Underground Fossils was an indie rap focused blog run by myself (Dimxsk) and by Trylemma, who passed August 3rd, 2024 from liver failure of unknown origin at the age of 34. We mostly posted week or twice weekly, the bulk of which were rare rips we made, found on old blogs, he acquired through his insanely broad connection to the scene, etc. We did all we could to make sure we didn't post stuff that (1) You could still reasonably buy from the artist directly, (2) You could reasonably buy secondhand for cheap, (3) You could download easily elsewhere, (4) The artist(s) asked us not to for any reason.
Being involved in this blog was some of the most fun I ever had, even if at times it was time consuming, challenging or intimidating (having a readership). It was the product of one of the best friendships I've ever had. If I could say one last thing, it's to encourage all of you: if you have the time and desire, make your own UGF. Find a friend who loves this shit like you do and build it together. It will bring you incredible joy, enhance your connection to this amazing community, and change your life in unexpected and exciting ways. I know it did mine. Love you all!
I wanted to give a huge shout out to our friend Monk Sunstruck for helping to track down the cover art for Joe Rath's He Meant Well. This dude has been a solid presence on this blog for a while now and his contributions are much appreciated. Thanks Nick!
Secondly, I've noticed that our CBox is being used to promote other ventures besides our blog relating to hip hop music and I wanted to state UGF's position on this and set a few basic ground rules (obviously I can't enforce them but I pretty much think you guys are good folks and will respect them. Nothing too onerous).
UGF believes that all hip hop music, recorded and distributed publicly at any point will always deserve to be heard by those who are looking for it. We are always happy to provide whatever releases we can and I will not stand in the way of anyone who agrees with that principle helping others locate what they seek. So basically we (me I guess, I assume Trylemma agrees) are fine with you promoting your blog, your XM station, your militant hip hop commune, um your podcast (trying to keep this general lol). But please do not do any of the following on our CBox:
1. Advertise or offer services that are not free.
2. Provide music for free download that is still readily available from, and profitable for, the artist. This one is something UGF has always tried to respect and we really hope everyone else will do the same.
3. "Tease" albums. What I mean by that is, say someone on UGF requests a release. You then say, "oh I have that but to get it you need to go here". If you have it and you feel compelled to speak up about that, then please just post the link on our blog. You can then say "more great music over here" but just be a friend and help the needy!
So from this day forth, please follow the Code of Chatbox!
Okay, that's out of the way.
This next one is a great release from a rapper I found through the combination of boredom and Bandcamp. He has a huge volume of content that isn't available anymore, including this gem here. I hope he doesn't mind my sharing this because it certainly deserves the attention.
Basically we have here adult emo rap with touching lyrics, hard hitting delivery and dreamy, dusty breaks and jazz samples. But to simplify it to that degree does it a disservice. Cauzndefx is a very talented poet, and this album is particularly noteworthy for it's combination of unashamed DIY quality sound and that in your face lyrical talent. It makes it stick with you long after it ends, clearly a labor of love and the product of blood, sweat and tears.
Pretty much I wore myself out writing that CBox stuff. Just download it and listen to it, and then make sure to pick up his new shit here!
Some day I'll get back to promo / review posts. But for now it's just easier to hook you guys up with free music!
Today we got some old old from New Englander ghost chasing rapper Nomar Slevik. With a deep resonant voice, unique production style and a totally original brand of creepy sing-rapping Nomar Slevik is a pioneer in the New England indie rap scene exemplified by folks like JD Walker, Brzowski, Bread and yes even Sole.
In the Field Where I Died is a great one to start with if you don't know him, while this is exactly what the name and cover suggest which is a loose hodgepodge of tracks not found elsewhere, very lo-fi and definitely not all amazing. Nomar Slevik is actually someone I think of promptly when I hear the term "hit or miss". To me a good Nomar Slevik track is fantastic, a not good one is basically a skit gone wrong. To be fair I think that tendency to bullseye or miss the target entirely is a hallmark of the experimental musician and means they're willing to take risks.
I just say all that to express that there's some great music on here so be patient with it, and definitely look into his other stuff if you haven't already. If nothing else it's original as hell.
Okay, who here has finished Netflix's Ozark? Goddamn I'm trying to write a coherent album post here and I'm just replaying that last scene. I won't ruin it but I hope you've all taken your meds before you hit play on that shit...
Enough about that. This, folks, is BdotJeff. I think it's fair to say it's unlikely you've heard his songs up to now, but if you've followed my posts on Happy Tooth's music you may have heard him drop a verse or two. I was first introduced to his music when he was kind enough to share his second full length Y2K with the blog, and I was fairly quick to judge it just wasn't my cup of tea. That said, my issues with it had much less to do with the talent or creativity he displays, and more to do with a bit of closed mindedness on my part which probably stems from being a mid-30's going on 70's cynic. His work is very strange at times and I just couldn't in the moment get into it. Stylistically it's flashy, colorful and fast paced, kind of an auditory anime if that makes any sense. It's the kind of music that can be easy to dismiss if you're listening with only half an ear as style over substance, but the thing is the substance is absolutely there and you're doing yourself a disservice if you don't give it a chance.
Luckily this dude is persistent. He seems to be very comfortable putting himself out there and waiting for a bite, and I gotta say that more than anything else really started warming me up to what he has to offer. He's been sending us the occasional single and album really only asking for feedback, and as he comes across as a humble, hardworking creative soul I usually do my best to oblige him. So by the time I heard What a Mess I already liked BdotJeff, I just had to make the leap from that to enjoying his music.
But I'm getting a bit ahead of myself. And the caffeine is kicking in, so why don't I drop some background knowledge here? BdotJeff is originally from PG County MD but currently working out of Columbus OH (hence the Happy Tooth connection). He's been a musician since way back, starting with church choir and transitioning to poetry writing and rapping over borrowed beats via YouTube. At 13 he was writing and recording his own work, and he took it all the way to college to become a sound engineer (right here I'll say, some of you know I dabbled in music at one point, and audio engineering is hard ass shit, I was horrible at it. So kudos for that.) He's worked with a number of acts, mostly it seems local folks from the Columbus and Maryland scenes.
Specifically though, what made me really take notice of his work with this album in particular can be expressed best through what he told me about it. What a Mess was conceived and birthed during some of the most tumultuous years of his life. Mania powered it and it was driven by personal loss and mistreatment in love. Is it emo though? Absolutely not. Although in places he slows it down and takes to crooning sadly("pkmn sapphire, fair warning"), he never fails to re-liven it up with good old fashioned stole your woman braggadocio ("B.O.S.S."), returning to his rapid fire style raps. In fact, the point of What a Mess is really to show how a person can experience these things in life but keep the fun alive and get to the other side. I was moved when I read this line from him during the "development" of this post:
"I just want the ability to have my music
connect with at least one person that felt or is currently feeling the
way I was when I made this album. Since the development of this project
I've started a better mental health journey and I just want everyone to
know that they can move forward with life even if they're in pain. You
are not alone in feeling alone, and if I can spread that idea to at
least one listener in my music then I'd say i did my job"
-BdotJeff
This album isn't perfect. It's not going down in history as one of the all time great rap releases. At times his rap makes it difficult to understand the lyrics, and sometimes the silliness gets to be a little bit too much. I don't want to oversell it. The thing is I liked this album because of it's DIY sound and the personality that shows through the music. Additionally though, the production is very solid, much of it done by him although he has very good guitar and bass work on the album from Bela Peresta aka Lugosi and Sara Smith respectively as well (also I gotta give the nod to xDiggityDee for their production, JamPOP and Fanaticus for background vocals, Brenton Newman on drums. Other features are credited in the song titles I believe). His singing and songwriting have improved since the last I heard from him. And I really think most importantly, it's evident that at some point he's decided to just be himself and shine on his songs regardless of the outcome, who hears them and what they think. Unlike many artists I actually believe this guy wants nothing more than to make some fun music with his friends to help people forget their problems. If you can honestly say you fault a guy for that, then you might be missing the point of music entirely...
See him making fun music with his friends to help you forget your problems right here with "WHOA!"
Get What a Mess as a digital download or stream it here and support a creative soul as they do what they love!
Well, fresh from my embarrassing mistake last time around, I'm back again for my week. Nothing to do but move forward with dignity and a sense of humor. I can do one of those fairly easily.
Anyways, those of you praying he'd rerelease Music for Earthworms are probably at least somewhat happy to see this gem of an album is finally officially released (and it only disappoints me a little bit to see it's on Rhymesayers). Of course I'm willing to bet that 99.9% of you folks already have this on either CDr or digital or both (me, actually from a show in 2005 or so) but considering how classic it is I wanted to promote it a bit.
This was one of the first underground hip hop albums I ever heard. I didn't realize at the time that music like this existed, and it really allowed me to experience how evocative not just singular production from folks like Blockhead was, but complex and twisted lyricism. Not to mention weird voices.
I actually think Aesop was at his best doing these jazzy acoustic sounding albums. Labor Days was brilliant because in my opinion it built on the sound he established here while filling in the cracks with some electronic futuristic El-P / Downtown Science style synthetic instrumentation giving a perfect mix of mind bending and warm.
I loved this era of Aesop. He's always displayed such a visceral love of making music and he's clearly doing what he was born to do from the first raspy "APPLESEEEEEEEEED".
Anyway, this is now available on vinyl. Holy shit. Get that here. Or get it on 320 kbps mp3 right here.
This week, after doing a few longer review posts in a row I feel like taking some time off. Not much of that lately. Luckily for you that means more fossils this week, starting off with this gem from Christian rapper Mellow Drum Addict.
Corner of Broadened Mind is a beautiful piece of work. It should appeal to secular rap fans (such as myself) as much as it does to those of us who listen with our religious convictions in mind. Employing a boom bap style with jazzy melodic samples and a voice built both for singing and rhyming, Mellow Drum Addict raps about life, himself, music, and of course morals and values although the preachiness is notably absent here and the emphasis seems to be on creating great hip hop. Mellow Drum Addict is here not a Christian rapper but a rapper who is Christian.
For today... I had no idea what to upload. Posters block I guess... Work is distracting, the apocalypse is fizzling out and honestly it's got me feeling weird. So what could possibly better fit the mood than an old offering from the singular Brad Hamers, with Slomoshun as Phlegm. A duo who recorded an album in 2002 called One Night Stands with Out of Tune Instruments in a Room with Blue Wallpaper, an album that actually features out of tune instruments. Probably recorded it in a blue room as well.
Anyway I like these guys and their affiliates. Nobs, Losaka, Eibol, Neanderthal Youth, Dezmatic. The Albany, NY based 3 Sides of a Circle has a very nice take on experimental rap, with more than a touch of old fashioned East Coast style swagger. Introspective, well produced and often catchy, they quietly released a slew of dope albums in the early aughts and for the most part have quieted down. Not so for Brad Hamers who just put out an album as Through Flames that I have yet to listen to, but the lead singles were interesting. Barely rap, more spoken word theatrical noise.
Anyway, Met4etry is one of his earliest releases, and is rough, DIY and definitely not his best work. He hadn't developed his own personality that really makes everything he's done lately so unique, back before the turn of the century. But it's a great thing to hear if you like the rarities enough to dig up UGF, and what the hell gotta have something to irritate the driver next to you when you emerge from your quarantine cocoon.
Enjoy, and I promise you'll have my full attention again when I return in two weeks.
Eleven years ago now the grimy East Coast rapper and psychedelic art genius Boxguts put out his first (to my knowledge at least) full length album Mutilator, totally produced by Johnny23 beatmaker Will Taubin who at that time was probably best known for providing the instrumentals for a large chunk of LoDeck's album Behold (a Pale Donkey). When I first heard it my initial impressions were, in order, as follows: Wow, this dude is disgusting. Damn he's clever. Ha this is crazy! Wonder what else he has? Imagine if Company Flow decided to inhale a tank of nitrous and record an album with the intention of making Necro vomit, and you might get an idea of what to expect from the duo's sound and energy.
Now, as the new decade begins Boxguts has decided to return to his roots. He's worked with Will Taubin here and there since Mutilator, including releasing the aptly named Spare Parts in 2011 which consisted of some random tracks the duo cooked up together. However, they haven't gone into the home studio with the intention of following up their collaborative effort with something new. After my review of last years Feast of the Deities I asked Guts if he'd like UGF to promote any upcoming material, and this time he gave me the chance to listen to the Mutilator 2 masters fresh out the box. Needless to say I accepted.
I listened to this album mostly driving through traffic, and with a work schedule that's becoming more than I'm used to I won't have a chance to do a more thorough listen before Wednesday. Consider this a fan's announcement, including some initial thoughts about the new record, availableon his Bandcamp now.
The thing I noticed most about this album early on was how far both of these artists have come in the decade between 2009 and now. For one thing, the mixing is much more professional, Mutilator was clearly a DIY labor of love and that was great, but it's pretty dope getting the chance to hear the product of ten more years of mixing and mastering experience. Will Taubin's production has evolved significantly as well, I told Guts yesterday that I was hearing something different with this material, and I finally figured it out. It's jazz. Moving back a bit from the discordant noise he used to make Mutilator so damn crazy, Will utilizes his excellent instinct for crate digging to build more melodic offerings (some vibraphone here, some clarinet there), which actually make the moments of discord more effective as they are often unexpected. The beat on the track "Swan in a Tar Pit" might even be called laid back, in a very East Coast way. Consider the difference between the eerie screech of the verse and the classical melody of the chorus on the first
single, "Knight Melter" (as in the braggin' dragon) below:
Boxguts is a bit more experimental in everything he does now, and while that
progression has been slow enough with over 20 albums to his name since
2009 that it's hard to really see one at a time, comparing the two Mutilators side
by side really shows how he's gone for a more gritty and animalistic
rhyme style. On the new album he keeps things crazy by rapping about
everything from breakfast to deep sea marine life (I may have mentioned
last time dude likes the ocean), all in a borderline growl. Less El-P,
more Jak P but still entirely Box G.
Lyrically he's as clever as he's ever been, however with a bit less violent content and more quirky, psychedelic imagery. We’ve had some email conversations about where some of his older, darker material comes from (he's also a cool individual, super friendly and humble) and my understanding is what is created when he puts pen to paper is often not filtered much by what he expects to write or thinks you want to hear, sometimes conceptual sometimes just what flows. We get a direct link to Boxguts' brain with every track, and the experience naturally ranges from amusing to almost horrifying, as everyone with a brain can relate to. And I wouldn't ask for anything else.
Finally, unlike almost any other rapper out there, Boxguts handles all his own album artwork and I feel like it's the glue that holds each of his official albums together. We get a chaotic, scary, gross and gorgeous mosaic of eyeballs, birds, faces and guts with every album dropped, and just like what we hear, what we see is a window into the mind of the rapper. Without his paintings the full experience of his music cannot be enjoyed properly (the cover of Mutilator 2 is one of his newest works, Minced Man and it may be one of my favorites of his album covers. The bars of color give the eye a point of focus that is unusual in his more crowded, claustrophobic paintings), and for that reason alone I highly recommend going with a physical purchase. He seriously will go all out to make your costs worth it. I also want to finally point out his website, where he sells his original artwork. Even if you don't make a purchase, checking out what's on offer will guarantee an interesting 20-30 minutes of your day.
Even for those of you who don't think you like the type of music Boxguts makes, I urge you to give it a shot. What he gives us is as honest as anything else out there, and, I truly believe that we shouldn't limit what we listen to based on what we think we know about it. Anyone who follows my posts knows I listen to all kinds of music, from Ceschi to Boxguts. It's all hip hop, rhythm and poetry.
Get Mutilator 2 here
from Boxguts' Bandcamp page on digital or even better on handmade
physicals complete with dope extras like magnets and stickers (all
painted by Guts himself, make sure to ask for an autograf if you want
one). See you guys Friday!
Son of Saturn had already produced an impressive array of albums going back 15 years, and collaborated with emcees and producers like Apakalypse and Nix Productions by the time I stumbled onto his work. I’ve slowly been able to catch up as he posts his older albums to his Bandcamp, and I've liked everything I've heard from him going back to the rougher DIY sounds of 2005's A Real Slap in the Face.
His music is a part of an interesting sub-genre of conscious rap that's been taking form since the turn of the millennium. Not quite horrorcore, but often with a very dark sound, it references a wide range of new age concepts, yoga, shamanistic spirituality and conspiracy theories. I don't necessarily believe in or agree with all of it, but the unique perspective offered by artists like these is refreshing and sometimes enlightening. It helps when the beats are consistently lush and creative, and the lyricists manage to set themselves apart with unusual deliveries or voices. Whatever the sound is, it's always a novel listen.
Entropy is Son of Saturn's newest album, and the subject of this post. It’s a short offering but a good one, with SoS trading in his boom bap hardcore production style for a more relaxed, world influenced pallet upon which to spit stories and spiritual concepts. From the beginning these songs cover a wide range of topics, from feelings of alienation and mistrust in the status quo to spiritual awakening. None of this is necessarily new territory for the rapper, but Entropy finds him maturing as a not just a song writer but a storyteller as well, with a lot of focus on narrative raps versus braggadocio or "memetic" type randomness.
I feel like Entropy is something for those who grew up with Jedi Mind Tricks and Snowgoons, but no longer feel a connection to the more angry (and let's be real, often hateful) lyrics of rappers like Vinnie Paz. Still dope but with more emotional depth.
Get the EP on digital format from Son of Saturn himself right here!
"Jeff Sessions / gave me indigestion / because he's bad for your health / no question" - from track "Godzilla" by The Hell Hole Store
Located somewhere in Philly is The Hell Hole Store. It is a place run by emcees and producers (? can't find producer credits, I know iAlive makes beats) Darko the Super and iAlive, where you can get everything from Lawry's Seasoning to "ornery dromedaries" and rub shoulders with musicians like Open Mike Eagle and Height Koch while fast forwarding through Swordfish like you may have done in middle school.
So that's the premise behind this collaboration, and obviously it's not something to take particularly seriously. I really like iAlive, his production is fairly unique and tripped out, sampling psychedelic rock with futuristic electro pop synths to craft beats with a flowing, syrupy weirdness that perfectly suit his laid back style of rapping. He's also got a fairly awesome singing voice that lends a sense of completeness to most of his better songs, as well as those made by his peers like kidDEAD and Cody Cody Jones (fka Stillborn Identity).
Darko the Super I don't know much about. I've never heard any of his solo work. I will say he's got a definite lyrical proficiency with an emphasis on content, stylistically a bit like a cross between Coolzey and the aforementioned fellow shopper Open Mike Eagle. Both Darko and iAlive have some pretty classic lines on this tape, often funny in ways that catch you by surprise (see above).
These two artists do sound good as a pair as well and while I can't speak to the effect this collaboration has on Darko, iAlive is certainly taking himself less seriously and letting his mind wander more than on his earlier material. Punchlines abound, with famous names, brands, movies, shows, restaurants, anything is for sale and subject to deconstruction and renovation during these songs, also spiked with standard rap braggadocio and punk sensibilities. They do go everywhere, and often nowhere. However, they are fun in an era where if a musician wants there is plenty to be angry / sad / frightened about. Can't fault anyone for wanting to get zany and hoping you won't mind laughing a bit in the car going somewhere you don't want, or taking a break from the ever more depressing news.
This being The Hell Hole Stores third exhibition, it's natural to compare it to it's earlier outings and that's where I feel like this tape falls a bit behind. With the exception of the single with OME "I'll Take What I Can Get" which stands out both production wise and overall, most of these songs kinda flew by me without making too much of an impression. I didn't feel that way about their previous album Return to the Hell Hole Store, which was definitely good. This one felt a bit rushed, didn't have the catchy hooks and beats that I was hoping for.
Honestly I wish that we heard a bit more of iAlive's singing. I really like his voice, and throwing in a sing-alongable hook every few songs wouldn't hurt the sound of this tape at all. It would certainly give it a more standout quality in what is becoming a sea of nerd x art + comedy rap albums following the success of the now (insert whatever the word is that's "thrice" but for four) mentioned Open Mike.
So it may not be a glowing recommendation, but understand that when iAlive spoke on this project he said it was a comedic outing, and not like his solo work. This is supposed to be fun music, and expecting an album of the year from a tape like this simply isn't fair. iAlive on his own is often very good, and from what I hear of Darko he has the talent that could shine with the right songwriting. So, if you've never visited The Hell Hole Store, start with the self titled debut or especially Return to the Hell Hole Store. If you like those give this one a chance.
Get Three the Hard Way as a digital download, or support what seems to be a dope label and get it on the tape it was clearly meant to be here.
Happy Friday! For today I thought I'd share something on the more obscure side. Human i Tease is a demo containing the earliest recordings I know of from Troubadour, a rapper featured on the Farewell Archetypes compilation by Plague Language and ...of Proliteariots, as well as raps from collaborator Anu-1. I know nothing about him, but this album has made me curious.
Cymbalism finds the pair rapping over beats by Sixtoo, Controller 7, Mr. Dibbs etc. Apparently only 15 years old each (according to my source at THH via Discogs, corroborated by the youthful appearance of the two kids on the cover), Troubadour and Anu-1 are uncommonly skilled on the mic for their age and clearly enjoy and revere the art of rapping. Mostly erring on the side of experimental, this album should appeal to fans of early Sixtoo, early Buck 65, pre-trap era early Noah23, early Aesop Rock, early Josh Martinez, early Living Legends or just plain early.
A worthy fossil to add to any collection of weird forgotten indie rap. CDr is hand-made, I have no idea how rare this release actually is, but it's come up for sale only once. It won't set any records but it deserves to be heard.
It’s Wednesday again at UGF, and I’m excited to be talking about an album from one of my favorite East Coast acts. Boxguts starts out 2019 with a bang with Feast of the Deities, following up 2018's amazing collaboration with Carmine Moth (one of my favorite rappers right now) featuring production by Il Bruto as Canopic Jars.
Feast of the Deities is his first album with DJ Kryptonite, who’s old school take on production gives the album a decidedly East Coast minimalism, reminiscent of the earliest examples of horrorcore by Gravediggaz and Non Phixion. The production is perfect for Guts' (Guts’s?) style, some of the samples are kinda nice in a dreary way but when matched up with boom bap drums and grim, disgusting wordplay the whole presentation comes off as unsettling and eerie, like watching a b-movie horror flick about murderous clowns.
Boxguts' lyrics are undeniably off the wall and nasty, but his signature inventiveness gives them a value above "gross for the sake of gross" (the line "replace your tongue with an isopod" is a great example. For those
unfamiliar with these crustaceans, a quick google search for "tongue isopod" will guarantee you
never eat whole fish again). I often find myself laughing out loud while feeling a bit sick when I hear his work, but always in a good way.
Dude is extremely hard working, creative as hell, DIY to the death and a really awesome dude. He's probably the most friendly and humble of the artists I've had the pleasure of corresponding with, he never fails to send a personal note of thanks when I purchase an album and will put time and thought into discussions with fans. I think he deserves way more attention than he gets, his body of both visual and musical work speaks for itself.
Get Feast of the Deities from the man himself here, with the option to buy on CD or digital. In the case of Boxguts I always highly recommend the physical versions, his bonkers bad acid trip style artwork is a sight to behold. I actually own an original painting of his, which has graced my living room in two separate apartments. Check his site out here to take some time to admire his art, or even consider picking one up for yourself. You can support a hard working artist and unsettle any house guests who refuse to GTFO when requested.
