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Released: 2000

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My Knoccs / Bucc 'Em

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Jonathan Moore Speaks

A classic moment from The Coolout Network: Jonathan Moore speaks at a hip-hop peace rally at Westlake Center in Seattle, WA. after a shooting in Pioneer Square. He describes the power of hip-hop musicians and rappers to tell the stories of Black youth. “We are the media,” he repeats.

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Enter The Madness

Enter The Madness is an hour-long film from 2000 that provides an essential time capsule of turn-of-the-millennium hip-hop in the Pacific Northwest. It was directed by King Khazm and produced by DJ Scene, and includes flashes of late-’90s Seattle, Portland, and Vancouver, too.

The film adheres to the four pillars of hip-hop, devoting a roughly equal amount of time to riveting turntable battles, incredible, lengthy breakdancing sequences, freestyles, rap battles, and walls painted with now long-gone graffiti. The film captures many moments that even at the time were fleeting… That today would be forgotten were it not for the existence of this film.

There are some curious editing choices here–like, say cutting back and forth between graffiti and a peeing elephant–or the addition of picture frame borders, fisheye lenses, and inverted film negative effects, but there are also dozens of blink-and-you’ll miss cameos from Seattle hip-hop greats like Silver Shadow D, Kutfather, Asun, Khingz, and others. Sit back with your favorite accompaniment and enjoy this visual spectacle.

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Holy Haters

C.A.V.É. was a hip-hop trio in Seattle comprised of three brothers, Ziyani, Dumisani, and Tendai, who were all musical prodigies. Their father Dumisani Maraire Sr. was an accomplished musician from Zimbabwe, and the family spent time in both the US and Africa growing up. This gave them a chance to immerse in a new culture as children, and helped to shape their identity, expanding their consciousness. In the year 2000 they released a rap album as C.A.V.É. and chose aliases, Ziyani went by “Baby Boy,” Dumisani Jr. was “Draze,” and Tendai chose “Boy Wonder.”

Holy Haters is a Christian rap tour de force album. Bible verses are frequently quoted, and messages of the Bible are woven through every song. “You ain’t hard to me, Jesus the only superstar to me, the Lord’s a part of me,” is a good example from “Say That Then,” which starts the album. One lyric that always makes me chuckle is, “Look up in the sky, in the birds, it’s a plane. Ay yo what’s God’s name? Captain save a soul, man,” from “Emerald City Communion,” because the MC uses the same inflection as the classic E-40 verse.

Album highlights include “The Saint In Me,” for its minimal, smooth jazz beat. “Would you still love me if my last name wasn’t Maraire?” ask C.A.V.É. rhetorically. The three Rymer’s Anonymous cuts, “Rhyme-oholic,” “Hip-Hop Fiend,” and “Battle Dependent,” are more freestyle-based, and show off the wordplay of the group. The track I connect with the most is “I Hope They Feel This,” which explores the group’s thoughts about various situations in their lives. I must admit, to an atheist like myself some of the songs on Holy Haters are too preachy, but “I Hope They Feel This” doesn’t seem that way, rather it shines for its musical craft and lyrical honesty.

Several years later, Tendai curated the excellent 2004 Evolution Of Hip Hop Seattle rap compilation, including two new C.A.V.É. songs, “Just Don’t Stop” featuring heavy hitters Kutfather and E-Dawg, and the careening “Yeah Yeah Baby!” According to Draze, Holy Haters was the group’s only album, and in the mid-2000s the brothers each went their separate ways to pursue new musical paths. Draze stuck with a more traditional show-and-prove rap style for his very successful solo career, while Tendai took it to the fourth dimension and evolved hip-hop into something entirely new with his group Shabazz Palaces. Written by Novocaine132

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A Hustlaz Livin Hell

Self Tightld put out their first album Hustlin-N-Hell in 1998. On tracks like “Pleasure Pouches,” “Watch That B/N,” and “Growth And Development,” the five MCs showed their talent at the rap game. 1998 was a bittersweet year for the group, according to group member Maine 1’s Soundcloud page, which explains that the group lost member Rob Doe that year when he passed away. In 2000 the remaining four members, Maine 1, Popsykle, 2Elevn, and Sikface released their sophomore album, A Hustlaz Livin Hell. Many of the beats are handled by RC The Trackaholiq, with others by Beezie and Wingo. Star guest appearances include Mac Dre, Yukmouth, and B-Legit.

“Work” is interesting, and stands out for its bouncy, unusual style. “Guaranteed Profits,” produced by Seattle legend Mafia aka Skuntdunanna, has lots of open space for the Self Tightld rappers to do their jobs. Other highlights include celebratory track “Da Hustle Continues,” and the stark warning, “Don’t Enter My Domain.” One of the standout tracks on Hustlin-N-Hell, “Pleasure Pouches” featuring the aforementioned B-Legit, is also featured here on A Hustlaz Livin Hell.

This would be the second and last album for Self Tightld. Maine 1 has been a conscious MC since 2005 with the murder of his big brother, and now tries to educate people about the dangers of gang life. His recent tracks such as “Silent War,” Fake Love,” and “I Can’t Breathe,” are worth checking out. Rappers 2Elevn and Sikface also remain active in the scene. RIP to Popsykle, who passed away in 2018. Written By Novocaine132

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Money Motivated

F.T.S. dropped their first CD titled Full Time Soldiers in 1998 with six official members, D-Sane, J Dub, Villain, Drama, BD, and Madd Dogg. This debut album introduced F.T.S. as a mafia-style crime family, primarily representing the Aurora strip from 85th to Shoreline. But because of the crew’s numbers, their reach extended throughout the 206. On tracks like “Jackin Season,” “8-5 Dippin,” and “Million $ Dreams” the Soldiers described bleak scenarios of shootouts, drug deals, and pimping, the glamorous yet dead-end lifestyle of gangsters and hustlers.

Money Motivated in 2000 was the second CD from F.T.S., and this time instead of six there were nine faces pictured on the cover. Five of the six artists from Full Time Soldiers remained; however, Villain decided to leave the group. The four additions were early group members Brazy-J and Smoke Dog, who were joined by YG Red and Byrdie. A lot of names to be sure. The second album continues the themes of the debut. The combination of vocalist Lauren Salee and guitarist Josh Flack brings a new musical element to two songs, which helps to create more of a distinct mood on this album. Of all the voices on Money Motivated, one that shines is newcomer Byrdie. With a rhyme style that, for some reason, reminds me of verbal-machine-gun Big Pun, Byrdie is a double threat due to his sweet singing voice.

Right after the humorous “Hater Hotline” skit, title track “Money Motivated” jumps off right away, transmitting lots of punchy energy. Rapper Tuff Nitti and local group Self Tightld are featured on the mournful “Rest In Paradise.” “I got a head full of chemicals, stressed over that concrete, everything’s obsolete,” goes a line on standout track “Wet Dreams.” Believe it or not, album closer “Full Time” has eight performers as credited artists, and “I’m Still High” lists eleven! With so many voices it’s easy for the tone of a track to get lost, but the Soldiers maintain a good unity throughout these entire-crew-showcasing songs.

According to D-Sane, F.T.S. broke up in mid 2001 “due to internal fighting amongst members of the group.” Four of the Soldiers released an album, Kash Me Out, in 2001 under the name I.K. which stood for Independent Kash. Byrdie subsequently completed a solo project, Poetic Epidemic which also came out in 2001. Both of those albums were on Street Level Records, D-Sane’s rapidly growing brand. Written by Novocaine132

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The Trade

Boom Bap Project began with two rappers, Karim “Nightclubber Lang” Panni, and Damian “Destro” Oramas who were connected to the sprawling Oldominion crew. According to Destro in a 2021 KEXP interview, Jon “Wordsayer” Moore had booked the duo for a performance at the Sit & Spin, and he asked the two what they wanted to be called on the flyer. Lang and Destro told Wordsayer that they didn’t have a name yet, but they were working on a ‘boom bap’ type of project, and Wordsayer said, “well, that’s what I’m gonna call you.” The rest was history.

These hungry MCs had lyrics, but rap needs a beat. Who do you go to in the year 2000 in Seattle? You go to one of the best, in this case Jake One, who produced two tracks for the duo, “The Trade,” and “Writer’s Guild.” And not only did they have Jake on the beat, but 206 hip-hop legend Vitamin D also does cuts and scratches on both songs. What more could you ask for?

A-side “The Trade” is about showing skills. “Known for batterin, your saccharin-induced rhyme pattern, that caters to seduced minds splatterin,” goes one line. The chorus on “The Trade” features choice “boom bap” samples from KRS One and Q-Tip. Side B is “Writer’s Guild,” and it’s a natural head-nodder with catchy, staccato production. The verses on “Writer’s Guild” contain lots of wordplay and clever rhymes, for instance, “My beats serenade streets for all of my peeps who hate the police.”

The group positioned themselves as educated and conscious rappers, but they were awfully comfortable using homophobic slurs on “The Trade,” which creates dissonance in the listening experience. This was the first single for the group and also for their label Stuck Records, and a movement quickly coalesced around Boom Bap Project, pushing them closer to the top of the Seattle hip-hop scene. Written by Novocaine132

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By The Way

Back in the day I used to live up the road from this oasis of cool in West Seattle known as Easy Street Records. I’d literally spend hours in a day there. They had imports, singles, a barrel of tapes to sift through, t-shirts, bootlegs, stickers, pins, and an entire upstairs dedicated to used vinyl. Famous acts would, and still, show up there and do free shows. They shared a wall with a cafe or a pool hall or something, and eventually, they broke the wall down. Add to that it lies on the corner of Alaska and California, known as “The Junction”, on several major bus routes. It’s a hopping locale and caters to a diverse crew.

So when I was a teenager I’d save up all my money from whatever shitty job I had and go spend nearly all of it down at that shop. I spent most of my time upstairs in the used record section. At the time I was infatuated with hip-hop, especially producing, but I had yet to really dip my feet into it. But years before I ever bought a sampler or turntable I was there sifting through the used jazz and soul records, digging for breaks.

Dylan, the record buyer there, was an immeasurable help to me back then. He was one of the few cats out there who let me know what was up. For example, he was the guy who steered me away from Chuck Mangione and towards Herbie Mann. He told me about great musicians like Grant Green and Ramsey Lewis, and about great sources of dopeness like the CTI label. At the end of a long day digging through musty old stacks of records, I’d head downstairs with my purchases and he’d be at the counterpointing out which tracks had the dopest grooves for each record, and what other records to hunt for.

At a time when I was young, timid, and had no idea how or where to jump into the vast universe of hip-hop culture, he destroyed my preconceptions of the crate-digger who jealously guarded their loops, and made me feel a little more confident that I could do this shit. By the Way is a record he made back in 2000.

From one listen you can tell he’s a literal library of loops and breaks. He’s worked with diverse acts like Kirk Dubb, the Beasties, and 764-Hero, and his current project, “The Slew” is a collab with him, Kid Koala, and two former Wolfmothers.

For comparisons’ sake, By the Way has sounds similar to DJ Frane and the Propellerheads. Among several other tracks “Alki Beach Drive” stands out as the shit. I used to get off work in the middle of the night, blaze, then take the scenic route home. I’d drive along the Alki Beach Drive, stoned out of my gourd, eating 7-Eleven hot dogs, listening to this stoney old mixtape I made that had this track on it. Mmm, hotdogs.

Well, um, thank you Dynomite D, for all the encouragement and knowledge and direction, and for this very dope record you made. It’s great instrumental hip-hop. Seriously groovy music here. Kirk Dubb co-produces one track and Kid Koala guests on another. (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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Parallel To Hell

Oldominion dropped their first single “Don’t Kill Your Radio” in 1999. The song and its two B-sides introduced the group as full of relentless literary angst, intent on capturing wide swaths of thesaurus-rap territory. In 2000, they put out an underground CDr album titled Book Of Fury, and also dropped this vinyl single, “Parallel To Hell.” Compelling jacket art was created by Barfly, and the front depicts a ghostly woman in a red dress. The way the record label has a punched out hole in the middle of the Oldominion logo’s “d” is a nice touch.

The A-side “Parallel To Hell” features performances by JFK, Pale Soul, Sleep, and Smoke, who alternate filling in the lines of a conceptual dialogue. One highlight of “Parallel To Hell” is Portland rapper Syndel with her needle-sharp verbal style. The chorus refers to the woman in the red dress seen on the cover, “pretending she’s a damsel in distress.” Is it all symbolism and metaphor? Oldominion isn’t going to tell you, they are too deeply invested in their art for the listener’s interpretation to matter.

Side B is “Serenade To Silence,” which includes the four rappers from “Parallel To Hell” and adds Destro, L’Swhere, Mako, and Onry Ozzborn for a total of eight artists. The gentle production on “Serenade To Silence” belies the dark, introspective imagery that accompanies the song’s lyrics. For example, “Now that I’m over the worst part of the pain, the sanctuary crumbles, I brace myself for the secondary tumble, down a black cavity, depravity…” Oldominion was among the most purely artistic and non-commercial rap groups that I can remember, and they deserve credit for doing the actual heavy lifting required for universe-building. “Don’t Kill Your Radio” and “Parallel To Hell” don’t really sound like anything else.

Just as this single was spreading through the country, Oldominion was putting the finishing touches on their massive proper debut album titled One. With so many members in the crew, and so many cities included in their grasp, Oldominion capitalized on their position and infiltrated every nook and cranny of the Washington and Oregon rap game. Even today in 2023, their name lives on among the major crews to ever come from the Northwest. Written by Novocaine132

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H.O.R.

The 1991 film Silence Of The Lambs left an indelible mark on an entire generation of filmgoers, thanks to the triple-tension between FBI agent Clarice Starling, Buffalo Bill, and the iconic Hannibal Lecter. In Seattle, a duo of MCs (Jace and Blak) decided to name their group Silent Lambs Project, and their first release was a five-song EP called Comrade in 1998. Strath Shepard and Jack Devo both wrote terrific reviews of Comrade which can be read here at Town Love. Two years later, Silent Lambs Project returned with their second record “H.O.R.,” which stands for House Of Respect.

A-side “H.O.R.” has a phenomenal accompanying video which captures Jace and Blak riding a Metro bus, and ends with them on a giant dark stage rapping into hanging microphones. It is a very conceptual and mind-bending achievement directed by Erika Conner and John Lamar. Lyrics like, “The daily operation, to find a location, to rock the mic roundabout, like down and out,” illustrate how the group raps not for entertainment or fun, but because hip-hop is their most deep primal addiction. “Fiend for the mic,” is repeated over and over, and the listener can feel that the MCs need to rap more than they need to breathe. “H.O.R.” is produced by Bean One, and the beat sounds tailor-made for the group, with extra mystery sauce.

Side B cut “The Bagg” features both MCs continuing to exhibit their phrase-after-phrase rap style, and each verse is a never ending run-on sentence of words which may or may not relate to each other or even rhyme. “Motivate to untranslate,” “suffocate over beat breaks,” multiple meanings kaleidoscope in your mind as these words ricochet around. The beat is produced by King Otto, who produced many tracks for Silent Lambs Project.

Silent Lambs Project put out their full album Soul Liquor that same year, including “Comrade,” “H.O.R.,” “The Bagg,” and eleven other tracks. I have never quite been able to comprehend their style, the firehose of William Burroughs-level non-sequiturs leave me feeling confused and a bit off-balance. Maybe that is exactly what they want to achieve in their music? Written by Novocaine132

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Soul Liquor

I always thought that if this album dropped in any other city it would have been a huge, huge hit. Likewise, if it had dropped a couple of years after its release. But in 2000, Seattle was still off the hip-hop radar, and The Silent Lambs Project (Jace and Blak) was unfortunately just too far ahead of their time.

You can hear their voices on the early Seattle compilations, over the grey, murky, rainy musical backdrop, but when they joined forces as The Silent Lambs, they took that bleak, damp atmosphere to a whole new level.

Soul Liquor is a dark album. Dark and ominous. Jace’s rhymes are sedated and deadpan like he hasn’t seen the sun in months, while Blak’s deep-bass voice growls and stutters on the offbeat like some sick troll under a bridge.

Producer King Otto (along with Mr. Hill and Bean One) provides the perfect sonic backdrop. Listen to the string section straining for a resolution that never comes on “H.O.R.”, or the disjointed piano loop from “Original Conviction.” Or the empty, cave-like quality of the live cuts. This is a dark record.

Whereas Seattle compatriots Oldominion tend to glorify and romanticize the dark side of existence, The Silent Lambs give it to you straight. There’s no glorification here. Every metaphor is spoken in a monotone, like a grocery list, making the blasted aural landscape even bleaker. So I guess this album wouldn’t have been a hit in another city, as it is so definitely a Northwest record. And if it had come out later, it might have just been dismissed as another act cashing in on the “Northwest Sound” credited to Oldominion. It’s too bad because The Silent Lambs Project deserves to be recognized as one of the great inspirational acts in the underground hip-hop constellation. (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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Destiny/Haters

With this 12″ release, H-Bomb and Topspin dropped two of their unmistakable tracks. I say unmistakable because as blenders of the old-school party jam aesthetic and new-school consciousness, they were unparalleled. Listen to H-Bomb’s delivery, his rhyme stanzas, and on which syllables he places the emphasis; and you get the sense that he pays homage to the originators of the art with every verse. But both lyrically and musically the vibe was firmly embedded in the current style (at least, for 2000-era hip-hop).

“Destiny” is a melody-driven, achingly beautiful track, and a Tribal Production through and through. “It is our destiny to be the best we can be, while the rest will be trying to learn our recipe,” they rap without a hint of irony. I say that because, in 2000, the writing was on the wall for Tribal Productions, so for Sinsemilla to rap about success in the game would have normally come across as absurd posturing.

However, the “destiny” they speak of has nothing to do with making ends or high rolling: it’s about personal skill, staying true to the art, and ultimately leaving behind a legacy that one can be proud of. And the b-side, “Haters,” might as well have been the official 206 hip-hop anthem in the ’90s. It’s been said many times, the Northwest couldn’t catch a break back then no matter what. This was the last I saw of Sinsemilla. It’s a fitting and poignant end to this crucial and historic NW duo, at least collectively. As for now, Topspin is still producing and dropping ill mixtapes, while from what I hear H-Bomb is active with studio work. (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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The Narcosis

Another Tribal 12″ from 2000. Tizzy T and C-Note are the sharp-edged Narcotik, one of the harder acts in the Tribal Productions collective. Lyrically they keep it streetwise, and their style is direct, which makes them somewhat of an anomaly when compared to Ghetto Chilldren or Union of Opposites. They represent here with two classic Vitamin D – produced tracks, “The Narcosis” and “Makes Me Wanna Bust”. Vita really demonstrates his versatility as a beatmaker with this release, as he puts his usual penchant for mellow, jazz-inflected tracks on hold in favor of a cleaner and more dramatic score. “Bust” features a sick verse from Silent Lamb Silas Blak. Another ill offering from the formative days of the 206. (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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Sedated Thoughts

From 2000, this is the sophomore 12″ by Seattle emcee Nomad da Nomadic. This is one of my personal favorites in the 206 section. Nomad is a Northwest cat through and through–his flow is heavy-footed and grimey, and the top-notch beats on these three tracks (by Jake One, Bean One, and Proh Mic) are mid-tempo, dusty, and rough.

There are no tricks here. No ironic raps in double-time, no clever pop-culture samples, no guests emcees to dilute what he has to say. Nomad delivers his message straight to your head in plain language. This release sums up what I love about the old-school Northwest scene: In an era of hip-hop known for its unchecked expansion and wild experimentation, this record remains understated, direct, and wholly refreshing because of it. (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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Time Called Think

One of the sickest 12″s I’ve ever had the pleasure of hearing, this is Silas Blak and King Otto’s “Time Called Think” b/w “How Obnoxious” and “I Know Why” from 2000.

As a lyricist and stylist, Blak is unique; a true artist unlike any other. His dark, abstract imagery is only made more vivid by his deep and off-beat delivery. Otto comes with a set of beats that are equally impressive. “Time Called Think” is haphazardly carried along by a chopped, stumbling bass loop with little else to fill the empty space; while in contrast, “How Obnoxious” utilizes a big band. Always a fan of the b-side, my personal favorite is the epic and atonal dirge “I Know Why”. If ever a track was too short, it’s this one.

These tracks were meant as a sampling from the forthcoming album Slowburn that apparently never made it to the store shelves. If this 12″ was any indication of the quality present, it’s truly a shame it never materialized. (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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Non-Fiction

This is the high-energy sophomore single from Seattle class act Bedroom Produksionz. BP is one of those great acts that could move the crowd as well as move minds in equal measure. MC Kendo comes like the man on a mission that he is, loud and demanding your attention; while Sayid’s cleanly-sliced, sample-heavy production could leave Babu in the dust on his best day. His beats just make you want to move, to jump. Simultaneously the lyrics are a dense, impassioned social commentary where no word is wasted – definitely coming from a cerebral angle. It’s a winning combination.

This is the last single they put out collectively, which is a shame, to say the least. With such a strong output (no matter how slim) it makes me wish there was an album or two to cop out there for sure. Get your head nod on and your fist pump warmed up for “Non-Fiction” b/w “Temple N0.8”. (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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The Shinin' Director's Cut EP

Olympia’s K Records put out some surprising stuff back in the day. Take this, for example: The Shinin’s Directors Cut EP. This West Coast release, produced entirely by Take One and None, featured the rare combination (at least at that time) of both Cali and Northwest emcees. PM, Universal, DR. OOP, and J-Thorn represent the south, while Samson S, Vitamin D, and Bedroom Produksionz stand up for the north. 8 tracks in all, 5 vox, and 3 instrumental. (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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Stolen Lives

Source of Labor’s Stolen Lives, from 2000, is a masterpiece of Seattle hip-hop. Source Of Labor was unlike any other rap group before or since. Everyone should have this in their collection. I can’t speak highly enough about this contribution to our city’s musical canon. (It’s oft-cited as the record that inspired a young Macklemore to begin rapping, FWIW.)

If you’ve never heard of this record, go seek it out immediately. Pictured here is the 19-track double vinyl. As Wordsayer raps on the opener, it’s an “out-of-body audio excursion.” If you can’t snag the vinyl, there’s also a CD version, with a different cover.

Source of Labor was primarily the work of emcee Wordsayer (the late, great Jonathan Moore) and Negus I, with contributions from Vitamin D and MC Kylea, aka Beyond Reality. Stolen Lives was the long-anticipated debut full-length album from a group whose influence is hard to measure. And they deliver here an album that is viscerally emotional, expansive, and experimental, sometimes with a careening rap flow that feels like a car accelerating down a very large hill without brakes. It’s thrilling.

The album is also defiantly proud of its Seattle roots, with civic anthems like “Wetlands,” or there’s “Sunshowers,” which opens with an audio clip that suggests that the people of Seattle think that “the sun is evil.” (LOL.)

The songs often incorporate live performance recordings, which I have to say groups today don’t do enough. I especially love Side 4 and the song “Invaded Lands”, featuring Beyond Reality, which I’ll confess I’ve often had on repeat, playing just that one side over and over again. Treat yourself and seek this own out today.

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Source of Labor’s prominence on the local hip-hop scene is growing in accordance with the effort the group (and Jasiri Media as a whole) keeps pourin’ into it. If you’ll pardon the play on words, the labor that goes into the source of this sound is massive: From their regular, high-energy shows in Seattle to Stolen Lives, their new full-length album, Source of Labor are working hard to carve a distinct niche for themselves in a corner of the country that still isn’t recognized for the quality hip-hop that keeps sprouting up out of the region’s soggy, intellectual thought-generating climate.

It’s precisely that climate that Source of Labor keep paying tribute to on songs like “Emerald City,” “Sunshower” and “Wetlands,” a catchy song released last year as a 12-inch single. (Anyone else want to get “Wetlands” nominated as the city’s honorary theme song?)

Razor-sharp turntablism, an assortment of humorous, Northwest-specific samples and nice mixing touches make for a strong, original album, and Wordsayer (vocalist and songwriter Jonathan Moore) has got an unquestionable knack for loose, flowing, historically and socially grounded microphone poeticism. To be sure, not every track is particularly memorable-or even seems designed to be-but songs like “Easy” are standout cuts by any standard. Opening with a live version and segueing smoothly into the studio recording, “Easy” rushes you off on a kind of laidback, intergalactic journey, and stops along the way for some schoolin’ on the importance of a positively conscious lifestyle in word, intent, and deed. That’s the kind of message that we could all stand to incorporate more fully into our lives. (This review originally appeared in The Rocket and was written by Silja J.A. Talvi.)

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One

Oldominion dropped their first single in 1999, “Don’t Kill Your Radio,” which established the group as angst ridden and wickedly intelligent. The following year, the group put out its second twelve-inch, “Parallel To Hell,” b/w “Serenade To Silence.” These two songs showed growth, not only artistically but also numerically, as “Silence” boldly featured eight rappers on the same cut. Then Oldominion put out a short lo-fi CD titled Book Of Fury, also in 2000.

Oldominion’s proper debut album, titled One, includes “Radio,” “Hell,” and “Silence,” plus eleven new tracks. Track one “Ezmerelda” showcases rapper Syndel and her densely-packed style. Despite having so many voices, “Serenade To Silence” is probably my favorite track on the album. The simple repeated guitar notes in the composition remind me of a meditative Om chant, which grounds the song for me. At the start of the CD an interviewer asks, “How would you describe Oldominion?” I laugh out loud every time I hear the reply, “Haven’t heard of them.”

By the release of One the various members were already embarking on side-projects. Onry Ozzborn would go on to collaborate with JFK and Rob Castro to make Grayskul. Destro Destucto and Nightclubber Lang would become Boom Bap Project. If the One album was a talk-radio program it would be the conspiracy-laden Coast To Coast AM show, hosted by the paranormal-obsessed weirdo Art Bell until his passing in 2018. Listening to Oldominion is like playing Scrabble with Hannibal Lecter, J.R.R. Tolkien, and Charles Bukowski, imagination runs amok in a torrent of bizarre, fantasy-filled, and sometimes mundane lyrics. Take the ride. Written by Novocaine132

One was created in and features appearances from:

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