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The Emerald City Beginning

The Emerald City Beginning was released in 2020 as the first episode in a planned, upcoming series about the origins of hip-hop in the Northwest. The show was created by E-Dawg and Rubik: two Town OGs who certainly have all the right credentials to deliver an authentic portrait of ’80s Seattle.

They sit down with Sir Mix-A-Lot, Nasty Nes, and J-Skee. The centerpiece interview is with James “Captain Crunch” Croone, legendary emcee of The Emerald Street Boys. “Nobody could out-bop him,” says J-Skee about Croone’s skills on the mic. “They were sophisticated. They had no weaknesses,” adds Mix.

Captain Crunch tells the story of how The Emerald Street Boys met: Sweet J stole a rhyme from Sugar Bear, or that was the rumor, and they went off to fight him. In 1982, Seattle-King County Visitors’ Bureau had a contest to find a new nickname for Seattle, and “The Emerald City” was chosen. The Emerald Street Boys were originally named so as to take advantage of the newfound tourism buzz.

You’ll learn about some other of the artists from the mythical start of Seattle rap: Silver Chain Gang, Frostmaster Chill, Big Boss Cross, Chelly Chell, and Supreme La Rock. And you’ll learn how clueless the East Coasters were (and continue to be) about the Northwest. When Nasty Nes first brought Mix-A-Lot to NYC, the record execs said rap from Seattle was impossible, in a place “where there are only horse-drawn buggies and green grass.”

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12th & Pine

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NEWCOMER

This 82-minute feature film is an intimate introduction to Seattle’s vibrant hip-hop underground. It was assembled from hundreds of tiny performance clips—shot for Instagram—into a single, continuous concert mosaic, and stars 93 of the top hip-hop artists from The Town.

Here’s how KEXP describes it in their review: “NEWCOMER stretches the idea of the concert film to an artistic extreme: Sub-minute snippets artfully arranged to resemble a field recording of Seattle’s rap scene, the pieces fractured and pieced back together in a truly engrossing way. The narrative flows through venues like Barboza, Cha Cha Lounge, Vermillion, Lo-Fi, the Showbox, the Crocodile, and dozens more. It’s Khris P pouring Rainier into a Solo cup while he raps; bodies packed into regional landmark ETC Tacoma; SassyBlack improvising a song urging concertgoers to buy her merch; the delightfully awkward dance moves of white people in KEXP’s Gathering Space; Chong the Nomad beatboxing and playing harmonica simultaneously; Bruce Leroy bullying a beat next to the clothing racks at All-Star Vintage; Specswizard rhyming about his first time performing in front of a crowd while standing before The Dark Crystal playing on a projection screen. The film is about the moments we experience—as lovers of live performance—just as much as the performances themselves.”

NEWCOMER was directed by Gary Campbell and was an official selection at the 2020 New York Hip-Hop Film Festival and the 2020 Golden Sneakers International Hip-Hop Film Festival in Hamburg, Germany. Throughout November 2020, the film screened for four weeks on the Northwest Film Forum theatrical screening site in honor of Hip-Hop History Month.

You can watch the full movie below.

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Heartless

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What We Leave Behind

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The Revenge of OTA Benga

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Rahmeece

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BADMILK

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The Criminal Nation Movie

During 2020’s Coronavirus pandemic, MC Deff (aka Wojack) set about to tell the story of his ’90s gangster rap group through video chats and a simple question: “When did you first hear about Criminal Nation, and what does the group mean to you?”

What follows is a series of touching video voicemails and personal stories from rappers and producers across the Northwest, including Silver Shadow D, J-1, Squeek Nutty Bug, Josh Rizenberg, and many others. This film has a real feel of hanging with the homies. Clearly, this music meant a lot to a lot of people, and this footage is intercut with photos of memorabilia and record covers.

Many of the interviewed artists were youngsters–only 12 or 13 years old–when they first heard the staccato synth opener of Criminal Nation’s mega-hit “Release The Pressure.” Each was thrilled to have hometown heroes on the radio. Awall Jones talks about the beats and his amazement that “they’re from Tacoma, too?!” Un The Rhyme Hustler says, “I was trying to be MC Deff,” echoing the sentiments of many. Several of the artists rap and sing their favorite Criminal Nation songs, too. It’s charming.

Wojack himself does a freestyle summarizing his thoughts on “Day 34 of quarantine.” Notably absent from this project is Wojack’s Criminal National collaborator DJ E (aka Eugenius), though he and the rest of the NastyMix crew–E-Dawg, High Performance, Kid Sensation–all get plenty of props for their roles in establishing the early Northwest sound.

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Top City

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The Residency Presents: The Town

In the early weeks of the 2020 Coronavirus pandemic, when the music scene was knocked sideways by the cancellation of live concerts and “stay-at-home” orders came into effect, Macklemore’s The Residency and Crane City Music organized an hourlong cross-generational Zoom conversation between some of the biggest-ever hip-hop artists from Seattle’s past and present. The event was hosted by Town legend Jace.

Each of the participants was invited to offer up their individual perspectives about the past, present, and future of Northwest hip-hop, as well as talk about how the pandemic was personally affecting them and their music. At one point, Sir Mix-A-Lot says he hopes Seattle’s up-and-comers will “get on my shoulders and jump!”

The event was streamed live on April 18, 2020.

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Till Death

Taylor Hart from West Coast cannabis hip-hop site Respect My Region selected Till Death as one of the very best Northwest albums from 2020, saying:

Samurai Del’s album, Till Death, is all about vibing out. Seven different artists bring seven different vibes to Del’s production with each song being strong enough to stand on its own. Every artist featured fits the tone of the instrumental perfectly making the album flow cohesively from start to finish.

Standout tracks for me are “Forgive Me” featuring Laureli, which spent the majority of the year on my Money Mix playlist. As well as, “For You (Waiting)” featuring Kristin Henry, and “Whatever U Say” featuring Ben Zaidi.

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Where You Wanna Go

Taylor Hart from West Coast cannabis hip-hop site Respect My Region selected Where You Wanna Go as one of the very best Northwest albums from 2020, saying:

I started out the year hearing the title track for Adrian Milanio’s debut album, Where You Wanna Go. The single featuring Olivia Escuyas and RJ Suave immediately became one of my favorite tracks at that moment and spent months in heavy rotation on my Money Mix playlist.

What I love about Adrian Milanio is that he takes me back to when I would listen to artists like Ne-Yo, Usher, and B2K late at night in my room as a teen singing into my hairbrush microphone. Earlier this year, I named Adrian Milanio in my Freshest in the Northwest series of rising artists in our region. I think he still has a lot of growth and development ahead of him but given the point at which he’s starting out, I’m truly excited to watch his journey.

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Ouroboros

Taylor Hart from West Coast cannabis hip-hop site Respect My Region selected Ouroboros as one of the very best Northwest albums from 2020, saying:

Through his album, Ouroboros, Brandon Marsalis takes me to a tiny old club with a dimly lit stage and dust in the air. The album gets me intoxicated enough to open my heart and mind but leaves me with enough coherence to retain my experience. If you close your eyes and picture Brandon Marsalis on that stage with a jazz band backing him, you can almost feel that intimacy of a live performance. It’s almost like he’s telling his stories directly to you.

He was one of my ten rising artists in the Northwest for 2020 and I’m so upset that I haven’t got to actually experience him perform on a stage. If you wanted to add another reason to your list of why we need to save our stages, Brandon Marsalis should be one of those reasons. He’s a young artist with a strong voice that can spread powerful messages and I believe his album, Ouroboros, is a reflection of that.

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BBS Diaries Vol. 2

Taylor Hart from West Coast cannabis hip-hop site Respect My Region selected BBS Diaries Vol. 2 as one of the very best Northwest albums from 2020, saying:

At the top of the year, Anthony Danza gave us BBS Diaries Vol. 2, and little did I know it would become one of my favorite mood elevators through the shit show that was 2020. There’s something so classic about Danza. His production is full of bright, disco-soul, breakbeats that send waves of energy through my body.

From start to finish it makes me want to dance, it makes me want to sing, it makes me laugh, and it makes me want to follow my dreams. At my lowest moments throughout the year, I found myself reaching for this album. Through the good and the bad, through all the changes, yeah, we really stuck together like them noodles in that ramen.

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Da Rocinha 4

Taylor Hart from West Coast cannabis hip-hop site Respect My Region selected Da Rocinha 4 as one of the very best Northwest albums from 2020, saying:

Sango has become my favorite artist to listen to while I practice yoga. Even though his albums are produced electronically, they have this organic ‘from the Earth’ feel to them. This year, one of his newest releases, Da Rocinha 4, became my go-to album for my sun salutation asana.

The album has an energizing quality to it while simultaneously having this calm aura that curbs my anxieties. I often find myself leaning deeper into my stretches and counting the tempo to determine when I switch sides. It also happens to have the perfect run time from start to finish to fit my routine. Any album that gets incorporated into my daily life like that absolutely deserves to be one of my top 24 albums of the year.

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Delicate

Taylor Hart from West Coast cannabis hip-hop site Respect My Region selected Delicate as one of the very best Northwest albums from 2020, saying:

You wanna talk about someone skating over a beat? Let’s talk Dave B. He glides across the ice with his lyrics gracefully as if he were competing in the Olympics. The way the words fall out of his mouth it’s like he’s hitting triple axles with his tongue. His newest album, Delicate, is a stunning example of these talents. Dave B.’s the type of artist, for me, where I don’t even question whether the album will be good or not; I just know I’m going to listen to it and enjoy it.

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2020 Succs!

Taylor Hart from West Coast cannabis hip-hop site Respect My Region selected 2020 Succs! as one of the very best Northwest albums from 2020, saying:

For me, Macntaj gets the award for best COVID-themed song with “I Hope You Cough” off of his album 2020 Succs!. The brilliance of just that song, to me, is enough to land this album in my top 24. Even if the rest of the album sucked (it doesn’t) I’d probably still put it on my list simply because I laugh so hard when I hear “I’m finna be at your house. I’m finna sneeze in your mouth. I’m gonna drink up all your juice, and take a leak on the couch.”

Lucky for us, Macntaj is no one-hit-wonder. He’s the type of artist who keeps you on your toes. There’s a distinct quality to the tone of his voice that is easy to recognize. Yet, he can change it up from time to time to where you might question if another rapper just hopped on the track mid-verse. One of my favorite qualities, though, is Macntaj’s masterful and dynamic delivery. Throughout the entirety of 2020 Succs!, he gives us a wide variety of different styles that keeps things spicy all the way to the end.

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Mind Over Matters

Taylor Hart from West Coast cannabis hip-hop site Respect My Region selected Mind Over Matters as one of the very best Northwest albums from 2020, saying:

Man, this dude, Kateel is going places. He hops on the mic and he’s snapping. Let me get to the point, he’s magic. After signing to Atlantic Records, he released his debut album, Mind Over Matters, which happened to become an official sound of the NBA playoffs this year. Again, this young cat DEBUTED his first album and it got played on ESPN during the friggin’ NBA playoffs.

Throughout Mind Over Matters, he showcases a few different sides of himself artistically and it’s all quite impressive. Kateel’s positive and motivational lyrics caught my attention earlier this year, landing him a spot on my list of rising artists in the Northwest. Already, he’s accomplished some really great things and I don’t even feel like he’s scratched the surface of his career yet.

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Godspeed

Taylor Hart from West Coast cannabis hip-hop site Respect My Region selected Godspeed as one of the very best Northwest albums from 2020, saying:

When Shayhan released his EP, Godspeed, he dropped a video of him performing with his band on a mountainside within the Snoqualmie Forest. He gave us one of the softest and most beautiful performances of 2020 while rockin’ a Street Fighter t-shirt. Between the picturesque scenery and the mesmerizing songs, Godspeed is an essential project for anyone looking for a short and sweet escape from the hellish reality that we are currently living in.

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Take Your Time

Taylor Hart from West Coast cannabis hip-hop site Respect My Region selected Take Your Time as one of the very best Northwest albums from 2020, saying:

Light some candles and slip into something sexy, because it’s nothing but smooth R&B vibes on Blakk Soul’s album, Take Your Time. Open up your mind and get ready to set your love free as you explore what it means to be vulnerable. I feel like the deluxe edition of this album should probably include condoms and a pregnancy test, you know, just in case.

It’s not just about intimacy with a romantic partner, though, but the intimacy of deep connections between two different people in general. It’s about embracing who you are and sharing that with them so you can learn from each other. So slow down for a bit and let Blakk Soul serenade you about love, relationships, and personal growth.

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Regal Blue ’84

Taylor Hart from West Coast cannabis hip-hop site Respect My Region selected Regal Blue ’84 as one of the very best Northwest albums from 2020, saying:

Regal Blue ’84 is silky smooth, plush like velvet, and groovier than a fresh-pressed vinyl record. The album is dripping with soulful vocals and intoxicating instrumentals that make my chest swell up with emotion.

Xperience gave us a little bit of everything on here with heavy ballads like, “Love & War,” and some hit-the-club type tracks like “Peacockin’.” He made some cute little love songs like, “Ladybugs,” and upbeat look-on-the-bright-side type songs like, “Cats & Dogs.” The entire album makes my heart flutter and floods my brain with dopamine and I truly couldn’t be any happier about that.

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Long May We Rain

Taylor Hart from West Coast cannabis hip-hop site Respect My Region selected Long May We Rain as one of the very best Northwest albums from 2020, saying:

AJ Suede is anything but a stagnant artist. He’s a swiftly flowing river of creativity whose songs reflect on the exact moment of time and season at which they were released. This year alone we’ve seen five albums from him. His third project of the year, Long May We Rain, being released in May.

Long May We Rain captures the essence of that time when spring transitions into summer. Things are still kind of wet, but the sun is starting to warm up and shine more often. It reflects on the pandemic and the protests that sparked, at that time, following the murder of George Floyd. I feel like Suede knows that there is beauty in simplicity and it shows through on this album. He didn’t have to pull any frills out of his sleeves, just gave us some straight-up bars over chill ass beats.

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Corduroy

Taylor Hart from West Coast cannabis hip-hop site Respect My Region selected Corduroy as one of the very best Northwest albums from 2020, saying:

To me, Sam Lachow’s album, Corduroy, is a work of art from start to finish. A multi-course meal for your audible soul. An exploration through different sounds and flows, which is a common theme throughout a lot of my favorite albums this year.

Sam’s quirky, unique, and often humorous approach to music has always been a vibe for me. Even back in the Shankbone days. The spectrum of emotions that Sam makes me feel throughout Corduroy is exactly what I look for in a complete project. You know that feeling of satisfaction you get when you have a full stomach? When you’re in your comfiest clothes, and you get to sit down in your favorite place? That’s the same feeling my ears get after listening to this album.

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Thunderboy

Taylor Hart from West Coast cannabis hip-hop site Respect My Region selected Thunderboy as one of the very best Northwest albums from 2020, saying:

Since entering the world of pop music, hip-hop and the art of rapping has become diluted in the mainstream. Lyrics are being recycled and formulaic songs have taken the forefront of the genre. J’von is the opposite of that. He is an incredible and highly original lyricist who packs a nauseating amount of wordplay into his verses.

To this day, I’m discovering new bars within his album, Thunderboy, that I didn’t catch on the first few listens. I’m even still picking up on bars from his 2019 release, Dream Surfer, which also happened to land on my list of the top 20 albums for that year. Between the animated beats and J’von’s smooth delivery, Thunderboy simply puts me at ease and that’s why it’s been one of my favorites this year.

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Star Stereo

Taylor Hart from West Coast cannabis hip-hop site Respect My Region selected Star Stero as one of the very best Northwest albums from 2020, saying:

Right from the beginning, Blake Anthony shows us that his album, Star Stereo, is a work of art through the first song transition alone. The seamless change over from one song to another is crucial for me when trying to immerse myself in an album. Blake’s range of creativity, along with the Nanostorm radio station concept, also helps me to get lost in this album.

Rhyming seems so effortless to BA as he floats over Croupdawg’s intergalactic beats. From “BIG Rolls” to “4 Bluntz” all the way down to the title track, “Star Stereo,” each song leaves me wanting to hear another. Then, when it’s finished it’s nearly impossible for me not to want to run it back from the beginning again.

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Until Dizzi Free

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Sovereign Queendom Archives, Vol. 1

One of our favorite songs from this weird year is “Airbender,” a tune found at the halfway point on Julie-C’s stellar debut full-length. The song’s beat throws you several curveballs on the way to the finish, each one more delicious than the previous. But the moment that always catches our attention is when Julie-C’s rapid-fire verses hit a crescendo, and she concludes, “All the unknowns spontaneously spreading…” In that moment, you’ll inevitably pause and think to yourself, “Yeah, this pretty much summarizes exactly the kind of year we’re having.”

It’s ironic, then, that this artist, agitator, and cultural catalyzer presciently dropped her album in January, only weeks before this pandemic upended all our lives. (Indeed, her record release party was one of the last concerts we were at.) The Penguin Classic cover art is appropriate: The record is best digested in chapters. “Airbender” kicks off an amazing sequence of songs, so we always started there. Lone producer Intylekt shows off his 20 years of production chops here, deftly vibing and sparring against Julie-C’s formidable bars.

Support Julie-C financially by picking up the deluxe cassette edition, which comes with a ‘zine and other treats.

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To Whom it May Concern

In their annual year-end critics’ poll, The Seattle Times ranked To Whom it May Concern as one of the very best Seattle albums of 2020, saying:

A Tacoma artist who’s built an impeccable behind-the-scenes résumé, Clemm Rishad has earned co-writing credits for a slate of hip-hop heavyweights (Meek Mill, Rick Ross, Nicki Minaj, and Lupe Fiasco among them) over the past decade. A reintroduction of sorts for Rishad as a solo artist, this collaborative EP with Miami producer Streetrunner blends colossal trap anthems (see the swelling ode to the power of rap music, “Confidence”) with gleaming soul samplers that sound no less massive.

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Sow What?

In their annual year-end critics’ poll, The Seattle Times ranked Sow What? as one of the very best Seattle albums of 2020, saying:

The South Seattle rapper and co-founder of WA-BLOC — a youth development program centered around social justice — takes a sizable leap forward on his third full-length. His most polished and cohesive project to date has a lucid-dream quality, with Rell’s poised, unhurried flows suspended over slo-mo space-funk productions.

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ILLFIGHTYOUTOO

In their annual year-end critics’ poll, The Seattle Times ranked ILLFIGHTYOUTOO as one of the very best Seattle albums of 2020, saying:

Seven years since the kings of Tacoma unleashed their debut album, Washington’s preeminent rap hooligans reemerged to tag the enflamed dumpster that is 2020 with their marvelously raucous sophomore album — released on Halloween, no less. After scattered releases from members Khris P, Ugly Frank, and Glenn over the years, the irreverent trio’s comeback throat punch hits like a house party where someone gets fairly seriously injured, yet no one seems concerned. ILLFIGHTYOUTOO is the TV smashed on the train tracks, the late-night scream in the middle of nowhere, and the bathroom graffiti masterpiece all rolled into one.

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Grey

In their annual year-end critics’ poll, The Seattle Times ranked Grey as one of the very best Seattle albums of 2020, saying:

Whether in the booth or on a canvas, Tacoma-area rapper/painter Perry Porter is one of the most consistent artists in the region. (Perhaps you saw his handiwork on Capitol Hill’s Black Lives Matter street mural or custom charity sneakers for Pete Carroll this year.) Here, the talented dual-threat teams with up-and-coming producer OldMilk, leaning more heavily into his cerebral side as he skates lyrical circles around gliding house beats (“Move My Feet”) and the soulful pitter-patter of lead single “Custom.”

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Sang Stasia!

In their annual year-end critics’ poll, The Seattle Times ranked Sang Stasia! as one of the very best Seattle albums of 2020, saying:

Stas doesn’t so much rap over beats as the emcee/producer’s relaxed flows aerate her misty tracks with the feeling of a dream you’re certain is real. The former THEESatisfaction member might have a New York address now, but she’s still pushing the needle for Seattle hip-hop.

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Stuck

In their annual year-end critics’ poll, The Seattle Times ranked Stuck as one of the very best Seattle albums of 2020, saying:

The Seattle neo-soul staple drapes her jazzy-as-ever vocals over crisp, futuristic productions leaning on electro-funk and psychedelic synths. Fresh out of funks to give, SassyBlack triumphs over anxiety and buoyantly dismisses cop-calling “Karens” who value dogs above Black lives on her second EP of the year.

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When Words Dance

In their annual year-end critics’ poll, The Seattle Times ranked When Words Dance as one of the very best Seattle albums of 2020, saying:

For his first release since parting with Sub Pop — an intriguing match that never quite found its rhythm — the veteran emcee pulled from his vault this jazz-steeped set recorded just after completing his label debut. Porter Ray’s flow is like a butterfly in slow motion — appreciate the natural grace and beauty he makes look easy.

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Long May We Rain / Lost Gems

Here’s a split vinyl of quarantine protest jams from two Seattle heavy-hitters: AJ Suede & Specswizard. Both artists were inspired by 2020’s Black Lives Matter protests, mask-wearing, and stay-at-home orders to produce boom-bap tunes that could only exist in the 21st Century.

The Seattle Times picked AJ Suede’s brilliant Long May We Rain as one of the best albums of 2020, while Insomniac magazine praises the “next level lyricism.” On the flip side of this cross-generational split LP, you’ll find the vinyl-only Lost Gems project from Specswizard, a veteran of Seattle’s scene, who’s released dozens of albums and EPs since his start in 1988.

The familiar sound of buzzing amps and tape hiss makes way for major-key soul turned into pensive bangers. Specswizard’s low, late-night-in-the-living-room baritone conjures the feeling of recording in a cramped apartment while the neighbors are sleeping. Still, the beats knock like side doors and his narratives hover like heavy rain and cumulus clouds of weed smoke.

Together, these two records provide a powerhouse portrait of Black life in the American Northwest today.

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Homebass

The cover of Homebass features an in-motion collage of trees and records evoking the chaotic fury of our times. Do yourself a favor and slide on this six-song, 21-minute project the way you might a pair of immaculately tailored pajamas. Get comfortable and settle in.

Opening cut “OMG!!!!!!!” questions how one reconciles their dreams with reality while nodding to those small pleasures that make the struggle worth it. On a day like today, when the world recoils from George Floyd’s murder, Cypher asks “Do you play it safe?”

Many songs question our individual actions against the status quo while providing an invitation to get to know Greg Scott Cypher better. “They don’t understand me,” he says on “WOO WOO.” As a rhymer, Cypher is a fast-moving dribbler. Before you know it, he’s dunked another lyrical basket.

The album’s centerpiece is “Mi Casa” where, against a whirlwind of background voices and clamor, Greg speaks directly to you with an arresting intimacy in the age of social distancing. Producer Def Dee grounds every track with a deep sense of place using sublime studio skills. You’re there. In the room. As a loping Rube Goldberg beat unfolds on “Mi Casa,” as the wavering rumble of piano interrupts “NuthinToSay” (featuring KFG compadre Mr. Hentvii), and in the yard, banging beats on boards with the gang on “DAY UNO’s.” This cut pulls the slick Rik Rude outta retirement for a feature that Cypher says is an album highlight. It is.

Auto-tuned Greg on “Space” is at first unexpectedly jarring but proves to be yet another of this album’s many delights. Homebass is a solo debut, a clear statement in response to our uncertain times, a chance to hear a familiar voice anew, and a clear contender for album of the year 2020.

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2 Real

At the opening of 2 Real, the debut full-length album from Parisalexa, a voice asks, “Where are the spaces for people to be real, and to talk about what they’re dealing with?” The artist responds over the nine songs that follow with celebrations of positive energy, whether self-love, body-positivity, or staying genuine, inviting the listener to feel safe in their feelings. “Look at those thighs… You could make a grown man cry,” she sings encouragingly in “Slimthick,” the album’s muscular closer, before adding, “Still a bad bitch, though.” In a five-star review, Taylor Hart over at Respect My Region highlights all the ways the 21-year-old singer-songwriter is wise beyond her years, “empowering women to love themselves for who they are, one song at a time.” Parisalexa is primed to be The Town’s latest mega-star, recently signing a record contract with Ultra Music and Paperboy Records. The video for the single “Chocolate” highlights Black-owned businesses throughout the Central District, encouraging you to support them, as you should.

Here’s another take:

In their annual year-end critics’ poll, The Seattle Times ranked 2 Real as one of the very best Seattle albums of 2020, saying:

The hometown energy has been high around this R&B phenom (who recently skipped to Portland) for years, topping this very poll with her first EPs in 2018. Since her impressive coming out party — which really began in her teens with a strong MoPOP Sound Off! showing — Parisalexa’s songwriting and ear for inescapable pop melodies has only strengthened, culminating on her self-assured full-length debut 2 Real. The ’90s R&B swagger she’s long wielded merges with contemporary pop and hip-hop productions on “Bentley Truck” — an earwormy bounce-along with her ride-or-dies — and velvety single “Chocolate,” an uplifting celebration of her Blackness.

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Escapism

“So why are you hiding?” asks a disembodied voice at the opening of Escapism, an eight-track EP from Tacoma’s London Daé. It’s a question many of us struggle with these days, both being “stuck here” and trying to “escape to the depths of my mind.” London ruminates through rapping, singing, and spoken word against a backdrop of synthesizers and reverb. This is a low-key, contemplative album, filled with wide open, safe spaces, confronting all we planned and found derailed this year. Hopes, wishes, plans, fears… Escapism offers head-nod acknowledgment that things are no longer what they were.

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A Long Walk

Chong The Nomad’s latest fresh and ambitious mind-bending EP dropped in August of this year. On a comment thread, someone really nailed the vibe, describing how “A Long Walk contains the endearing quirks and whimsy we’d expect, but with a new, palpable sense of confidence that gives the songs a sort of weirdo swagger.” Yes, there are guest features from heavy-hitters Benjamin Gibbard and Ben Zaidi. But it’s the other new songs, like opener “Go Away” … The ones that rely on her unique mix of sampling and distorted vocals to explore the most interesting edges… Songs that take you to sonic and emotional places you barely thought possible. Listening to this EP, we’re reminded of a young Sir Mix-A-Lot, circa 1985, being told that music made with computers can’t possibly be considered hip-hop, and him laughing all the way into the future. Again this year, Chong The Nomad scouts the terrain ahead for all of us who are following behind.

Here’s another take:

In their annual year-end critics’ poll, The Seattle Times ranked A Long Walk as one of the very best Seattle albums of 2020, saying:

The idiosyncratic producer known for boiling quirky sounds into wildly original electronic music takes a sizable leap forward on her latest EP. Its whizzing and whirring compositions are more the work of a full-fledged songwriter than beatmaker, thanks in part to increased confidence in her vocals, and cameos from Seattle staples Hollis Wong-Wear, Ben Zaidi, and famous fan-pal Ben Gibbard.

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The Life of Sin

Sin The Slime wasn’t much on our radar before her nomination as “Top Rap Female” at 2020’s Seattle Sound Music Awards. In an interview about her moody and hypnotic breakout single, “Wristwatch,” Sin described the song’s meaning in terms we all find relatable this year: “The clock is not ticking. The time in my life right now is frozen.” The “PNW trap queen” explores the challenges of navigating the path to celebrity, fame, and fortune across the other songs on this nine-song debut album, often asking whether to assert independence or “stay in my lane” as she questions on “Sin Ratz.” Also some great features from Tuda and MBM Bama.

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Talk About It

Your new favorite record is a parallel-universe rose-colored portrait of COVID-free summer fantasy where, instead of stay-at-home, you hung with Blimes and Gab in LA, attending both house and pool parties, when the crew crowded too many in the Lyft, and got high at the after-party and ate tacos until dawn. Between the tracks are many amusing short skits describing their experiences with the weirdos of LA. Two years in the making, Talk About It delivers on all the hype and promise of the viral sensation “Come Correct,” the Red Apple-starring music video that blew up the Internet in 2018. Jay Park, Bahamadia, and Iamsu! drop by. Method Man appears on “Hot Damn,” a remix of their 2019 hit, “Nasty.” The song “Shellys” is the future soundtrack for 1,000 backyard BBQs, while “Feeling It” will leave you magically happy and joyfully nostalgic for that amazing summer that never was.

Here’s another take:

In their annual year-end critics’ poll, The Seattle Times ranked Talk About It as one of the very best Seattle albums of 2020, saying:

Central District mic slayer Gifted Gab captured lightning when a quick-hit collaboration with Bay Area rapper Blimes went viral in 2018. The women with unimpeachable classicist flows kept that spark alive on their long-awaited duo album. Yes, the head-nodding, lyrical exhibitions are here and predictably flawless. But the emcees who only have an A-game also came out swinging with big hooks over feel-good, West Coast beats fit for club-night pre-funks and recuperative mornings after. With its late June drop as the summer protests boiled, there was a real possibility that after two years in the oven, their carefree LP could fall flat. Instead, its more summery jams reminded us it’s OK to roll the windows down and rap along offbeat. They made it OK to feel good again.

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Full Circle

Rapper and poet Keasha Beard tells honest, autobiographical tales of humility and hardship. She’s been through depression, dark times, visited dark places, and she trying to find a way and is offering to hold your hand and guide you through, too. This is music that doesn’t shy away from those dark feelings. There’s a ‘90s gangster rap feel to the production. On the poppy “So Close,” she reminds you not to give up, even though “there are nights you stay up late and cry.” These are great tunes to spin on those pandemic days when you’re feeling down. Make some tea, find a good view, and give this record a spin. Keasha’s messages of hope have elevated her popularity in Christian rap circles: A profile in Rapzilla recently cited her as a top 5 talent. Be sure to check out the trippy video for “Might Get It” on YouTube.

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Coolest Tricks

At the start of 2020, Michete went under the knife to transform she/her fantasies into realities. She held a plastic surgery face reveal party at the start of March, only days before the start of the pandemic. Though we’ll all emerge from quarantine as different people than we were before, this will be much more literal in Michete’s case. To wrap one era of superstardom and embrace the next, she dropped “Coolest Tricks,” a delicious 18-track collection of her greatest hits. If you’re not already a fan of Michete’s in-your-face electro-rap, start with the song “#Fuckboy.” This is delightful music full of joy and burns and profanity and energy that’ll have you jumping around in your living room. It’s on Spotify. It’s fun. Michete also devotes one album track, podcast-style, to explaining the background of the collection and themes in the music. After listening to these great audio liner notes, I hope other artists are inspired to add them, too. It’s a great idea and a cherry on an already great collection.

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On Time

The musical duo of Toni Banx and Hanan Hassan is better known as Fifth House. We first heard their unique jams featured on Rell Be Free’s superb Sow What? earlier this year. Their own four-track debut EP, On Time, is warm and understated, harnessing the slow, anxious energy of our times. KEXP praises this short effort’s tender vocals that “uplift without ever hiding from the truth.” Debut single “Elevate” speaks to the “passive-oppressive” realities of being Black in 2020 Seattle, but it’s closer “Betta,” and its message of hope that we’ve kept on repeat all year. This EP is a delight and leaves us excited to hear whatever Fifth House drops next.

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Space Daze Beat Craze

Over the past eight months, we’ve all struggled with not only surviving this pandemic but thriving in spite of it. Early on, SassyBlack rose to the challenge by launching a weekly livestream of music, improvisation, and comedy on Twitch—for two hours every week when she’d engage with fans and create work live in front of us. Those efforts over weeks and months led to the release of Space Daze Beat Craze on Bandcamp, 21 tracks of spacey beats, improvised jams, and hologram funk. A wide range of ideas are explored here—some more fleshed out than others—but it’s the rawness of these tracks and the window they provide into the creative process that makes this release so rewarding. (To any rappers reading this: SassyBlack makes beats that you can buy!) SassyBlack also dropped two hella fine EPs this year. The most recent one, Stuck, includes the tune, “Karen Don’t Care,” which pointedly comments on the realities of our wild year.

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The Lost Tapes

Federal Way rapper I Am Chamel dropped this raw five-song EP of gangster throwback rap exclusively on SoundCloud alongside the new UNITY clothing line. It’s her first effort since 2017’s widely-acclaimed No Gimmicks. Although the pandemic is not directly addressed, I Am Chamel fantasizes about someday being able to eat cheese in France and salad in Greece on the song “Tap In,” featuring DaKid. On “Prison Break,” she ruminates on the benefits and frustrations of being alone, adding the potent and relevant reminder that “the most oppressed on this planet is a Black woman, we create the solutions, and yet you steal from us.”

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On The Quarner

On The Quarner was recorded and released in quarantine, inspired by the Miles Davis record of (almost) the same name, featuring nine mind-bending tracks fused into a single, continuous mix. Shortly after it dropped, The Seattle Times declared that On The Quarner was one of “the best Seattle albums of 2020,” praising its “loops and fragments that drift by in a slow-rolling haze, with tightly packed punchlines and metaphors.” KEXP called the record “a masterwork that warrants uninterrupted listens,” adding that “Stas is a sculpture artist, building statues out of every musical element possible, stacking rhyming sounds and pitch-shifted harmonies, unpacking complex thematic concepts and rapping circles around even the best of her peers just for the hell of it.” This year, Stas again proved to be an unstoppable, multitalented force in NW hip-hop.

Here’s another take:

In their annual year-end critics’ poll, The Seattle Times ranked On The Quarner as one of the very best Seattle albums of 2020, saying:

Rapper/producer/DJ Stas THEE Boss has blessed us with her first solo project since 2017. With her new EP, completed as the pandemic took hold, the former THEESatisfaction member stitches together a series of pieces into one 16-minute movement that plays like an abbreviated mixtape. While its collection of loops and fragments drift by in a slow-rolling haze, there’s a blink-and-you’ll-miss-it quality in Stas’ unflappable delivery as she unfolds tightly packed punchlines and metaphors.

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Flowers in The Void

During this pandemic, our definitions for relationships and personal space have been upended. Flowers in the Void provides your ideal salve for all those confusing feelings—our desire for company, our desire for space… Whether realizing that “your love is like coffee on a Sunday” or crying out “please, I need someone,” you will recognize these feelings: Joy, anxiety, despair, listlessness.

Singer and rapper Liv† says that making this record was like therapy. Here, she wields an incredible set of tools to create impeccable moments of rap and R&B delivered against moody production that echoes all the ways time have begun to stretch and pass differently this year. (The beats on “One Track Mind” in particular.) We’ve had Liv†’s album on full repeat since it debuted: This record is simply note-perfect. But as she says in the opener, “It just ain’t enough.” The headphone-wearing, sideways cover photo perfectly captures how we’ve been feeling all 2020.

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&

I'm The One

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!

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Fulminate

In their annual year-end critics’ poll, The Seattle Times ranked Fulminate as one of the very best Seattle albums of 2020, saying:

The Tri-Cities native made good on his ambitious debut the rapper describes as a concept album centered on the perspective of a Black man in America. Over tracks often borrowing elements of jazz and electronic music, Nobi chops and dices weighty bars like a seasoned sous chef at dinner rush — meticulous, impassioned, and unflinching as he fillets institutionalized racism on songs like “New Chains.”

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The Don Of Diamond Dreams

In their annual year-end critics’ poll, The Seattle Times ranked The Don Of Diamond Dreams as the very best Seattle album of 2020, saying:

Ishmael Butler is a Seattle original. The enigmatic rapper/producer has been at hip-hop’s vanguard since Digable Planets’ Grammy-winning heyday in the early ’90s. During the past decade, the onetime jazz-rap leader and, ahem, Seattle Times paperboy became an influential alt-rap figure, further expanding the art form through Shabazz Palaces’ polyrhythms and Afrofuturist touch. This spring’s Sub Pop-issued The Don of Diamond Dreams ranks among the best work of Butler’s illustrious career, showing he hasn’t stopped moving forward in three decades.

Butler makes literary sport of hip-hop’s braggadocio traditions, name-checking 1920s French actors, and “catching mermaids without no hook” on the hypnotizing “Chocolate Souffle.” Elsewhere, the warped funk of “Fast Learner” is fit for an intergalactic space cruise or midnight drive through neon-lit streets. In a year when local hip-hop shined so brightly — and some in the mainstream might be catching up to his star-surfing ways — amid a tumultuous start of a new decade, there’s comfort knowing this Seattle visionary still carries a guiding torch.

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