Self-released :: 2012 :: meyhemlauren.com :: download mixtape

Meyhem Lauren is close to Action Bronson. He belongs to the Outdoorsmen, like him. As a matter of fact, the big bearded man is featuring on this project, as well as the third member of the trio, Jay Steele. But they are not alone. While they were all gathered into the same hotel, during Austin's SxSW festival, a full bunch of New-Yorkers contributed to the mixtape, like AG Da Coroner, Roc Marciano, Das Racist's Heems, Smoke DZA – whose latest project, Rugby Thompson, is equally remarkable -, the guy named J-Love, with whom Meyhem Lauren had started his career, but also the Boot Camp Clik veteran Sean Price, and someone we had lost track of one decade ago, the good old Thirstin Howl III, from the Lo-Life collective. Actually, the only guest on this mixtape not from New-York is Riff Raff. Nobody, though, should complain about the presence of the irresistible Texas buffoon.

Last but not least, Harry Fraud is there as well. In addition to his work for French Montana, Wiz Khalifa, Juicy J, Rick Ross, or more recently Curren$y and Isaiah Toothtaker, and for the above mentioned Action Bronson, Riff Raff and Smoke DZA, the trendiest producer in 2012 produced half of the beats on Respect the Fly Shit – Tommy Mas, the man behind Action Bronson's Dr. Lecter took care of the second half. And the skills of the longhaired white man play a decisive role, here.

Expectedly, this record is full of harsh words, with many references to sex and drugs. It also displays some social observations, like with "Pan Seared Tilapia". And some moments are dedicated to love, like with "Lets Hold Hands". Also, it sometimes sounds like yesteryear's boom bap, with its soul samples ("Top of the World", "Grown Man Palettes", "Radioactive Tuna"), and its minimalistic beats, like with the vintage "Drug Lords" or, on Tommy Mas' side, "Top of the World".

Harry Fraud's contribution, though, is made of some additional embellishments: the introductive "Fingerless Driving Gloves" has a threatening guitar and a heavy organ; "Special Effects" some choir and subtle drum patterns; "BBQ Brisket" has another organ, and a freewheeling trumpet; "Juevos Rancheros" plays with a relentless synthesizer. He uses a large set of sounds which, altogether, and joined with the rapper's talent, helps renovating New-York rap's tried and tested formula.