Preservation | Its Hip Hop

New Jersey emcee Crimeapple enlisting New York producer Preservation for his 12th studio LP. Becoming a fan of his in the fall of 2017 with his 4th EP Sweet Dreams along with the Big Ghost Ltd. produced full-length debut Aguardiente that following spring, his profile in the underground grew exponentially from there. Discography standouts include the DJ Skizz-produced Wet Dirt, the DJ Muggs-produced Medallo, Cartagena, Breakfast in Hradec & Sin Cortar. However coming off a sequel to the Kilómetros EP few months ago, El León to me personally was already destined to become the most I’ve enjoyed Crime’s music in nearly a year & a half.

The title track starts the LP with heavy horns & pianos saying he doesn’t care if he was acquired for your tastes or not whereas “Don’t Mention It” featuring Sadat X keeping it drumless talking about how this shit isn’t a joke to them at all. “Lion vs. Panther” has this crazy vocal flip comparing himself to a lion & everyone else in his way as panthers prior to “Hunting Methods” bringing this infectiously drumless loop flexing that he doesn’t wait in line.

“Melena Dorada” featuring RLX talking about how blessings are all copious over some strings just before “Fumemos” goes into a stripped-back direction dedicating this one to all the smokers. “Camino Solitario” talks about traveling down a lonely road over a boom bap instrumental, but then “Vida Mantequilla” hooks up these kicks & snares with heavy horns having fun with a blonde on a Friday.

The song “Paw Prints in the Sand” wants to know how anyone is qualified to go up against him over a nightly beat while the penultimate track “Quanto Te Quiero” shifts into more delicate territory talking about a romantic interest. Finally to end the album, “Bulevar” is a deadpan closer dodging stress in favor of catching fish on a boat & might even give you some game if you ask him correctly.

It’s been quite some time since I personally have covered a project of Crime’s as his discography tends to be a little hit or miss sometimes, but El León unquestionably lived up to my expectations becoming the most I’ve enjoyed a project of his in a year & a half. Preservation’s predominately drumless production is more consistent than a lot of his output in 2023 & we get a metaphorical beacon for the unyielding hunger that the lyrical predator has always shown.

Score: 9/10

Source: UndergroundHipHopBlog.com

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This is the 10th full-length album from Washington, D.C.’s very own billy woods. Whether it be him teaming up with Elucid as the duo Armand Hammer or his own solo output like History Will Absolve Me & Dour Candy, there’s no denying that he’s been steadily holding it down for the abstract hip hop scene for a minute. But coming off Armand Hammer’s magnum opus Haram produced entirely by The Alchemist last spring, billy is now enlisting Preservation to lace Aethiopes from top to bottom.

“Asylum” is a chilling opener with it’s piano instrumental & vivid storytelling from billy whereas “No Hard Feelings” works in a blaring instrumental talking about how he’ll “show you Slum Village”. “Wharves” throws some vibraphones in the mix describing monster cannibals just before Boldy James & Gabe ‘Nandez tag along for the dusty “Sauvage” getting on their street shit.

Meanwhile on “The Doldrums”, we have Billy on top of a settle yet dark instrumental reminding that “nothing happens ‘til it does” leading into Armand Hammer & Crown Nation teaming up for the dusty “9” to talk about the one true & livin’. Mike Ladd comes into the picture for “Christine” to somberly upset the town, but then the El-P/Breeze Brewin’ assisted “Heavy Water” providing streams of consciousness on top of a grim beat.

“Haarlem” is a decent 2-parter with Fatboi Sharif coming through with one of the weaker features on the album, but Despot’s verse on “Versailles” happens to be much better as he & billy get conscious on top of a triumphant instrumental. “Protoevangelium” with Shinehead delivers some slick production talking about “Whom the cap fits, let them wear it” while the penultimate track “Remorseless” speaks for itself over a flute-heavy beat. “Smith + Cross” then ends the album with a bare, harmonious loop talking about some being slumped & gassed in what they’ve done.

For this to be billy’s first solo outing in 3 years, I think he happened to come back with one of my favorite ones that he’s crafted so far. A couple of the features lacked, but Preservation knocks it out of the park behind the boards & billy’s abstract lyricism continues to blow wigs back.

Score: 9/10

Source: UndergroundHipHopBlog.com

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Tag Archives: Preservation

Crimeapple Likens Himself to a Lion on “El León” Prod. by Preservation (Album Review)

billy woods & Preservation Team Up to Drop ”Aethiopes” (Album Review)

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