01. Till I Get Home f. Venamis
02. All Lies
03. Ain't Nothing
04. Down
05. Tomorrow's Never Safe
06. Let's Not Talk It Over f. Matt Schwartz
07. Last Seen
08. Slow Me Down
09. I Know You
10. Pushing The Breaks f. Stephanie Hutnik
11. Passion
12. A Little Too Soon
13. That Girl
14. Notes Lyve
15. Cruel Blues
16. Some Days
17. Lord Help Me
18. Heartkillers

The sequel & to Detroit's Voice. Detroit hip-hop at it's finest from one of the best in the city! If you haven't heard of Self! You must be kidding yourself!

01. Child Of The Ghetto
02. Get Dat Bread
03. I Ball
04. You Don't Know About It
05. Drama
06. Detroit's Voice
07. Different
08. STAR backwards
09. Don't Holla
10. Move Somethin
11. Somethin Like A G
12. Nuttin Like It
13. Damn I'm Hood
14. I'm Planted
15. Hate In Ya Eyes
16. Money On My Mind
17. Holla At Me
18. Superstar
19. I Try
20. The Whole Story

Here’s a nice compilation of “50 Cent” released by group H5N1. Cd is mixed, so take your CUE Splitter. Enjoy.










01 Live Intro
02 Game Keeps Makin Me Rich (Live)
03 I Warned You
04 Gangsta Music Aye
05 They Say We Crazy
06 Move
07 Angel
08 Wolves Come Out
09 Gun Jam
10 Make A Movie Out Em
11 Illest
12 Act Like Ya Know feat. Eminem
13 Hip Hop
14 Robbery
15 Why Ask Why
16 Guns 4 Sale
17 Lay Down Skit
18 Oh No
19 Emotional
20 Dj Whoo Kid Skit
21 Rains It Pours
22 Paper Chaser
23 Pop My Heaters feat. Mazaradi Fox
24 I Run NY

The meeting of two West Coast rappers fuelled this talented Canadian band. In 1996, Mad Child was a solo artist performing in San Francisco when he returned to his hometown of Vancouver. There he met Prevail, who was gaining attention for his energetic live shows and abilities. The two joined forces and headed to San Diego to perform at the annual B-Boy Summit. The group was initiated into the Rock Steady Crew, one of only three bands to do so. Following this, the group released three independent singles before releasing Balance, their debut effort in 1999 on Battle Axe Records. A world tour and hundreds of performances followed. In 2001, the band released its second album, Bad Dreams. The same year they received a Juno Award for Best Rap Recording for Balance. In 2002, the band performed with Nelly Furtado and won a second Juno Award for Best Rap Recording. Monsters in the Closet followed in 2003, and Heavy appeared in 2004. Their music has been featured on soundtracks, computer games, and other outlets. They've also worked with members of the Beat Junkies and Jurassic 5, among others.

01. Fuel Injected
02. Black Magic
03. Watch This
04. Pressure
05. Too Hot
06. Put Me On (Feat. Everlast)
07. Grind
08. Deep End
09. Blackout
10. Lady Venom
11. Dark Clouds
12. Breath (Feat. Nelly Furtado)
13. Bottom Line
14. Horrified Nights
15. Warrior
16. Pornstar
17. Bring It Home
18. Swamp Water

On Survival Story, the follow-up to Flobots' 2008 major label debut Fight With Tools, the band expands on their P.O.D.-flavored political hip-hop rock. After violinist Mackenzie Roberts joined the group in 2006, the group's sound has become progressively more reliant on dissonance. Whereas songs like “Handlebars” found a happy medium between overt political agendas and rhythm, Survival Story finds MC’s Jonny 5 and Brer Rabbit struggling to find their flow over a cacophony of heavy drums and gritty guitar licks.

Flobots has always been a band in transition, and after seemingly discovering their sound before the release of their last album, they have strayed from the music and fallen too far into the message. Sonically, Survival Story avoids boosting production by welcoming a harder rock sound, which leaves the listener in a state of confusion on songs like “Cracks In the Surface” and “By The Time You Get This Message.” When the band takes its time to craft melodies instead of forcing overly political rhyme schemes into spaces where they awkwardly fit, the result is a balanced marriage of genres like on “Whip$ and Chain$”.

01. Cracks In The Surface 2:55
02. The Effect 4:27
03. Defend Atlantis 5:02
04. If I 3:43
05. White Flag Warrior (Feat. Tim McIlrath Of Rise Against) 3:41
06. By The Time You Get This Message 5:37
07. Airplane Mode 5:42
08. Whip$ & Chain$ 3:56
09. Good Soldier 4:06
10. Superhero 3:21
11. Infatuation (Feat. Matt Morris) 4:26
12. Panacea For The Poison 4:05

A lot of people are going to use Die Antwoord as a reason to muse on modern pop culture, and how this couldn’t exist any other time than right now. I’m going to do that. Die Antwoord are the latest band to get the internet hype treatment: 1.5 million YouTube views in a week, a full-length Pitchfork article, numerous blog reviews, and some people even caring that Fred Durst tweeted about them. What initially sparked this interest was people watching and asking, “r these guys fo real?” The answer is that they’re about as real as your grasp on the English language. Their popularity continued, because we all love things that admit that they’re fake (because that’s the truest form of honesty), e.g. Lady GaGa and Sacha Baron Cohen movies.

In the introduction track “Whatever Man,” frontman Ninja announces in his faux-African accent, that he “represents South African culture.” He then lists groups of people (black, white, African, et cetera) and he says, “I’m like all these things – all these things ***ed into one person.” Then it becomes outrageous in a way that these words can’t fully translate to you. Female member Yo-Landi Vi$$er’s digitally altered squeaky vocals enter and a simple beat begins “Wat Kyk Jy.” The first understandable word said is “ninja,” and the lyrics remain both obscene and ridiculous from then on. One can only make out some of what is being said, considering all of these funny voices dropping in to contribute only a few lines. There are a lot of “guest rappers” on this album – which isn’t uncommon for rap music at all. The reason I use quotations is because it’s been speculated that all of the guests are just the guy who plays Ninja making other sounds with his face.

The next track, “Enter the Ninja,” is their most popular YouTube video, probably because it’s one in which the lyrics can be heard completely. After Yo-Landi croons the chorus for the first time, Ninja yells, “Yo I’m a ninja. My life is like a video game.” He elaborates on this premise for the remainder of the song. At one point, he stops rapping to contemplate exactly what is happening around him. “***! This is like, the coolest song I ever heard in my whole life… Look at me now, all up on the interweb! Worldwide! 2009! Futuristic! Enter the Ninja!”

The album continues with stomping beats laid down by DJ Hi-Tek, catchy choruses, high-pitched vocals provided by Yo-Landi Vi$$er and obscene lines from Ninja and his multiple personalities. (Personal favorite: “I fit right in! I fit **** in your mother!” from “Wat Pomp.”) It’s not monotonous, though. Die Antwoord don’t exclusively stick to this formula. In “Rich Bitch,” Yo-Landi takes the mic for the entirety of the song and tells us that she is, guess what, a rich bitch. A mother***in’ rich bitch, in fact. “I Don’t Need You” is nowhere near as frantic as the tracks that precede it and humorously uses auto-tuned background vocals in the chorus. By the way, auto-tune is acceptable as long as it’s intended to be funny. “Dagga Puff” is the obligatory rap album homage to marijuana. Its beat sounds like it came from a music box in a nursery school, and its chorus goes “Early in the morning smoke a big fat spliff, nothing quite like it, like a spaceman spliff.”

Towards the end of the record, things begin to fall apart. “Beat Boy” starts like most of the rest of the album. Someone decided to let Ninja take the microphone for eight minutes almost uninterrupted, over the albums least involving beat, which also doesn’t change much. “Doos Dronk” is barely a hip-hop song, but more of a horror film’s interpretation of circus music. It’s the soundtrack to the scene in every kid’s cartoon when the old person is telling the scary story of the family of drunks who caused a major ruckus in the olden days of the town. At one point I think it’s about Ninja beating Yo-Landi, because there’s a slapping sound effect and she screams and the police sirens pass. I can’t make out a single word of the song, which makes it all the more disturbing. While it’s not exactly mixtape fodder, this is an excellent way to end the album, rather than just more of what existed during the rest of it. Oh wait, “$O$,” (that’s the title track) ends the album, and it’s a completely uninteresting four minute instrumental. For the best effect, turn off the album when “Doos Dronk” ends and get into your bed. Stare at your ceiling with eyes wide as plates all night long like in the aforementioned kid’s cartoon.

Like everything else in our viral video culture, Die Antwoord have a good chance of not lasting for too long. Hopefully, though, their audience will grow even more before they fade away. $O$ (the album, not the song) is a damn good time and, if anything, it gives you and whoever else is listening a chance to yell in poorly-imitated African accents at one another about one another’s mother’s vaginas. That’s a necessary life experience.

1. Whatever Man
2. Wat Kyk Jy
3. Enter the Ninja
4. Wat Pomp
5. Wie Maak
6. Rich Bitch
7. I Don't Need You
8. Very Fancy
9. Dagga Puff
10. My Best Friend
11. Liewe Maatjies
12. $copie
13. Beat Boy
14. Super Evil
15. Doos Dronk
16. $O$