursor to Good Life and Project Blowed). At I Fresh, under the tutelage of Ben Caldwell, I Self (then known as C-Doom) learned the skills of delivery and voice projection. In 1987, I Self was featured with a cameo battle role in a movie about I Fresh. Unfortunately, the film was never released to the public.

In late 1987, I Self spent a year in jail. Once released, times were conflicted and he became more deeply immersed in the streets and vandalism. Tired of the strict guidelines at home, he ran away. In 1989, with I Self's life constantly being in jeopardy and his mother's desire to pursue higher education, she relocated them to Minneapolis, MN. With ten years of experience balancing the arts of freestylin' and graffiti, I Self adapted well into the already existing Hip-Hop scene of the Twin Cities.

In Minneapolis, after three years of many failed attempts at group projects, I Self Devine along with Truth Maze and Kool Akiem formed the Micranots. Spawned from the dissolved groups, Metro Unit and Mixed Breed, Micranots were born while I Self spent time in jail for a second time during 1991-1992. Micranots were established on the cultural relevance of artists like Public Enemy, KRS-ONE, and X-CLAN, while possessing the street edge of: Ice-Cube, NWA, Scarface and The Geto Boys.

For the next two years, Micranots terrorized Minneapolis with energetic stage presence while recording two full-length cassettes: Hoods Pack The Jam and Catacomb Files. After establishing themselves locally and building a following through performances and self-distributed recordings, Micranots were in search of a way to expand their career. In 1994, Micranots departed Minneapolis for Atlanta fearing they were close to hitting the glass ceiling that caused many other talented groups to self-destruct.

In Atlanta, internal conflicts caused the Micranots to downsize to just I Self and Kool Akiem. It was during this time, while I Self was attending Atlanta College of Art, that he contemplated quitting music altogether. Kool Akiem provided the necessary push to help I Self to get back on the grind. The result produced three recordings: So Deep I Never Fell (1994), One Hour of Ill Shit (a collection of freestyles-1995) and Return Of The Travellahs (1996).

It was at an Atlanta Lyricist Lounge show at Kaya's in 1996, when Micarnots performed with Company Flow and Refection Eternal, that a copy of Return Of The Travellahs ended up in the hands of Big Juss. This performance initiated Micranots to be signed to up and coming New York based label, 3-2-1 Records (Blackalicious, Big Jus of Company Flow, Scienz of Life, Rubberoom, Ced Gee of Ultramagnetic MCs). Unfortunately, half way into the recording of their new album, the label folded.

The brief regression forced Micranots to create their own label, Mental Madness Wreckords, and release the now classic twelve-inch featuring: 141 Million Miles, All Live and Farward. During the downtime and uncertainty of the next Micranots album, I Self would return briefly to Minneapolis to be featured on the Rhymesayers Headshot series cassettes: History and Effort and become part of a legendary side project. In March of 1998, I Self, Slug of Atmosphere, Beyond (Musab) and Gene Poole formed The Dynospectrum. The Dynospectrum would be the first album I Self would record for Rhymesayers.

In 1999, Big Jus of Company Flow co-formed Subverse Records to pick-up the 3-2-1 roster, with the new additions of MF Doom and Source of Labor, and release the Micranots critically acclaimed international debut The Obelisk Movement. The Micranots toured, gained substantial press coverage and reached exceptional sales by independent standards. Unfortunately, before their next album could be completed, Subverse Records faced internal business problems and were forced to close their doors. Once again, I Self was close to success, but confronted with another obstacle.

After the rise and fall of The Obelisk Movement, I Self moved back to Minneapolis in 2000 and began production on his second album with Rhymesayers, a collaborative with DJ Abilities titled The Anti-Album. The two formed the group Semi.Official and released the album in 2003 featuring the critically acclaimed single, Crime and Songs In The Key of Tryfe featuring MF Doom.

In the same year, I Self reunited with Kool Akiem in Minneapolis to record a new Micranots record. With no label, the duo looked to long time allies Rhymesayers to help release the album. In 2003, the lead single Glorious was released. Shortly, there after in February 2004, with limited distribution The Emperor and The Assassin hit some record shelves.

After touring with Atmosphere for three months on the Seven's Travels Tour, Micranots disbanded after thirteen years. Today marks the dawning of a new day, the closing of one chapter and the emerging of a new era. I Self Devine of the underground-favorite Micranots steps outside of the broad movement of politics, religion, and injustice to tell the personal stories of those involved in the movement.

Self Destruction is the aptly named title for I Self's new album and first solo effort. The name has nothing to do with the movement KRS-ONE introduced in 1988, but rather with I Self's personality and his journeys with Micranots.

The difference between Self Destruction and previous Micranots albums is that I Self takes the time and effort to connect to the masses instead of a select few scholars who already knew the deal. How he accomplished this was years of switching his approach, lyrically without damaging his integrity. In the majority of his releases, I Self never allowed the listener the opportunity to know him, feel his personality, his humor, his pain and accomplishments- the personal struggles and personal victories and losses of I Self Devine.

Through ten months of intense soul searching and the production skills of ANT (Atmosphere, FELT, and Brother Ali), Vitamin D (De La Soul and Gift of Gab), Jake One (G-Unit, Ghostface and Busta Rhymes) and Bean One (Black Sheep, Charlie 2na, Boom Bap Project), I Self Devine delivers his most personal and engaging journey to date.

What you have is the result of 16 years of blood, sweat, and tears.

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Single: Sex Sex Sex

In 2003, Benjamin Laub (Grieves) found himself alone and in a new city. Benjamin secluded himself in his Seattle apartment where the only furniture was his bed, a TV, and an MPC 2000XL. Benjamin spent most of his time creating beats and writing songs as he reached out to other artists in the Northwest music scene. As he honed his craft, Grieves found opportunities to perform in small clubs and venues, and began funding and booking his own tours. In 2007, Grieves released his first LP, Irreversible, which earned him his first taste of national recognition as a touring musician.

In 2008, Grieves partnered with Budo, an established local producer in Seattle to create what was going to be an online EP together. After a couple weeks in the studio, the project had developed into Grieves second full length release, 88 Keys and Counting. The two have since moved to Brooklyn, but spend most of their time in a van driving from city to city. Despite an unyielding tour schedule, the duo is constantly creating music, always pushing each other to go beyond genre lines to generate an extraordinary result.

While the music Grieves writes is often riddled with heartbreak, pain and brutal self-truths, he’s not all gloom and doom. Grieves says that song writing is a process for him to deal with the problems and harmful events of his life, so most of what hits the paper is a way for him to recognize and cope with those feelings so that he doesn’t have to shoulder that burden time and again in his day to day life. Consequently, Grieves live show is one of the most captivating and energetic performances in hip hop – utilizing multiple instruments on stage and an excellent blend of high energy with skill and humor to create an enjoyable and memorable experience for the fans.

In November 2009, Grieves signed to the Minneapolis based label, Rhymesayers Entertainment, and has begun work on his next studio album.

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Single: Unedible

"What I find truly fascinating about DOOM, is that most rappers ride behind the beat, or rather take their cue from the beat. Whereas DOOM seems to dictate the beat- not vice versa. If it were a dance, others let the beat lead, where with DOOM he is right there with the beat if not anticipating it. For example the beat starts on his first consonant. Rapping in DOOM's style is very hard. I, atleast find myself sounding like I'm behind the beat, because DOOM rides infront of the beat."

Known for his ability to wrap himself around the beat, MF DooM not only raps but produces beats (all of his own as well as many for mainstream rappers). He's had an identity crisis, holding all of the names: MF DooM, King Geedorah, Viktor Vaughn, The SuperVillain, and Metalfingers. It has seemed that he has worn a mask ever since the death of his brother, who rapped with him in the group KMD (Kausing Much Damage) back when he was a youngster. Due to his ability to stay under the media, his location has changed from New York to the Mid West to Atlanta. He recently got caught sending other people to perform for him (lol). Check it this track, its really smooth, he produced the beat himself.

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Single - Doomsday

"Micheal Larsen, known by his stage name Eyedea, was a well-known freestyle battle champion and underground rapper. His notable wins included the televised Blaze Battle sponsored by HBO (2000) and a victory at Scribble Jam (1999). He had appeared as a solo artist, and as the emcee half of the duo Eyedea & Abilities (along with longtime friend and collaborator DJ Abilities). His non-battle rhymes were generally philosophically or thematically based, and often told a definite narrative."

Eyedea was a dope rapper and freestyler, you may have heard of his death in the news recently, which they still haven't found a cause, but the man in my humble opinion was one of the most original and prominent backpack-styled artists of our age. His abilities to freestyle off the dome were absolutely ridiculous, take Supernatural's lyrical ability and slap it on an average looking white guy and thats what you have. Eyedea was signed to Rhymesayers Entertainment by Slug and that's when he began to tour across the nation, doing radio shows and just murdering beats. We're all going to miss you Eyedea, Rest In Peace.

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Single: Shadows Have Shadows

Originally a battle rapper, Kansas City local Mac Lethal has evolved since he placed 2nd in the Scribble Jam tournament in 2001. Four years later, he founded Black Clover Records with his friend Jeremy Willis. He has a different way of marketing himself than most rappers, he releases "Love Potions" in order to help him pay his bills, typically releasing one a year, releasing six to date. His debut album was 11:11 which was released through RhymeSayers Entertainment in 2007 (Atmosphere, Soul Position, etc.) and was given 3 1/2 stars by HipHopDX.com. Two of him claims-to-mainstream-fame are "Sun Storm" which was played on America's Best Dance Crew, and "Lookin' Bro" which was a song mocking "bros".

The song I have chosen to share is due to a mixture of the video and the song itself, the video is very old timey, which I like a lot, and a very vibey fun beat to go alongside Mac's veteran-status rhymes. Make sure to check him out on Lethalville.com if you get a chance, you might even get a shot to talk to him :P I know I did, and he thinks I'm an asshole! So suck on this one, Mac!

Single: Undertow