A film about Northwest hip-hop from

Shadows

Since its release in August, Shadows has been a Seattle underground sensation, an old-school CD whispered about and passed around by people in the know, a favorite of beatmakers and crate diggers. People come up to me at shows and ask in hushed tones, “so, have you heard Shadows?” It’s, therefore, no surprise that this community voted big for this fantastic fever dream. It’s a product of two-and-a-half years of labor, tweaks and technical craftsmanship, when Wizdumb finally emerged from the lab with his solo debut. How to describe it? Imagine if MF Doom and J.Dilla cooked up a 1950s radio play about a hired gun, collaged out of samples, and featuring both old and new heroes of our town, like Specswizard, Moka Only, Able Fader, and Tuesday Velasco. The sweet spot begins with “Execs” and “Diggin’ Jawn” before “Suckaz” throws down the hammer. On the opening dialogue of the latter, Wizdumb makes it clear: “That’s nice, but I don’t give a fuck what you spit.” What follows is a pure ego dis-track, cutting through all our city’s pretension and bullshit, a straight-shot mercenary, knocking down the competition. “So Clear” is the victory lap that follows, with Specs on clean-up crew, rapping, “No apologies when I freeze all emcees.” Wizdumb’s unassuming alter ego can be found tending bar at Vermillion. Swing by one of that venue’s many hip-hop nights and get your hands on this CD, already on its third pressing. In honor of Wizdumb’s Mexican heritage, sip some tequila, and listen to the many mysteries emerging from those hallowed shadows.

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A film about Northwest hip-hop from

Ethiopian Tattoo Shop

This is a rare treasure: A document of a singular moment in time, fueled by wild creativity with the force of a pressure cooker. Beauty made under the gun. Phreewil, Nathan Wolfe, and Graves33 wrote and recorded this album, inspired by the book by the same name, in a matter of weeks.

Each track represents a different story or parable from the novel, and therefore the songs play out in a connected fashion; not linearly, but philosophically. Raw and brilliant work, at times jaw-dropping in its psychedelic urgency.

Despite the other-worldliness, this is not some Piper At the Gates of Dawn, “Listen To What the Flower People Say” sort of album. This is vehement and craving, conscious of its mortality. Which makes the hurried and inspired beauty found in each song all the more poignant. Phreewil noted that this is his favorite contribution to music, and although I’m not familiar with all his work I would be duly impressed to find another such passionate, metaphysically connected contribution to the art, from him or anyone else. Quite generously, the ETS crew opened their doors to several of their friends for contribution, including Asun/Suntonio Bandanaz, Leland Jones, Tru-ID, Milo, Khanfidenz, Audiopoet, and Page1. (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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