01. Sing Sing
02. Shorelines
03. One's Perspective (feat. JayBez)
04. Expressions
05. The Usual Maneuvers (feat. Yorz True)
06. Note to Self
07. Exhibited
08. Looking For Freshness (interlude)
09. Inertia's Lament
10. Ice the Pain (feat. JayBez)
11. Living Room
12. Trenchmouth
13. The 12 Gauge
14. Praise
15. Privilege
16. What it Seems
17. Outro

Also known as the H2A Crew from Ossining, NY, Hand Held Aspects have dropped their first 'official' release, From Point A to H. This album follows a demo release in 2000 entitled No One's Listening, and a solo album in 2001 from group member Losaka, Duck the Norm. Hand Held Aspects [Eibol, Hippo, Losaka, and Stayinsane] have been working together as a group since 1998 and describe themselves as lifelong hip-hop fanatics and close friends. Though their musical preferences are diverse [hip-hop, jazz, psych rock, funk, southern rock], they cite De La Soul, Black Moon, Dilated Peoples, Madlib, and Tribe as hip-hop influences.

Hesitant to embrace the classification 'alternative hip-hop,' the group maintains that most of their songs capture the feel of old boom bap, though some of the ideas may deviate from the norm. One of the first things I noticed on the album was the production, all of which has been handled internally by Losaka, Eibol, and Hippo. The transitions are smooth, and the beats are clean and sharp - relatively atypical of many semi-fledgling underground recordings. What is especially dope is their ability to create a sound that is distinctly underground, yet polished.

According to the liner notes, From Point A to H is somewhat of an 'audio yearbook' of the group's early twenties. The rhymes are reflective, at times conversant, and positive. Hand Held Aspects aren't trying to revolutionize hip-hop, they simply aim to make music - fun music - that their listening audience can throw on and enjoy. With that in mind, they have certainly met their goal.

'Sing Sing,' the first single off the album, proves to be insanely catchy while avoiding a debasement in quality. I should note that all four emcees have a unique approach to word flow at times, and seeing the written rhymes doesn't do them justice: 'I'm labeled a suburbanite/ with pencils made of graphite/ when kids see me write/ they say 'yo you do graph right?'/ yeah I might/ when I recite it's disciplinary/ I cage MC's/ I'm the cat that swallows canaries/ styles vary/ my tongue is never tied my shoes are always laced/ I'm an acquired taste/ check the look on ya face/ I spray paint as much as women spray mace/ don't try to give me space/ I'll return it defaced'
'I'm thinkin' directly outside the box/ and I'm sly as a fox/ cuz I fly in flocks/on point like the teeth of a pumpkin/ over beats and production/ it's like concrete construction/ cuz I molded my lyrics and educated the building of pyramids/and my mind is gifted/ for making a difference/ like hieroglyphics and ancient Egyptians/ so label this the epitome of lyrical wizardry/ and my thoughts be lifted like a spiritual energy/ very exquisitely.

The second track, 'Shorelines,' uses a roots-style reggae infused beat with playful guitar and vocal. Slight braggadocio tendencies on this one, but it's all laid down well in lengthy bars: 'Set the page ablaze/ like Hendrix did guitars/ so I spend more time in studios then I ever will at bars/ when I deliver there's no lyric/ getting drown-ed out by liquor/ it's plainly sicker to see me use my tongue as a trigger/ careful of the crossfire/ or get flooded and soaked/ I blow across my barrel/ it releases alphabetical smoke/ choke and poke/ at ya throat/ for trying to bite these quotes/ indigestible - hazardous to health/ no anecdotes/ knockin' ear drums for loops/ so hard they can't recoup/ and I've been hype since Mr. Williams had his first video shoot.'

'Living Room' is another solid track. In terms of production, I sense a little El-P influence. Lyrically they offer some interesting commentary, as they touch on society, corporate America, and the effects of mass mediums: 'Turn off your TV/ the tube will rot your brain/ propaganda sprayed in every which way/ a lot can change if you let it/ you don't make history by following the rules/ you make it by seizing the moment outsmarting the fools/ the megalopolis stood like the acropolis/ I take one step on top of this wreckage and look upon the dawn of this day/ it's much bigger than you or me/ but still they play as if the all visible I cannot see and yo/ they got us brainwashed with cars, guns, hoes, clothes, bank rolls, bling bling/ they're dictating what we can sing.' They manage to paint a great picture here by infusing relevant TV and movie blurbs, including good bits from The Long Kiss Goodnight, and Office Space.

Another standout song, 'One's Perspective,' features JayBez , who also surfaces on two other tracks. The beat is definitely packed - progressive and blended with the ethereal sounds of what resembles a South American quena. This track also features the skillful incorporation of snip from a Common verse ['The 6th Sense']. Four minutes and twenty-five seconds into the song it's completely switched up and breaks into a fun 'remember-when' style verse dropped by Losaka over an old school beat that's a throwback to the block-party vibe complete with handclapping. Very ill. This is actually recreated [same beat/ new verses] on three other tracks, 'The Usual Maneuvers,' [Hippo] 'Ice the Pain,' [Eibol] and 'Praise' [Stayinsane]. Good news is it's not redundant or overdone. In fact, it's perfect. It provides continuity and effectively unifies the album while delivering casual, entertaining rhymes that engage the listener and recount the group's past.

Hand Held Aspects aren't big on exaggerated hooks, and as a result they benefit from not losing substance to excess. Even the most flagrant hook on the album works well. Memorable for the soulful beat and pronounced end rhyme hook, is the fourth track, 'Expressions': 'It's the E-X-P-R-E-double S-I-O-N-S/ modern day expressionists/ effortless/ how we set the stage for impressionists/ perfectionists/ when we define what perception is.'

Other notably good songs include 'The 12 Gauge,' 'Trenchmouth,' and 'Privilege'. All in all, this seventeen-track 'debut' is unquestionably consistent. From beginning to end it was a good listen. I wasn't completely blown away by the lyrical content throughout, but the deliveries are tight and the arrangements are impressive. Varied and unique beats will do more than hold your attention, and their perspectives on hip-hop culture in general are intelligent and respectable.

These guys love what they do and it shows. Heads will bob.

- Kristen Asklund