Image Courtesy of Phlegm

DC’s Phlegm molds rage into music on “Anger Management.” What happened to the love and affinity for the bad guy? While rap’s protagonist seems to have been marginalized to make room for more corporate agendas regarding music distribution, Phlegm re-instills poignant vulgarity and brash narratives in a time when it’s most needed. “Anger Management’” is a 9-track work (with production from K.eYe.D, Tedy Brewski, and RESPECK to name a few) displaying his signature gruff, bass tone and slow, methodical flow, introducing his view on the grind and individual take on life. From cuts like Neck In The Whip, P.O.P., and Steak & Lobster the MILF member’s ability to sprinkle just a dose of comedic appeal (intentional or not) to match the sonics is what makes it even more special. “Anger Management” isn’t about humor, but Phlegm’s acumen for the real and obvious brings fourth a refreshing smile that Hip-Hop can still be a counter culture as ever. “Anger Management” is supremely satisfying merely for the fact that it makes you feel implicated in all of it. Being his first release, Phlegm and “Anger Management” are symbiotically (and righteously I may add) forming an anarchist stance on authority, establishment, and the current music climate altogether. You mad?

Listen to “Anger Management” below or buy on iTunes HERE.

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Milf Mitch creates cinematic euphoria on “Ultra Violence.” There’s quite a muddied line between dropping a song on your platform of choice and conceptualizing work that molds varied art outlets into one.“Ultra Violence” is the product of the harmonic mold. The overetly sampled elements of Stanley Kubrick’s celebrated “A Clockwork Orange” not only pay homage to an intricate and avant-garde masterpiece, but artistically mirror Mitch’s musical identity. “Ultra Violence” acts as an aggressive documentation of Mitch’s “Alex” to MILF’s “Droogs” (if you follow the references) and their brand of graphically authentic narratives; a fancy way of saying the music reflects the self. The tape’s drowned out, space-fi production establishes a setting of trap-like landscapes which parallels women and weed smoke to the on-screen brotherhood of the fictitious delinquents from England. “I Do” sets a boisterous tone to the project that constructs and underlying yet consistent middle finger to what society deems as the status quo. From “4 Flat,” to “Say The Wrong Thing,” and even “Product Of My Environment,” Mitch continuously leaves his stamp of gritty, consciously awaken trap music. “Its Raining” (Interlude) beautifully includes one of ACWO’s most recognizable quotes, another flawless merger of the film world and music world alike. “UV” lets imagination free and grabs visionary inspiration from a set of characters some wouldn’t expect a DC rapper to identify with. Since Alex ‘s dichotomy is well documented, there couldn’t have been a more fitting character. This release is art, and it takes a true artist to really grasp it’s complexity. In regards to Mitch, well, maybe that’s the point. “When a man cannot choose, he ceases to be a man.”

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