Even though it was previously and initially released in 2007, it would not be until the next year where Corner Store Classic (Remixed) would jump into the arms of a young, but confident hip-hop head. After exchanging several hands, the first seconds on “I Shine” were inspiring and captured New York City’s Mecca of originality and style. As Skyzoo marches into glamour as a hip-hop heavyweight for lyricism, Corner Store Classic (Remixed) stands out as a pillar for a continuation into flashing lights.
“I got the media turning into a frenzy, the radio is debating on how to spend me. The hood love what it is, and that’s been me. So I’mma shine regardless, ya dig me?” begins the assured and progressive lyricist over an Eric G. instrumental. The spitting image of a Brooklyn MC who captures the local hero feel, Skyzoo leads this conquest around his stoops and murals. Making his way toward Manhattan, he turns and instead goes deeper into Brooklyn with “Braggin Rights (Remix)” that is iconic on both production and storytelling.
The sway that occurs from that boom-snap instrumental and the fierce, almost intimidating hums that underlay as the foundation only boost Skyzoo up. He soars on the instrumental residing in the same age of Rap City and 106 & Park where rhymes were these motivating factors that showed other sides of the country that most could never fathom. Skyzoo explains, “Cause homie this is the trenches, where the stomachs touch ribs and the pitchin’ is endless and the money is the rule of thumb, so understand that. Either go through ya runs, or put ya hands back,” as this organ rages underneath Skyzoo. It is sinister, but somehow still human as his vocals never crack under the pressure, but he can put the audience in front of that situation where money is the motivation. The setting may not be perfect here, but it is home for Skyzoo on Corner Store Classic (Remixed).
Another track that flashes into this 2008 sound of hip-hop that was flashy but had a bounce to it was “The Paper.” Weighted from the bass that conflicts within the snare cracks, there is an authenticity to the emotion from Skyzoo. This is a premeditated exchange of hands that is laid out like the NYC Subway maps. He can infiltrate the heart and “Still get love in any random zip code” as he explains over this string ensemble. It is a neighborhood classic that can showcase a love for home while stepping out and having a global reach.
He does not stop at just Brooklyn or even the entirety of New York City. Skyzoo takes Corner Store Classic (Remixed) to the face and is calm about it. Not only is it an inspired sound from the neighborhoods that breed excellence out in the city, but Skyzoo rides around and shines as the Spider-Man of Brooklyn.
Listen Here – Soundcloud
Producers: Hi-C, Jaguar Claw, Hyrich, Spenser, Ghost Rage, Lil Trvsh, Applefritter
Featuing: Chachi, Brennan Savage, Jaxxon D. Silva
Listen/Watch Here – Youtube
Directed By: Calmatic
Written By: Vince Staples + Calmatic
Produced By: Prettybird
Death Grips has been a staple on electronic experimentation when coming into the creation of sound. They have redeveloped, reshaped, scraped away, and then rebuilt from the ground up on their records. With the 2018 release, Year Of The Snitch took some time to grow but has now flourished into a foreboding tree with roots above and branches below that extend far beyond as an approachable, but demented continuation.
Year Of The Snitch is a step back into the blackened light that conflicts with 13 tracks and a 37-minute runtime. From the opening track, “Death Grips Is Online” which is a schizophrenic display of turbulence through these scattered snare cracks under an abrasive wave of instrumentation. The entire record follows in this frantic nature that is almost similar to a caged animal trapped but snapping loose. As the shackles are broken and the screams from MC Ride, the band’s lyricist are heard over the loops of other vocal tracks as everything in this twisted masterpiece begins to click into place.
By no means is this an extension of The Money Store, Exmilitary, or even their strange but prolific work The Powers That B which consisted of two different discs. This is an exotic step back into the California powerhouse that consists of Zach Hill and Andy Morin or better known as his moniker, Flatlander. In this cosmic display, Year Of The Snitch plays out coherently and is surprisingly organized when coming from a group that thrives in chaos. From the tracks like “Hahaha” or “Dilemma,” they are straightforward and are based solely on this rock foundation that is palatable even for fans outside of the internet spectrum.
Then there are the moments where Year Of The Snitch abandons all reserves and instead drops this cinderblock weight on the listener with “Shitshow” which is exactly as it entitles. The track covers complete noise but is still a mess of grand proportions. It is collected with components that resemble a track but are more focused on the instrumentation and percussion that takes the listener by storm. It is this grinding grasp onto the audience that leaves the room looking like a warzone.
As Death Grips transitions from track to track, Year Of The Snitch begins to act as a compilation of tracks that are not quite loosies, but still, have this flow among them. There is not a strong connection from each piece, but it somehow fits perfectly under the same vein of death in the burning sun. From bursting out of house shows to the main stage, it appears that Death Grips becomes the night stalkers of the music industry, leaving only a wake of ash to follow.
Listen Here – Soundcloud/Spotify/Amazon/iTunes
Presented By: UnderGRDTorment
Producers: IcyTwat, DJ Young Vamp, E$Kimo
Listen Here – Soundcloud (She Wanna Play On My DS) / Soundcloud (Quittin Da Lean)
Tracks Produced By: Hi C
Listen Here – BandCamp/Spotify/Amazon/iTunes
Featuring: Chester Watson, Zeroh, Lojii, Billy Woods
All Songs Produced By: L’Orange
All Songs Written By: Jeremiah Jae
Mixed By: Drew Vandenberg
Mastered By: Joe Hutchinson
Illustration By: David Lapham
Graphic Design By: Ruff Mercy + Austin Hart
Album Cover Font By: Jeremiah Jae
Executive Produced By: Michael Tolle + Austin Hart