Comic Shop Rockers

I am an unapologetic fan of comic books. Not "sequential art" or "graphic novels" or any of those other terms that folks use to try and sidestep the seemingly geeky nature of the pastime, mind you, but regular old comic books.

Oddly enough, I actually got into comics approximately the same time I got into music – at around age ten. The mid-1980s were a strange and wonderful time to be a fanboy on both fronts. It was an era of Watchmen and the Mutant Registration Act. A time that saw the death of The Clash and Black Flag as well as the birth of Geto Boys and The Dead Milkmen.

Stranger still was the odd intersection of both my passions, which also occurred nigh simultaneously. Metallica thanked (alongside The Young Ones and Absolut Vodka) a then virtually unknown Mirage Studios title called Teenage Mutant Ninja Turtles in the liner notes for their landmark 1986 release Master of Puppets while Anthrax unapologetically repped UK comic icon Judge Dredd in the single "I am the Law" from 1987's Among the Living.

I provide this brief little history lesson so that when I arrive at the topic at hand you have a bit of context. For you see the music/comic book connection didn't die with American thrash metal. Today geeky musicians are still embracing comics not simply as inspiration, but as yet another vehicle for their creativity.

An obvious mainstream example comes to us compliments of prog rockers Coheed and Cambria. Each of the band's concept albums ties directly to frontman Claudio Sanchez's epic sci-fi tale The Amory Wars, which is simultaneously being published by Evil Ink as an ongoing if admittedly loose print series.

But if you're looking for something a bit less convoluted expansive, there are subtler options.

Geek rockers Americans UK regularly release their own free digital comics via the Literate Machine community in both PDF and CBZ formats. (Holler at some ComicZeal regarding the latter, iPhone users, and you'll be glad you did.) Part sci-fi murder mystery part illustrated lyric sheet, each issue packs in ample action and snark due to the efforts of frontman Jef UK, who is also the writer behind Oni Press's Odd Schnozz and the Odd Squad.

More recently the mad scientists behind FuMP act The Consortium of Genius launched a similar product tied to their most recent release Music for Supervillains. Though the album itself does a solid job or relating the story concept through skits interspersed between each song, Music for Supervillains: The Comic really brings the story to life amid visual interpretations of key plot points, illustrated song lyrics and comic strip-style non sequiturs.

Still, my favorite (vaguely) music-related comics project in recent memory comes from Halifax hip-hop superhero SJ the Wordburglar. Burg's love of comic books is well documented in verse, as is his predilection for the action-heavy pastiche of classic G.I. Joe, and the Snakor's Pizza project leverages the two nicely. Written by Burg and skillfully lettered and illustrated by Kody Peters and Dave Howlett, it has a surreal and distinctly urban feel to it that I immediately equate with the great Jim Mahfood. Following the life of the deposed leader of a snake-inspired terrorist organization turned restaurant manager, it refuses to take itself too seriously. The creators themselves, however, are obviously firmly committed to producing a high quality product despite its laughable premise. You can check out the story up to this point in full color online for the very low price of free, and a limited black and white print run of issue #1 was made available to Nova Scotian geeks through Strange Adventures Comix & Curiosities.

Radio Free Hipster Ep. 105: C'est L'amour

I typically try and drop a holiday-specific episode a few good days before the event itself, but when I realized I could potentially release my regular Valentine's show on Valentine's Day I figured I'd go for it.

Unlike previous years, where the theme has been love in a larger sense, this time around each one of the song titles contains the actual word "love" or some apparent derivation.

Clever concept or lazy song selection? You be the judge!

Download Radio Free Hipster Ep. 105: C'est L'amour [hosting provided by Antisoc] Size: 42.4 MB Running Time: 46:19

Show Notes:

Intro: Baddd Spellah – "Radio Free Hipster Theme (feat. Beefy)"
I love 'em both! 

Track 1: DJ Moule – "Good Love, Good Rock"
Led Zeppelin vs. Joan Jett vs. Does It Offend You, Yeah? vs. Peaches

Z's 1st interlude: "Perhaps even more literally than in years past."
I'll give iTunes one thing – it does make searching for song titles containing a certain word a breeze!

Track 2: The Remus Lupins – "Lovely Lily"
Not my favorite vocal delivery from Alex, but easily one of the band's best instrumental performances.

Track 3: the1shanti – "I *heart* Olivia Munn (ElekTro4 Remix)"
From Tru Statement Entertainment's F?@K LOVE.

Track 4: Q-Unit – "Old Fashioned Outta Control Lover"
Q-Unit's Greatest Hits was the first proper mash-up album I ever downloaded in its entirety.

Track 5: Super Bad dialog / OxygenStar – "I Used to Love Her"
Rather than my typical romance movie sound clips, this time around I went for more of a bromance thing.

Track 6: Sprites – "I Love You, You Retard"
From their phenomenal Modern Gameplay album.

Track 7: I Love You, Man dialog / Hellostereo – "Digital Love"
"Digital Love" may be the ultimate nerd love song.

Z's 2nd interlude: "And now we are gonna head right back into the music."
A listener recently told me that I keep my between-set commentary short and to the point. I'm actually pretty proud of that fact.

Track 8: Illbotz – "Give a Little Love"
Perm's Charlie Sheen line still cracks me up!

Track 9: Ookla the Mok – "Guggenheim Love"
And I followed that up with yet another great comedy track.

Track 10: Maroon 5 vs. Marvin Gaye – "This Healing Love"
This particular mash-up was shared with me by my good friend Glenn Case.

Track 11: Warp 11 – "Replicate My Love"
Warp 11 remains the most delightfully filthy act in Trek Rock.

Z's final interlude: "And that is some bullshit."
For those not familiar with the game, all of the background music for this episode comes from Animal Crossing. K.K. Slider FTW!

Track 12: HDninja – "No Love Song"
Since I mentioned how I felt HDninja was under-appreciated last ep, I decided to include them in this show as well.


These lovey-dovey editions are always greeted a certain amount of ambiguity depending on how each individual listener views the subject of romance and it's place in this particular holiday. That's why this time I went more with love as a lyrical device than as an inspirational concept.

Maybe it worked – maybe it didn't. I'm pretty pleased with how it came out, and I hope you dug it too.

But either way, consider it my Valentine's gift to you. You know, 'cause of my undying love and whatnot.

People Mover

Before I dive into yet another album review – and believe me, one's a-comin' – I wanted to pause so as to allow us to catch our collective breath.

There. Isn't that nice?

In the midst of the aforementioned punishing review schedule I've actually found the time to assemble another edition of Radio Free Hipster. This one is themed around love and should drop next Monday. Which, if memory serves, is Valentine's Day. #lookatmebeingallappropriate

And with that in mind I'd also like to spotlight yet another video. This one comes courtesy of my northwestern brother Jarod of AlienBobz. Over the last couple of months he has shared a ton of concert footage shot in and around Seattle, much of it from acts like Billy the Fridge, Klopfenpop and Death*Star.

Likewise this clip comes from local Sea-town heroes People Within, fronted by former Optimus Rhyme co-vocalist Broken English. It's for their cut "Love Sick," which I think serves as a fine lead-in for the next podcast.

Peep the vid below, and check AlienBobZ.com for links to equally fine audio from the gig(s) in question.

Nerdcore Now and Then

The history of nerdcore hip-hop – particularly as an online movement – is nigh inseparable from the checkered past of the Rhyme Torrents community. And while the BBS and its titular compilation project conjures up mixed emotions from most of us who were there for nerdcore's first tentative baby steps into the pop culture consciousness, it doubtlessly remains the dawn of its very own era of geeky rap.

It was responsible for increasing the visibility of first generation artists, launching the careers of second genners like Beefy and Ultraklystron and, in one way or another, coloring the styles of practically all acts to come along thereafter. But it is likely most remembered as the source of countless flame wars, beefs and staggering examples of artistic cannibalism.

Rhyme Torrents defined nerdcore for many creators and listeners, and it returned the favor by defining RT as a less-than savory corner of the internet where generations of nerdy musicians cut their teeth. Yet the fact that I am still talking about Rhyme Torrents so many years after its inception and subsequent destruction speaks to its enduring importance, its cultural legacy.

Recently, however, Danger Aaron and a small cadre of the nerdcore faithful have set themselves to rebuilding the embattled nerd rap Holy Land. Ill content to simply re-colonize its ruins they have instead constructed a new community from the ground up, even going so far as to cast aside the recognizable (if somewhat notorious) name.

Nerdcore Now wears its mission statement on its sleeve. Its very moniker leads one to believe that it represents a new stage in musical evolution, a kinder, gentler, more contemporary approach to digital community building. Only time will tell whether it is ultimately successful, but the team is off to a solid start with its first compilation album.

Nerdcore Now Volume 1 kicks off with a brand new joint from scene staple Beefy. Simply entitled "Nerdcore Now," it pays homage to the roots of RT without ever whitewashing its various problems and shortcomings. Between Beef's high octane lyrics and Klopfenpop's frenetic production, it makes for a solid start.

From there we are treated to a studio version of Supercommuter's "Robot Party," a song that was previously only available as a live cut. It's another amazing selection that Stenobot assures me is a hint of things to come from the band's sophomore release. This is handily followed by "Warp Zone (1-2)" by my local homies The ThoughtCriminals. The band's trademark dark, dense sense of production and lyricism is present in spades, and it makes for a suitable nerdcore anthem from a crew that typical only operates on the scene's musical periphery.

The Future's "Teleport" is an eclectic charmer with a nice glitch/chiptune melody that floats just above the beat, and the flow manages to excite throughout despite the over-processed vocals. Soup or Villainz follows up with the fierce "Live in the Arcade," which kills it on the verses but sadly loses me a bit on the muddy chorus.

Thereafter Milk-Plus & Lady DKX ably represent nerdcore's European contingent with "I Can Be Your Supervillain." From top to bottom it is an amazing cut, and one that caught me totally unaware. It's follow-up is Adam WarRock's "Nightcrawlin'," which I won't fawn over too much as A) I've already had my say and B) there's a fairly prominent shout-out to me in the intro. Still, I have to state that Adam is an incredibly talented cat and this one should be particularly enjoyable for comic-loving heads.

If memory serves, my pals Death*Star leaked "Social Apothecary" when they appeared with me on The Bonebat Show. While C0splay and MC-3PO may not have hip-hop swagger in the traditional sense, their writing is always top-notch. And though this certainly isn't my favorite Death*Star track, it's a fun enough diversion – especially with the auto-tuned bridge. Follow-up "Sweeter" boasts the vocal talents of two of my favorites, Random and Dale Chase, and both bring the goods. It's a smoothed-out jam that's title says it all.

PovertyMan's "Rap Cliché" marks the compilation's half-way point, and it's yet another track that shocked and amazed. It's a musical departure from practically everything else on the album, not to mention one of the smartest, most unapologetic salvos against both the fickle mainstream and its equally apathetic underground backlash. By comparison Jake-bit's "Redundant Me" kicks off like a more traditional and noticeably shaky example of nerdcore, but an approachable narrative and some spot-on production (once again by Klopfenpop) carry it throughout.

I was really happy to discover that "Give A Little Love" – one of my favorites from Illbotz's new Pudding is Delicious LP – was also included on Nerdcore Now Volume 1. A breezy, smart-ass slice of humorous hip-hop from the Botz and Poe Mack, it injects some much-needed comedy into the project's latter half. Consequently XoC's "A Seed Grows in Brooklyn" doesn't showcase his strongest flow, but the combination of his acrid rhymes and a minimalist beat help it to stand out.

With the recent Shine Avenue serving as their strongest effort to date, I had high expectations from Emergency Pizza Party's "Never Going Back." It's a definite success as a cohesive track, although there are some hit-and-miss rhymes throughout. Still, between a hot beat and tons of energy, it's hard not to dig it. "Character Select" by Bizarro X-Men is the perfect follow-up with some amazing vocal contributions from Dynamo Dash, King Pheenix and Maros, and the beat (also by Dynamo) is a perfect fit.

Ultraklystron's "Bromance Dance" isn't about anime. What the fuck?! Seriously, though, Karl's spent a lot of time out of the game of late due to school and the rigors of real life, but he manages to add his own unique flavor to Nerdcore Now Volume 1. I can't quite decide if I like his artificially aggro chorus, but the verses punch hard and his production is, as always, tough to beat.

One of the last cats I expected to hear on a contemporary nerdcore comp was The Ranger, but he Fatback Supreme, Milk-Plus, and a the rest of Torrentz come through with the self-explanatory "Nerdcore International." A fine contribution, it adds an important element to the proceedings. Another posse-style cut is the Klopfenpop-helmed "Don't Panic." Alternately delicate and jarring, MC 117, Milk-Plus (again) and Scrub Club's Diabeats make their musical tribute to The Hitchhiker's Guide to the Galaxy memorable, even if it's not nearly as flawless as some of the collection's other contributions.

MC 117 winds down the album with Flobot's parody "Bulbasaur." Though humorous and certainly enjoyable, it's kind of a strange selection for this late in the album. The same can be said for Untested Methods' "Little Crow." It's complex and intense, and while the vocals don't always grab me the production shines throughout.

In case 20 tracks wasn't enough for you, Nerdcore Now Volume 1 concludes with a bonus remix from Klopfenpop. It takes Random's "Fly" into interesting new territory. I'm never quite sure how to gauge admitted bonus cuts alongside an album-proper, but its delicate fade-out does manage to bring proper closure to the compilation.

I am a bit of a hard ass when it comes to album reviews, and that's likely because I've done so many of them over the past few years. Still, I only endeavor to judge artistic output based on the merits of the source.

In that regard Nerdcore Now is an untested property. Sure, I already know the bulk of its contributors thanks to shared history or, at the very least, by reputation, but if we are truly to accept it as a different animal than the Rhyme Torrents of yesteryear… well, then we must judge it on its own virtues.

While Nerdcore Now Volume 1 would stand up as a great RT compilation – combining the eclecticism of those early efforts with a more stringent brand of quality control and astronomically higher production values – I have to keep reminding myself that it isn’t. It is its own thing. And while that thing may not exactly be groundbreaking, it is enjoyable and worth the time it takes to explore and digest.

It's a Black (Materia) Thing

I totally suggested this album's title! #achievementunlocked

In 2007 it was unlikely that any of us realized the extent to which video games would influence the career of  underground Philadelphia hip-hopper Random. While his 2006 debut The Call caught the attention of intelligent heads with the good fortune to find it, his follow-up Mega Ran brought his unique brand of positive lyricism to the masses – with a little help from Capcom, of course.

Since that time Ran has made it a habit of crossing over the invisible line that separates nerdcore from more accessible styles of hip-hop at every opportunity, proving time and again that a geeky slant and a gamer's passion don't necessarily make for insincere rhymes. In his most recent effort, Black Materia: Final Fantasy VII, he once again manages to make his own voice heard amid a well-worn video game narrative.

The album begins with an introduction track that sets the stage for the iconic (if convoluted) story. It builds slowly in intensity and importance before transitioning to "Cloud Strife," in which Ran channels the spirit of our reluctant hero. The production is spot on, and Random sounds as steady as ever. "Tifa's Theme" quickly follows up with a brilliant use of Nobuo Uematsu's original theme. An early highlight, it also serves as the transition to the action of the album.

"AVALANCHE" is a breezy yet powerful joint that manages to transmute an otherwise laughable hook into a borderline banger, and it casts Random as a very convincing Barret Wallace. This is followed by a pair of previously leaked tracks, "Mako Reactor" and "Aerith." While nearly pitch-perfect on their own merits, together they masterfully retell the story of Cloud's fall from Midgar. While "Mako Reactor" conveys the narrative in a matter-of-fact style that's ably supplemented by a stark beat, "Aerith" plays against a delicate melody that works on a number of levels.

The "Don Corneo" interlude features the internet's Brentalfloss, and though I found it positively grating it does serve as an adequate enough bridge to "Don of the Slums." This one features some nice guest work from both Storyville and my hometown homeboys The ThoughtCriminals. Moody and frenetic, it marks the album's mid-point in indubitable fashion.

Another standout on the production end is "Cosmo Canyon." Boasting rhymes from Australian MC The Ranger, it's a bit of an oddity – because there's not a bit of Mega Ran to be heard therein – but it's a brief if ambitious track that admirably shares the spotlight. The same can be said for "The Turks," which features the smooth swagger of Dale Chase. Some nice instrumental gymnastics shift the tempo in the song's waning moments and slyly introduces "On That Day 5 Years Ago," another fine slice of Random's storytelling.

Yet another change-up takes us to "Birth of a God (feat. MC Pennywise and Devastate)," which swells and swirls and, in turn, powers the album toward the oddly understated "Cid's Theme." Phil Harmonic is likely my least favorite guest star of this particular project, but this track does add an interesting new lyrical character to the tale.

Things begin to wind down with the anthemic "Cry of the Planet." Likely Black Materia's single best track it finds Random putting a conscious spin on the source material and producer Lost Perception playing with aural textures and tight stereo panning. Strong and challenging, it takes us to "Absolute," which features amazing turns by both Ilyas and Maja.

"One Winged Angel" closes out the album as part of a nearly 17-minute megamix that also boasts the album's spoken-word ending and a bonus track. While the proper songs are likely the selling points, Mega Ran's own story of triumph is the most compelling element. The only complaint, and really the only drawback to the project itself, is the unwieldy length of this closer. I would've love to see this split into a trio of more manageable tracks and integrated directly into the proper narrative, but different strokes for different folks.

In Black Materia: Final Fantasy VII Random does an amazing job of leveraging not only the strength of Final Fantasy VII's original story and soundtrack, but also the unique energy of the overall collaboration. From the stellar production by Lost Perception to amazing turns by a veritable grocery list of contributors, it's a musical triumph that will surely age as gracefully in the hearts and minds of its fan as the game by which it was inspired.

At this point in his career an enjoyable Mega Ran album is far from a surprising turn of events, but there's something extra special about this one. While the overall lyrical slant of Black Materia is more linear and less impressionistic than in much of Random's other work, he and Lost Perception manage to mine the tale of political intrigue, class struggle and metaphysics to the fullest.

"Sharpen your mind so it remains the most powerful tool / At your disposal…"

Nerdy Little Secret

Seattle's superhero community is at it again. No, not this guy – Kirby Krackle!

The band's newest video (and de facto single from my pick for 2010 album of the year, E for Everyone) "Secret Identity" just hit the YouTubes. Animated in the charming, manga-influenced style of Betsy Lee, it's a proper tribute to true working class heroes.

Peep the embed below, and then be sure to hit up the official Kirby Krackle YouTube channel to give Jim, Kyle and Betsy some love.

Radio Free Hipster Ep. 104: Easy Listening

My second podcast of 2011 is an odd mix. It's partially about my fears of growing older – this year's birthday seemed particularly trying, for some reason. It's also somewhat about my childhood fascination with radio, coupled with the disdain I feel for the medium in adulthood. But I think mostly it's just about the marvels of modern music.

I don't imagine my own contributions will amount to even a footnote in the history nerd music, but, be it a paragraph or a whole goddamn chapter, I can't help but believe that the artists and styles I touch on will be remembered by the more studious of future scholars.

And so I present to you what will one day be the equivalent of oldies radio (if an admittedly geeky strain), but is presently just another chapter in the continuing saga of nerdcore.

Download Radio Free Hipster Ep. 104: Easy Listening [hosting provided by Antisoc] Size: 44.3 MB Running Time: 48:23

Show Notes:

Intro: Baddd Spellah – "Radio Free Hipster Theme (feat. Beefy)"
The radio static motif in the theme song is particularly telling this time around.

Track 1: The Reborn Identity – "Rebel Stereo"
This song really helped me settle on the theme for this edition of the show.

Z's 1st interlude: "Not at all radio friendly."
Maybe one day mash-ups will be accepted as viable options for radio rotation. Though I'd imagine a more realistic future will see terrestrial radio dead and buried.

Track 2: mc chris – "NJ"
Part of me wants to believe that this track is Snipeyhead's ringtone.

Track 3: HDninja – "cKc"
While not necessarily slept on, I don't think HDninja get the attention they deserve.

Track 4: DJ Stroke – "The Girl at the Snowy Rock Show"
A good bootleg can combine a bunch of unremarkable source tracks into a musical juggernaut. Case in point.

Track 5: killsaly – "Final Fantasy 2 Overworld Map"
I haven't played any killsaly in a while, and I thought this one had a certain radio sensibility to it.

Track 6: Random and Lost Perception – "Aerith"
Though I'm not a huge fan of Final Fantasy VII, Ran's Black Materia is currently on repeat around my house.

Track 7: Skyway Flyer – "Peeking Through"
Once again I must give the nod to Matt for the phrase "post-WRock."

Track 8: Red Key Riot – "Hybrid Moments"
A solid cover of what is likely my favorite Misfits song.

Z's 2nd interlude: "A fine time to be alive."
And don’t you forget it! 

Track 9: Pete Miser – "Hit Me on My iPhone"
I think this was the first Miser track I ever heard. With the recent Verizon announcement it once again seemed relevant.

Track 10: Brandon Patton – "Rockets"
Brandon makes two kinds of songs – perfectly-metered pop nuggets and big ol' messy rock 'n' roll songs. This is the latter.

Track 11: Dale Chase – "Double Take"
Dale never ceases to amaze me. Interestingly enough, he is just as chill in person as he sounds on wax.

Track 12: The Consortium of Genius – "What a Friend We Have in Cthulhu"
The COG can pretty much nail any musical genre they set their sights on. Even gospel.

Track 13: Selfhelp – "Mooncat & the Girls (feat. Thesis Sahib, prod. by Middlesex Wrestling Team)"
Selfhelp is another one of those artists that continually surprises me. This song is a perfect example of both how and why.

Track 14: Molly Lewis – "Three is a Magic Number"
The only thing I like more than Schoolhouse Rock songs are Molly Lewis covers.

Z's final interlude: "I am certain that all will be revealed."
Well, was it?

Track 15: Jonathan Coulton – "When I'm 25 or 64"
There ain't no mash-up like a JoCo mash-up 'cause a JoCo mash-up don't stop.

Recently I realized that, while the intensity of my love for music hasn't waned as I've grown older, my understanding of it and perhaps even its unique importance in my life has shifted as I've aged. As a teen and, perhaps more tellingly, an early avid listener, music was about that necessary flavor of rebellion that marks  the search for identity. Music and musicians represented quantifiable paradigms, easy go-to examples for who and what I wanted to be.

As an adult, however, music has become less an expression of want and more an expression of self. I see shades of myself in lyrics or a pleasant hint of personal familiarity in melody. Music genuinely helped to make me the man I am, and now I can truly enjoy it as a fully realized individual.

On one hand I begrudge the kids of today with their instant access to all the music I had to scavenge for as a youth, not to mention the multitude of listening opportunities the likes of which I couldn't even dream. But at the same time I can't help feel overjoyed at the thoughts of the odd and dejected kids of today using technology to find their own voice and to find each other.

We oldsters are from an age of analog and vinyl, walking dinosaurs made of cassette tapes and AM radios and scavenged concert tees. We are one step away from obsolesce, but the web will keep our bones well preserved for future generations.

The Proof is the Pudding

I am often reminded that I don't have to understand something to enjoy it.

Seriously.

I have no idea how Silly Putty works, but I love that shit. I mean it's pliable and bounces, and yet it also lets me transfer pictures from the Sunday funnies. What the fuck, Silly Putty?!

Equally baffling are Virginia's Illbotz. Are Stevie D, Big Perm and Poe Mack a comical hip-hop group? A crew of rap-minded musical comedians? Three hobos rhyming for meth money? I have no idea.

What I do know is that their latest full-length Pudding is Delicious is set to drop on February 1st. Sadly, that's pretty much all I've been able to deduce from the guys' recent barrage of YouTube promos. I mean, in the first spot we see… Stevie's kitchen? His cat? Some puddin'? Okay, I guess that last part's relevant, and we do get to hear a bit of the album's title track.

In the second promo video we watch Stevie D enjoying some delicious pudding. (Presumably the same cup he found in the previous installment.) We're also treated to some shots of Perm dancing. But again the important thing is another teaser clip from a new song. This one appears to be about asses. And Pop-Tarts.

Okay, honestly there are seven of these and they all continually cast our Illbotic heroes as unlikely pitchmen. You can peep my favorite below or watch 'em all at Stevie D's YouTube channel. Either way just prepare yourself for the impending pudding apocalypse.

Provinces, Not States

MC Frontalot warns that we should beware our northern neighbors. I, on the other hand, suggest that we embrace them. I reckon we'll just have to agree to disagree.

From Hockey Night to Rush, Canada has a lot to offer with regards to quality culture, but one of my favorite imports is their many unique flavors of hip-hop. That is why my first official review post of the New Year centers on three fine rap albums of Canadian persuasion. Each made its way into my possession in the waning months of 2010, and each is well worth your time.

Various Artists – Bassments of Badmen Volume 2

Hand Solo's Bassments of Badmen Volume 2 was originally released in 2003, but it made its way back to the masses last year with updated cover art and across a more diverse cross-section of contemporary formats. The tracks themselves, however, are classic Hand Solo.

Right out of the gate the comp comes in with a thematic intro (Fatt Matt & The Verbals' "Enter the Bassment (The Halifax Takeover)") that transitions quickly to the clever bombast of Fritz the Cat, Mindbender and Vangel with "Bury The Bodies." It sort of loses me for a few tracks there, but Toolshed ably picks up the slack with the phenomenal "Flash Forward," and from that point on the collection continues to run scattershot, touching on a myriad of styles and themes. From spacey head-bobbers ("The Prosecution Rests" by The IF?) to oddly surrealist electronica (Restiform Bodies' "Uh-Oh") to straight-up studious lyricism (Noah 23's expertly measured "Amnesia"), Bassments of Badmen Volume 2 hits all the high points.

The stand-out tracks for me were not entirely unexpected – specifically "Sugar Cubes" featuring Choke, Thesis, Uncle Fes and Jesse Dangerously and SJ the Wordburglar's iconic introductory joint – but the beauty of the compilation is that everyone's bound to find something that appeals to their own unique ear.

Though the game has doubtlessly changed a lot in the ensuing seven years, Bassments of Badmen Volume 2 holds up well. Thankfully, things like true talent and artistic integrity are still en vogue (at least in the underground), and the Hand Solo crew and its extended musical family recast some of their best tracks of yesteryear as the earworms of today.

Hidden Fortress – All That Is

Also from the fine folks at Hand Solo comes Hidden Fortress's All That Is. The follow-up to the duo's freebie EP Third Eye Cyclops, All That Is is another thickly produced, lyrically enigmatic slice of alternative hip-hop. A mere nine-tracks deep, it still manages to make the most of the odd union that is DJ UsdNeedls and rapper nofutureface.

The opening title track comes through like a Kool Keith joint slowed to a crawl and crowned with some brilliant turntablism, and follow-up track "Good Hurt" takes that odd blend of energies and runs with it. "The Cure" brings in some glitchy, almost chiptune-style influence and powers the album to its first single "Apotheosis" featuring Toronto's Modulok. While not the strongest track on the album, it's a definite attention-grabber.

"Iconoclast," an obvious showcase song, marks the halfway-point, while "Rich Folks (feat. Planit)" succeeds a bit more on the production end than in its lyrical delivery. The waning moments of the album, however, are when UsdNeedls and nofutureface truly pull out all the stops.

"Slangshot (feat. Kaigen)" is like a musical distress call from a distant planet that comes through as a darker analog of YTCracker's recent release Space Mission. "Psychonaut" combines a delicately layered backing with reverb-soaked vocals to create a musical mind-fuck like no other, and closer "Good Bye (feat. Raven Madd)" adds a dash of brightness that is nonetheless unsettling.

Hidden Fortress are themselves a bit of a qualified recommendation from me, and All That Is even more so. If you like the unrelenting energy of horrorcore but can't abide the laughable imagery or enjoy the verbose linguistics of nerdcore but crave a more holistic, almost spiritual slant, then this is not one to be missed.

Selfhelp – Broken Shadows

Lastly is Broken Shadows from Canadian rapper Selfhelp, a cat who once described this particular artistic alter ego as "a guy who complains about stuff." Broken Shadows collects remnants of that trademark social commentary clipped from the sessions that gave us 2009's Old Friends and a nearly endless parade of earlier recordings. The 20 tracks presented were among more than 50 random cuts found backed up on numerous hard drives, all of which were songs not previously released in any official capacity.

Opener "Questioning Reality" offers an interesting blend of upbeat production (provided by Fresh Kils) and Selfhelp's trademark art school rhymes, while "Mooncat & the Girls (feat. Thesis Sahib)" is an early standout that's actually proven an all-time favorite for me. There are a couple of missteps as the collection shifts gears, but the odd jazz hook of "Kiss of Death" makes for an interesting diversion, and "Humans" is both another high watermark and stands out as Selfhelp's practical musical mission statement.

It's very much hit-or-miss from that point on, and your enjoyment of the disc will likely depend on how abstract you like your abstract hip-hop. Still, the undeniable charms of tracks like lyrical chill-out "Escher's Forehead" and the heavy-handed but still satisfying "War Pigs" made for a fun listening experience on my end. Likewise, "The Rent is Too Damn High" and instrumental "Mountain Antique" really wind it down in style. Oh, and "Misguided Child" boasts a guest vocalist referred to as Kitty Pryde, which is worth something own its own.

Offering such a broad retrospective is a bit of a risky gambit and a number of these tracks don't hold up against Selfhelp's current output, but it's an interesting enough collection, particularly for the price. If you're looking for some left-of-center indie hip-hop that's not afraid of experimentation, Broken Shadows will surely satisfy.