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The name might not sound too familiar–but Butta Verses first cut his chops on De La Soul’s critically-acclaimed album The Grind Date.  Somewhat of an unofficial protégé, in 04’ Butta honed his craft by traveling and touring with the originators of the Native Tongue style. Underutilized and seldom heard from since those 2004 sessions,  Butta’s solo grind finally comes to fruition with his official debut Reality BV.

A bit ego-tripping eccentric, Butta approaches the mic with a lot of flavor and character. The theme of the album pokes fun at the lack of privacy that’s associated with the current pop-cultural climate–and thru the records play, Butta (ever so) briefly takes the listener on a journey of his “rap life“.

As an emcee, Butta can articulate with best of them–possessing an evocative sound clash that’s fitted somewhere between the Wu’s Ghostface Killah and Strong Arm Steady’s Phil Da Agony. And whatever the given mood calls for–battle raps (“Rock Mics” w/Joell Ortiz), party records (“Fire“) or moments of situational hilarity (the Club Cluck skit)–one key ingredient working in Reality BV’s favor is Buttas range.

Definitely at his best when he draws from personal experience, the soulful/introspective “If I Die,” is as sonically alluring as BV’s spiritual jawn “Amazing Grace.” Butta  stays above smutty waters, as he and CL Smooth wax poetically about relations on “War Of The Roses,” however  the discussion of love and ultimately ending relationships languishes a bit on the choppy “Breaking Up.”

Things start to stray even further, as somewhat of an mixed message is transmitted, as “Change The World” challenges mainstream hip-hop’s lack of creativity, while the alienating “Backpacker” unapologetically goes hard against (arguably) Butta’s target audience.

All things considered, what truly is amiss here is the actual implementation of the albums primary theme. Butta has a great concept goin’ with Reality BV by attempting to put his personal thoughts, trials, tribulations and triumphs on display–but more often than not the album relinquishes itself to plain ole ill rhymes over ill beats. After giving Reality BV a listen its no question why he once kept such legendary company. (However, that tale of break-up is as of yet to be told) There’s plenty of ‘hot spit’, but not nearly enough confessional insight that is eluded.

DISCLAIMER (angry creators, please read)

[[WARNING! THIS COLUMN MIGHT CONTAIN SPOILERS!]]

“Spider-Man, I can, and will, remove your ability to speak.” Doctor Strange, Avengers/Invaders #05.

Welcome to the column for comics released on 10/08; let’s start by giving a badge to the Guvnor; since he cracked the DT! from last time. In this case, the problem was that the football (yes, football, not soccer) player is said to have been purchased from “Rio Plate”… the team (teams, actually, one from Uruguay, and one from Argentina) is called “River Plate”. It’s actually a bad translation of “Rio de la Plata”; an estuary that divides Uruguay and Argentina, meaning “river of the silver”.
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Michiko is a free willed “sexy diva” who has been imprisoned for a as of yet unknown crime. In the process of escaping from a supposedly inescapable prison, she manages to trash the prison injure several guards and shoot down a helicopter while making her escape from the prison.

Hatchin is a girl living with foster parents who use her to get money from foster care and spends the money on luxury items for themselves, instead of using it for Hatchin. Not the mention the very abusive step sister and step brother, who makes her life a living hell each and every day while doing the house chores.

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DISCLAIMER (angry creators, please read)

[[WARNING! THIS COLUMN MIGHT CONTAIN SPOILERS!]]

“Urghhhh I think I’ll stick to the old-fashioned, undesigned drugs, the ones that come in a glass.” John Constantine, Hellblazer Presents: Chas-The Knowledge #4.

Nice and quick; this is the column for comics released on 10/01. The DT! from last column wasn’t cracked; and it was the fact that the sign on the vehicle was in English, instead of Interlac; the language used in the Legion’s era.
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The older hip-hop becomes the more segmented it gets. Either thru some magazine editor’s pen or some A&R’s marketing agenda or even some artists’ own personal way of pushing the envelope–the often disconnecting walls between the sub-genre’s of hip-hop have become even more divided that its unfathomable for any type of indie/mainstream integration on the mic. Until now..

Hip-Hop producer Jake One’s White Van Music, a culmination of tracks recorded and collected with a hodgepodge line-up of artist  he’s crafted beats for (an envious resume that includes everyone from G-Unit, E-40, De La Soul to MF Doom)–relishes in its ability to captivatingly jumble various styles, flows and musical taste.

Sonically diverse in its implementation–(how else can one describe an assortment that features the madcap barbs of MF Doom, the obscure verbs of Posdnuos and the thug mentality of Young Buck all on one record)–the focal point of Jake’s production hand revolves around his love for sweet guitar licks, unique drum patterns, reflective loops and subtle horns.

He isn’t afraid to pair the street-wise oratory of a rapper like Freeway with the keen life-poetics of Brother Ali as he does with “The Truth”; nor is he limited in tinkering with history as “Dead Wrong” feat. Young Buck and “White Van” featuring Alchemist, Evidence and Prodigy (disguisingly) borrows from past hip-hop hits.

Still reminiscent of the past, “Gangsta Boy” just might have long time-time hip-hop listeners reaching for their copy of the Menace II Society soundtrack, as Jake mixes M.O.P.’s harder-than-concrete raps with some eerie dark g-funk. Not that, White Van Music isn’t all a way-back-machine-journey to the past, as Jake manages to live in the present as well, opening doors to on the rise emcee, D Black who showcases Cube/Kweli-like potential on the head-nodding “God Like.”

A bit inconsistent in parts–Blueprint’s “Scared” takes storytelling to another level of dopeness, whereas “Bless The Child” featuring Little Brother rocks kinda average. Elzhi and Royce Da 5’9” lustrously unifies Detroit hip-hop on “Glow”; but “Kissin’ The Curb” featuring Bishop Lamont and Busta Rhymes churns out awkward. The beat crafted for Keak Da Sneak on “Soil Raps” fits the sound score, but Keak’s  growling-flow is an acquired taste.

Progressive and inventive, White Van Music brings a lot of contrasting talent into one setting.  Jake One’s penchant for bridging the gaps (and making this album sound cohesive) is truly the work of art on display here. We may never hear 50 Cent switch up flows with Cool Calm Pete–but with Jake One’s “rap is rap” philosophy those unified pairings are now more plausible than ever.

Casshern Sins is a remake of the 1973 classic anime series, the remake was announced at this year’s TAF. Production will be done by madhouse, with Shigeyasu Yamauchi as director, Yasuko Kobayashi doing series composition, and Yoshihiko Umakoshi doing character designs. In the original series, a group of robots created by Dr. Azuma go out of control when they determine that humans are harmful to the earth’s ecosystem. After the robots have gained control of Earth, the doctor’s son, Tetsuya, decides to have himself turned into a cyborg for the purpose of defeating these robots and freeing mankind from their rule.

I did know much else about this title, other than the Youtube trailer that has been posted online a couple of month’s back, so I was a bit hesitant in downloading the first two episodes when they go released. But after watching the first two episodes I am glad to say that this show is looking good, the very first thing you notice is the high quality of animation. And the second thing is the animation style, it is unlike anything I have seen in a very long time. And it brings something really new and fresh to this show and the genre.

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DISCLAIMER (angry creators, please read)

[[WARNING! THIS COLUMN MIGHT CONTAIN SPOILERS!]]

“Zombie monkeys! Riding dinosaurs! With JETPACKS! ON MARS! Contents may change prior to publication.” Ambush Bug: Year None #3, “next in” blurb.

This will be the shortest column ever, and not a pretty one either… So I open my folder for the week of 09/24, and find only three books there, and after what I call “the culling” (the process where I go through my notes and check which dissections are actually incorrect and which I have to discard because they’re not mistakes) I end up with only two books to write up. Well, one of them is Zorro, so that guarantees the minimum amount of dissections for one column… but should I still make use of my vault? Nah, sorry, even if this column is boring, it does help me catch up quickly.
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Remember back In October I reported on Resident Evil: Degeneration, the full length CG movie based off the popular Capcom franchise. Well it seems they have released a new trailer for the movie at Tokyo Game Show 2008. The movie is scheduled for release in Japanese theaters on the 15th of October; no date for a western release has been given yet. I just hope that it turns out better than the Hollywood attempts at bringing the Resident Evil franchise to the big screen, take a look at the new trailer.

It’s not a secret that I’m big fan of DC’s Jonah Hex; in fact, I’ve been raving about this book since the first issue hit stands three years ago. I don’t do a lot of comic book reviews anymore but when I read something good that deserves credit for being good—I “come out of retirement” so to speak.

I know it’s early but I firmly believe that Jonah Hex #36 should be nominated for the Eisner Award for Best Single Issue (or One-shot) for 2009.

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Hardly, the self-adulating type of DJ the hip-hop world is currently accustomed to hearing–DJ Revolution prefers to speak with his hands. Armed with a keen ear and a love for sample-based production, Rev has gained respect, yet shunned seeking the gleaming spotlight that his current peers aspire. With King Of The Decks, DJ Revolution looks to make the statement that the ‘DJ’ is more than just the guy that provides cuts and scratches. More than just the guy than blends the latest free-mixtape. More than just the guy that shows up to rock a party with 1000 mp3’s in his Ipod–and significantly more than the guy that constantly screams over an emcees‘ record…

Rev wears a variety of hats thru the course of the album (producer, mixer, arranger…scratch nerd)–and with the help of an all-star DJ line-up–Premier, QBert, Spinbad, Raid , Numark strives to make KOTD a impact event. An equaling amount of firepower on the mic is brought to the table as well, as wordsmiths from Cali to New York (and parts in between) take turns at movin’ the crowd.

If you can get past the face-melting “King Of the Decks” featuring the diabolically animated rhymes of Sean Price and Tash (of The Liks) or the equally ill “Start The Revolution“ feat. The Boot Camp Clik; the lyrics of KRS-One on “The DJ” are bound to strike a chord as he puts the blast back in Blast Master with his 10 DJ Commandments which ultimately urges all hip-hop disc jockeys to “stand-up for the culture, don’t just grab a check!“

Guilty Simpson and Royce Da 5’9”, flow over a Rev constructed joint that’s slicker than Shaft’s theme music on “Do My Thang“; while Rev literally brings-dat-beat-back channeling King T’s “Played Like A Piano” on the upgraded “Funky Piano” featuring Bishop Lamont, Crooked I and Styliztik Jones. Continuing with a strong West Coast presence, Strong Arm Steady gets oh-so gully on “Blow Da Spot,” which is evened out by the analytical rhymes of Evidence on the cerebral “Pro’s & Con’s”; and still feelin’ the Likwit hangover Defari‘s, “Spit Ridiculous” lives up to its name.

As hard as DJ Revolution works to make King Of The Decks an official hip-hop happening, it would’ve almost been better for him to build this album with only a select few. The audience is privy to a lyrical tongue lashing on an Olympic scale–however, the album suffers from too much rhythmical overdose.  Rev cooks up some stimulating boom-bap here and some of the artist turn in strong performances with tracks that would easily make the final cut of their own albums (“Casualties of Tour“ which is Rakaa Iriscience‘s tale of shady promoters and road woes comes to mind) —while others like the un-invigorating “School” with Planet Asia or the totally off topic “Damage“ feat. Blaq Poet & Bump Knuckles find seemingly well respected rappers rhyming for the sake of riddling.  And with an such uneven performances throughout, the album looses momentum and a bit of its original focus.

Although  sprinkled with a few less than high spots, King Of The Decks marginally answers its initial inquiry–”what’s a hip-hop DJ?” The message gets a little distorted, but what Revolution wants everyone to remember is that  the ‘DJ’ plays an integral part in driving the culture–(or at least should)–and to let that aspect of hip-hop fall by the wayside would further provide the disheartening attitude that’s associated with today‘s rap music.

The talent DJ Revolution assembles here do their best not only to answer that looming query by effectively defining the duties of the DJ, but also insure that nobody ever forgets the significance of the their role.

Four years have passed since the final battle between Celestial Being and the UN Forces. Humanity, having established the Earth Sphere Federation, forms an independent security preservation force, A-Laws, separate from the formal Federation army. Given un-fettered discretion, A-Laws is charged with the duty to further unify nations and enforce the will of mankind. Unknown to the general public, however, is A-Laws’ misuse of power and inhumane tactics to oppress freedoms, doctrines, and ideologies in the name of ‘unity’.

Saji Crossroad has followed the path to becoming a space engineer, to keep his promise to Louise Halevy. Louise herself is compelled to become involved in Federation government reform and joined A-Laws as a mobile suit pilot during the four-year gap.Meanwhile, Setsuna, having survived the battle with Graham Aker four years ago, has witnessed a change in the world due to the actions of Celestial Being.

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On Tour currently across the US, two piano (among other instruments) virtuosos stopped in NYC for a pair of shows last week. The first night was a crowded affair, and delivered some of the best live music I’ve ever witnessed.

Starting with the opening act, Missy Higgins, I heard it best at the show. “Her beauty in both looks and voice can’t possibly be contained on a recording.” I’ve been a fan of Missy for about a year now, having first heard her single “Where I Stood” at the end of an episode of Smallville. She played that song late in her set, which was a healthy mix of her current album “On a Clear Night” and her older EP. Whether standing with a guitar or sitting behind a piano, the unique and angelic voice filled the entire stage and the entire concert hall. This is a voice that can make problems disappear, and seemed to for everyone there. Songs that I’ve heard a thousand times sounded brand new in person, and her complete humility comes off as genuine and adorable. This alone would have been worth the cost of a ticket, and then Ben Folds took the stage.

Folds did two complete sets and an encore. That alone should give an idea of his reception by fans. He has a reputation for being a bit funny, a bit crazy, and loving audience participation, and that was evident here. Big fans know that two versions of his new album, “Way to Normal,” have been released. First, he “leaked” a fake version of the album onto the internet over the summer. This had a mix of actual songs from the album and “fake” songs bearing the same or similar names to the announced titles. These were conceived, written, recorded, and published in the space of 72 hours while on tour in Europe. They are also better than 95% of pop music out today. His immense talent shined as he and his band played a mix of “real” and “fake” new songs for the first set. Missy Higgins joined him on stage for “You Don’t Know Me,” as the recorded version includes vocals by Regina Spektor. The playful attitude between these new friends was an early highlight of a great show. After the first set, Ben and band came back on stage, and he told the audience that some fans seemed upset in early shows that he played all new songs. he then proceded to play virtually all his classics, from “Battle of Who Could Care Less” to “Army” and even reaching all the way back to “Philosophy.” Being a long time fan, it was thrilling to hear him play these songs live, and even hear some of the songs I heard the first time I saw him, nearly 12 years ago. There really wasn’t a down moment in the entire two sets.

Fans of music, fun, hapiness, and beautiful girls singing beautifully should get out to see this show as it comes to your nearest town. Feel free to sit, as this isn’t exactly rowdy dance music, but these two shouldn’t be missed. I imagine this will be Missy Higgins’ last “opening act” tour, as a talent like that is destineed to be headlining soon.

The immortal girl, “Shikabane Hime,” has the mission to “kill” 108 corpses. It’s a contract she has between herself and the Buddhist monk, Keisei. After 108 corpses, she will finally get her happiness and go to heaven. The story starts off with a bunch of high school students, taking the dare to go into at abandoned building that has been half destroyed by a fire. It was rumored to be haunted. Just a rumor, right? Not when real corpses start showing up and attacking them. And that is where they meet the Shikabane Hime.

Shikabane Hime (Corpse Princess) is the first big project for Gainax after there smash hit Tengen Toppa Gurren Lagann, so this show has a lot to live up to as the bench mark for quality was set really high with there last show. And the first episode of Shikabane Hime does not disappoint, it incorporates the Gainax flare for animation and action sequences with a big helping of zombies and evil spirits.

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