A film about Northwest hip-hop from

Thee Adventures

Hmmm... There's not a lot of information about this project in the museum encyclopedia. We'd love your help! TOWN LOVE is maintained by an awesome community of passionate volunteers who keep it all up to date.

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A film about Northwest hip-hop from

Mod Volatile

Hmmm... There's not a lot of information about this project in the museum encyclopedia. We'd love your help! TOWN LOVE is maintained by an awesome community of passionate volunteers who keep it all up to date.

Do you know something about the history of this record? Do you have a favorite lyric or a favorite memory? Send us an email on why this is one of the great hip-hop albums from the Northwest. Thanks!

Did we get it wrong? It happens. Send us an email and let's get it corrected right away!

A film about Northwest hip-hop from

Zenith

Seattle hip-hop blog 206UP picked this record as one of the “Top 10 Albums of 2013,” saying that:

There may be something about how rappers JFK’s and Onry Ozzborn’s lyrical styles, especially as they coexist in duo Grayskul, that manages to circumvent the conscious part of your listening brain and burrow into the section of gray matter that composes your subconscious. Supernatural and sci-fi themes have been tantamount in Grayskul’s musical history, but Zenith finds JFK and Onry staying closer to terra firma than ever before. As the two age, decidedly earthbound issues like children and romantic relationships rise to the forefront, but don’t dare call this “dad rap”. The trick to being Grayskul seems to lie in the unique ability to speak on just about any issue — worldly and otherwise — in beautifully oblique and coded poetry.

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A film about Northwest hip-hop from

&

Graymaker

Seattle hip-hop blog 206UP picked this record as one of the “Top 10 Albums of 2009,” saying that:

The duo of JFK and Onry Ozzborn prove yet again that they are light years ahead of most other hip-hop groups. It’s difficult to keep pace when their philosophies and creative eccentricities are coming at you in so many scattered images and metaphorical tangents. Paired this time with producer Maker, a Chicago native, Grayskul unites the Northwest and the Midwest in a way only they are capable of. The moody production and dark-themed rhymes belie a hint of optimism that isn’t readily apparent but is ultimately responsible for some of the most lively hip-hop out of Seattle, ever.

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A film about Northwest hip-hop from

Deadlivers

Oldominion was a hip-hop collective that rose to prominence in the Northwest right around Y2K. Comprised of more than twenty members, the group’s debut album One was released in 2000 to critical acclaim. A few years after One, a side project emerged from Oldominion titled Grayskul that included three members: Onry Ozzborn, JFK, and Rob Castro. Grayskul would go on to record at least ten albums together, but their greatest work remains Deadlivers, released in 2005. Deadlivers is a masterwork of rap theater in the same vein as a Prince Paul hip hop opera. Grayskul paints elaborate pictures in your mind using archetypal good vs. evil battles to illuminate their concepts and bring them to life. “This is the birth of miracle, magic, and majesty,” raps Ozzborn on “Behold,” transforming a cute little line from Paul Simon’s Graceland into a vaguely ominous warning. Both “Vixen” and “After Hours” bring an accessible, fun balance to the album’s generally more dark themes. “Adversarial Theater Of Justice,” and “Action Figure Of Speech,” both appear near the beginning of the LP and display the nimble poetry and twisted imagery conjured by Grayskul on this project. Deadlivers is a hauntingly beautiful fugue, and by daring to stray from tired rap stereotypes, The album achieves true greatness. A 206 classic! (Written by Novocaine132.)

Here’s another take:

The Stranger selected Deadlivers as one of the “Top 6 Hip-Hop Albums of 2005,” saying:

If the Northwest Oldominion crew has an artistic peak, it’s Grayskul’s Deadlivers, which has one of the greatest opening lines of our (post-9-11) times: “If ever there was a time in your life to be afraid/I think this qualifies as the most terrifying of days” (“Behold”). Released by Rhymesayers Entertainment, Deadlivers is relentlessly dark and menacing, with flawless production. More than any other Oldominion record, Grayskul’s sound is both cinematic and architectural. Listening to Deadlivers is much like watching the shadow of a man—a murderer? a superhero? a vampire?—walking through wet, windswept streets. The beats are built big with splendid gothic details, and above black rushing clouds, is a moon that is silver and monstrously pregnant. In Deadlivers the horror/crime/sci-fi image is translated into sonic forms.

“We did about 50 songs,” explains Mr. Hill, who provided most of the beats for Deadlivers. “Castro, Onry, JFK came up with the idea of Grayskul and they wanted to use my style of music. Critics often describe it as dark, sinister, or theatrical, but to me, it just sounds normal. I never think it’s that dark; it’s just my ear, the way I like to hear things. Some of the beats we used were made as far back as 1999, but most were made while we were putting the record together.” Grayskul’s core is Onry Ozzborn, who plays a character named Reason, and JFK, who plays Recluse, and their rhymes are twisted like a madman’s mind, heavier than a tombstone, and as shadowy as the evil eyes of Bela Lugosi. Mr. Hill’s music complements Grayskul’s grave fiction. In fact, if there is one producer who has really helped define the region’s somber aesthetic, it is Mr. Hill, who contributed four beats to Silent Lambs Project’s darkling Street Talkin’… Survival and will contribute two beats to Kool Keith’s next Dr. Octagon CD.

“The thing about hip-hop,” Mr. Hill explains, “is it takes 30 minutes or two days to make, so it’s all about each song. But once I make a beat [Grayskul] go into the studio, and while putting the track together things begin to change. What we start with is never what we end with.”

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