Don Liftedģ25i resembles an ambient-inspired sonic diary that finds Memphis MC and multidisciplinary artist Don Lifted escaping from the grip of anxiety to reach a state of calming self-confidence. Consider Never At Peace a husky peach of an album that revels in the allure of regional expertise. Broadcasting from his “favorite dive bar” on the opening statement of intent “Peace Talks,” Zilla sketches out a post-Trump local landscape populated by “wild, pent-up neighbors who used to do you favors/ Until they find out your views ain’t the same/ Your news ain’t the same/ Rage-the new currency.” Never shy of flexing his conceptual chops, Zilla weighs the dynamics and contradictions of musical ownership over the busy jazz-inspired drum loop of “You Can’t Steal From A Thief” (which also features iAlive), and then rummages through a rolodex of South Philly characters and chancers on the guttural “I Know A Guy.” Supplying vital Wrecking Crew connections, ShrapKnel pair Curly Castro and PremRock power through the gnarly texture-shifting “Crew Nautilus” and also bring extra gravitas to the late-project cut “Spiral Books,” which teases new life out of a sample famed for backing Black Star and Common back in the late ’90s. The second album installment from the Career Crooks duo of Zilla Rocca and producer extraordinaire Small Professor relays working class anecdotes and life lessons direct from their South Philadelphia enclave. Encapsulating the deft way Aesop balances poetically-wrought soul-searching with wry moments of respite, mid-project song “Difficult” swings from lamenting how “every time an influencer offers advice I feel years coming off of my life,” to dropping an excellent feline-focused brag: “Got a cat named Kirby, she can rap good too/ Gadzooks!” Career Crooks
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From that poignant start, the album’s sonic intensity quickly escalates, with “Legerdemain” carried by clattering percussion and chicken scratch guitar, “Oh Fudge” fueled by rolling jazz-influenced double bass, and penultimate cut “The Sea” anchored by deeply pulsing low end tones. “Dear motherfuckers, I’m teetering if you must know/ Wolf at the door like a bug to the fructose/ Niece on the phone saying, ‘Ian, you should visit more’/ We could build forts while the pigs court civil war,” he raps on the tone-setting “Jazz Hands,” flowing resolutely over an almost drum-free Blockhead beat that conveys an emotional pull via intermingling swirls of synths and strings.
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In the liner notes of Garbology, Aesop Rock defines the title of his collaborative album with longtime producer friend Blockhead as being “the study of the material discarded by a society to learn what it reveals about social or cultural patterns.” It’s a premise that Aesop relates to the idea of emerging from a tumultuous period of life and figuring out how to plot a path forward. Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to track