Physics of Filth review


Futurewave lays down the foundation to this brilliant album. Asun brings his flawless rhymes to the table serving them up along side his comrade Daniel Son’s meticulous bars. Physics of filth talks to us about the struggles of everyday life. Life vs Death the Good vs the Bad. It will tell you about seeing the world decaying around you and still keeping the spirit high enough to reach a greater purpose.

With Futurewave at the helm of this project you can expect the virtuoso of sound to bring us something unique with every track. Stringing the tracks together with ingenious structure through the length of the album. His beats make the feel for every tale Asun and Daniel Son penned out giving us the soul for each track.

Go to Church starts the atmosphere of the album off right. The electric tone for this track hits Daniel Son’s radar straight on point. Daniel Son’s grimy distinct flow cuts through Futurewave’s layers on this beat. Asun steps in with his precise bars keeping everyone’s full attention creating a complete force on this song.

See maneuvers of the snake out of my laziest eye- Daniel Son

You raised the bar,  I’m wondering why that bars shaky? – Asun Eastwood

Snake Oil keeps Asun & Daniel Son’s lyrical swords sharp. Futurewave’s use of keys gives this an upbeat cooking up in the lab vibe. Asun teaches us about supply & demand through his rhymes. Daniel Son comes into the mix killing it like a Mortal Kombat finishing move.

Fuck making the tables turn throw them off the fiery bridge, lesson learned. –  Daniel Son

Underbelly kicks off and I already love this with its Full Metal Jacket monolouge. The intro is insanely twisted into a perfectly warped version of the film. Futurewave cultivates every beat with multi layered sounds. Pairing up Daniel Son & Asun Eastwood brings us a dynamic ensemble.

Put the blammer to they bladder and watch the piss roll out. I’m thinking I95 if the shit goes south. – Asun Eastwood

I know I’m destined to die of gypsy stab wounds. – Daniel Son

Fuck you thought is on the type of wave that will flood the charts. Asun butchers this track together with Daniel son hustle by any means necessary. Futurewave’s sound summons you with the lure of a snake charmer.

We hustle forever I’ll sell blood to a fucking heart. Toad venom on a rusty star – Asun Eastwood

Barefaced Killah is one of the rawest tracks on this album. Futurewave keeps true to his handle with the futuristic accents in this song. Asun delivers some vicious lyrics ready in arms against any ill intentions. Daniel Son gives us the sickest bars I’ve ever heard someone spit. Pure unadulterated filth being served here.

We face death like we aint scared Le Muerte in my skin I escape fear. – Asun Eastwood

Where amateurs dream of being a pro after. Dollars to the opium lady eating the goat bladder. – Daniel Son

Stove Lit proves that not one song falls short on this project. Futurewave spins the background flawlessly with his consistent quality. The airy flute floating in the background with a twist of a smooth soulful flip towards the end. Asun laces the joint with accurate precision and Daniel Son brings in the heavy with a hook sealing the deal on this.

I heard you had some leaky noses seeking service. If they’re bugging and needy I got some for purchase. – Asun Eastwood

Moonwalk is your script to grimy underground hip hop. This track features Black Nazi another talented artist from the North. Futurewave’s Deep intricate drums line the beat. Daniel son is spitting out lyrics that show off his alluring writing skills. Asun goes hard with his refined rhyming technique. Black Nazi comes close to literally massacring this track with his dark twist on killing it in the music scene.

Bite your tongue or loose your whole face. If the good die young I’m destined to die of old age. – Daniel Son

That’s why my tracks runneth over with out the train. – Asun Eastwood

See the kind of shit that I’m on that Hannibal mind frame. – Black Nazi

Bloody Tears gives us a hardcore drum set with raw guitar licks bellowing along with the beat. Daniel Son proves he can stand toe to toe with any sophisticated sound Futurewave creates.

Trying to fly to Tokyo my dude a Japanese tour. More revenue streams the bread increase more. – Daniel Son

Physics of filth brings in an eerie undertone with its spooky distortions and feel. Asun & Daniel Son dig into this beat dropping knowledge from the jump off.

The device we use why they picking up linguistics quick. -Asun Eastwood

Sonzarelli hit the crane kicking the Kumite. I don’t speak much I rest my case on what the proof will say. – Daniel Son

Tuscan Leather has a fluid and drippy sound that Asun melts right into. Daniel Son takes the joint out with one shot one kill.

She said Tuscan leather smells to woody,  it costs more than your life bitch. Move from me. – Asun Eastwood

Double wrap the package that’s what they got the steaks in, but they cut your tongue off you never got to taste it. – Daniel Son

Rule of thumb captures a melodic tone that Daniel Son lines with his accurate darts. Asun rips this beautiful beat apart with his finishing moves.

Thru the storm I try to capture the ship. – Daniel Son

I see myself but I’m on a different plane my higher self. – Asun Eastwood

Legacy is everything I wanted from a track. Daniel Son, Asun Eastwood, and Futurewave are grinding hard to build on their legacy’s. So much talent being brought forth by these gentlemen.

You’re after fame I’m after legacy. -Asun Eastwood

Dodge the kiss of death, shortie got her lips wet. – Daniel Son

SMACK!!! has the feel of a movie climax with every bar Asun and Daniel Son spitting as the plot twists. The ending is my favorite moment of this album the Goodbye. This team  gave us a methodical album that helped us hear, feel, and see in our minds eye the scenes being laid out before us.

Thank you for the hard work and dedication for the fans. You guys are talented beyond words can say.

Purchase this project today physical copies can be ordered via email provided on the Bandcamp page. Digital DL available now at


@Futurewave on Instagram @647wavegod on Twitter

Asun Eastwood @asuneastwood_toma on Instagram @AsunEastwood on Twitter

Daniel Son @DISSBBM on Instagram and Twitter

Subscribe to Mercenary film on You Tube

Check out the Moonwalk video here:












Producer Spotlight: Onaje Jordan


Sharon and I were discussing some of the coolest things about running a hip hop website and podcast the other day. You get to meet new people all the time, get exposed to new music at the ground level, its purest form, and watch the careers of your friends go in different directions like a prism. Today’s spotlight has a special feel, Onaje was one of the first people to hit the like button for us, one of the our very first supporters. Months later, his career is already blossoming. He has worked with friends like Asun Eastwood, not to mention beasts like Supreme Cerebral, Recognize Ali and FastLife. He fully produced Cocareef’s new album The Diaz Brothers, which is available now via their website. Onaje is a humble guy, so I’ll state it for him: he’s making big moves and not letting up.

RD: What’s your musical history? What kind of music were you raised with, and did it influence your sound today?

OJ: I was raised on the classics. Bobbi Humphrey, Freddie Hubbard, Roy Ayers and other jazz greats like that. Names like that greatly influenced the hip hop acts I admired. Classic tapes like the Purple Tape, Illmatic, Enta Da Stage, Midnight Marauders etc. The golden era that featured sample based production and real lyrics. That era influenced me greatly. I fell in love with the golden era style. It really shaped the way I approach beat making. Shopping for samples, chopping samples and the overall sound I’m trying to make.

RD: In the past year you’ve landed placements with Asun Eastwood, FastLife and others, what do you credit the recent surge to? Have you been actively shopping your work more?

OJ: The surge happened after I hooked up with Formula 16. Uncle Doe, who put me in tune with Asun Eastwood. Those cats from Toronto really liked my sound and that helped me being recognized by other dope artists Like Recognize Ali and Supreme Cerebral. Since Verified Account from me and Asun’s upcoming project dropped, my inbox has been blowing up with work opportunities. I’m very humbled by that.

RD: Do you create with anyone specific in mind, or worry about that later down the line?

OJ: Naw, I just create and whoever is feeling it uses it.

RD: Has your approach changed as tech moves on, if so have you made any new additions to your setup?

OJ: Yeah two years ago I updated from a MPC 2000XL to the MPC Renaissance. Bounce the tracks straight from my laptop to an MP3 file and flood the market with my beats.

RD: Talk to us about Zemene Mesafint and how producing a full project varies from a one-off collaboration.

OJ: That’s a project I dropped with the emcee Azariah from Rochester, NY. It dropped this past spring. It was different, instead of sending an emcee a beat and they do them with no input from me on the direction of the song, I had input on the direction of the project. It was a great experience, the project always sounds better if the emcee and producer on the same vibe.

RD:Now that your name has surfaced a bit more, does that create a snowball effect for more work, or is it still a grind?

OJ: It’s 50/50. My inbox has more requests for my services now, but I’m still grinding. I’m playing catching up to other dope producers like Futurewave, DJ Finn and others like them.

RD: The standard Q, give me your first 5 calls to start the ball rolling on an Onaje project.

OJ: Uncle Doe is first, he’s the executive producer. Then it would be the fam; Asun, Daniel Son, Saipher Soze and Rigz

Check Onaje out online
onaje_akbar_jordan_39 on IG
Onajejordan39 on twitter

The Diaz Brother album is available now at

Producer Spotlight Interview: E.l.e.m.n.t.



There’s a good chance of you owning an E.L.E.M.N.T. production project in your collection. Between placements for Roc Marciano and doing the bulk of Knowledge the Pirates well-received debut Flintlock he has put in some serious work lately. We had a chance to catch up with him to discuss a number of different topics.

RD: I can’t find a lot of info on you, can you give us your background in the music game? How long have you been producing?

E: My first major placement was in 2012 for Grand Puba. I produced “How Long” off of his Retroactive album.

RD: You produced quite a bit of the well-received ‘Flintlock’ album by Knowledge the Pirate, talk to us about your relationship with him and the making of the album

E: Pirate is like my big brother, our synergy is in line in many ways. We had a mutual friend that I was producing a Snoop Dogg record (“Love Around the World”) for at the time and Pirate was digging my production work. After a few months of conversations and beats being submitted, Pirate made me the offer to join the team. The making of the album was an incredible experience on every level. Being able to be mentored by two (Pirate & Roc Marci) of the best artists in the hip hop game is priceless. Pirate is an active hip hop legend and a visionary. He approaches music from such an organic, real place.

RD: Was the project a long time in the making? Knowledge had been around, but it took quite a bit for him to debut

E: Pirate is very much in tune with life and its surroundings. It wasn’t about forcing anything but just waiting for the right time/feeling. Everything just fell into place for his first solo project.

RD: You produced ‘Respected’ and ’67 Lobby’ for Roc Marci’s RR2: The Bitter Dose. Roc generally works with a select few when it comes to his production, how were you able to get your stuff heard by him?

E: Pirate introduced me to Roc Marci and the rest of the fam. To be a part of the production team is a blessing and a honor.

RD: Water To Wine was a collaborative effort by yourself and Tone Atlas. Talk to us about the difference between lacing someone with 1 or 2 beats vs. a full project.

E: I approach music and working with artists as if I’m scoring music for a film. There’s different scenes, chapters, moods that go on when you’re working on a full project. A single song placement is great too, but creative control is just not like working on a whole project. Every legendary producer that has influenced me like Quincy Jones, Bob James, DJ Premier, Dr. Dre, The Ummah, Pete Rock, RZA, Havoc, Alchemist, Just Blaze, Jake One, Large Professor, Marley Marl, D.I.T.C, The Hitmen, Def Squad, Bink, Nottz, Hi-Tek etc.. have all produced complete legendary albums. That’s the legacy I would like to leave behind.

RD: Let’s talk gear if we can, what are some pieces you use? Have you made any recent additions to your setup?

E: I’ve learned simple is always best, especially when working on pre-production. I use the AKAI MPC 2500, MIDI keyboard and my record collection of rare soul/funk, jazz, gospel, psych rock 45’s and LPs.

RD: Who are the first 5 calls you make to start a producer album?

E: Knowledge the Pirate, Roc Marciano, Rapsody, Action Bronson, Panama Dro


Flintlock is available at Bandcamp


Instagram – @e.l.e.m.n.t.

Twitter – @KoncreteJungle_

Flintlock album review By Nick Gauder

IG – @fadeawaybarber & Twitter – @fadeawaybarber2

Barber Nick album review of Flintlock

I was asked to do a review on one of my Top 3 fav albums of the year “Flintlock” by Knowledge The Pirate. Of course I said I’d love to, but felt I was a little biased considering how excited I’ve been for this album for the last year or so and how much I’ve been bragging about it since it dropped. I will never say anything is incredible if I don’t truly believe it. So instead of doing a track by track review, because that would be as long as a novel. Instead I’m just gonna review a few of my standout tracks & then give you my overall review of the album.

The album opener is “Roots Of A Thug” & what a fucking opener it is! The opening verse was stuck in my head for the first month after it dropped even my daughters can recite that first verse word for word. Knowledge paints such vivid pictures with his rhymes, and every bar you feel it like you know he lived this shit unlike some emcees. The prod by Mushroom Jesus is perfect one of the best opening songs of the year.

The next five songs two produced by Roc Marci & three by Elemnt were nothing short of incredible. The song “Wrinkled Feathers” prod by Elemnt is one of the hardest joints of the year & the visuals for this song was great too. Elemnt has been one of my favorite producers for a minute now. I’m hoping after everyone hears his production on this album which were 7 standout tracks, they will start to see & appreciate his greatness like I have. Roc Marci is my all time fav Emcee, and he’s also one of the greatest producers in the game and on this album his production was some of his best work yet.

Another producer/engineer who’s work was amazing on this album was Mushroom Jesus. The dude is so talented. The true star of this album and captain of this boat was Knowledge The Pirate. After all the the dope feature verses on classic albums from Roc Marci this was his time to shine and damn did he shine. Made not only one of the most memorable albums of the year which I think time will prove it to be a classic, but he also made one of the best debut hip hop albums I’ve heard in a long time. He did it his way, independently and with hard work.

This album was incredible front to back and will be appreciated for the next 30 years. So if you haven’t heard this album yet do yourself a favor, buy the album, hit play, turn that shit up real loud. Let Knowledge’s vivid rhymes and the sonic landscape provided by Roc, Elemnt & Mushroom Jesus, take you through the mean streets of New York City on his Pirate ship. Ahoy!