download sareem poems pnd album sareem poems. Exclusive: Sareem Poems – Skadaddle Cartoon Mix ft. Pigeon John & Akil (Nick Tha 1da Remix) [mp3] As we continue the onslaught of fresh downloads this week, we drop off another exclusive,… Sareem Poems – Black and Read All Over. Sareem Poems – Black and Read All Over Mello-Groove: 2009 Christian hip-hop often seems stuck… Download: Sareem Poems feat. Akil & Pigeon John – Lower The Boom prod. Theory Hazit. Kenny Fresh just sent this breathe of fresh air over, a track by Sareem Poems… Download sareem poems pnd album. Product: CD Artist: Sareem Poems Album: Black & Read All Over Release Date: July 28, 2009. FAQ. When will my order ship? Due to COVID-19, we are experiencing delays in manufacturing & order processing. Our team is working hard to get all orders shipping as quickly as possible and we expect all orders to ship within two weeks of posted release date. You will receive a tracking number in your e-mail when it ships. 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We have strict quality control both coming into and out of our warehouse and we use the most secure packaging available to get LPs to you safely and in the highest quality. Unfortunately, split vinyl sides can happen if shipping companies aren't careful with your product and that risk should be considered before purchasing. Unclaimed Packages. Lost packages are usually the result of entering an address incorrectly, moving before the item arrives, etc. When this happens, we will reach out and e-mail you to verify your address and resend your package. If we don’t hear back after 14 days, we will refund your order. Sareem Poems’ Tuned-in Tone Poems. Hip-hop artist Sareem Poems (of LA Symphony and FKA Sharlok Poems) infuses his work with the metaphysic ideologies of Afro-spiritualism. “My vocal tone doesn’t really mesh well with lighter, poppy music,” rapper Sareem Poems maintains. “I believe music should be felt and heard. I like some of what’s been going on in hip-hop. But… hip-hop should not feel like R&B. Having someone sing a hook or adding instrumentation is beautiful. Taking all of what hip-hop was built on out of the music, then calling it hip-hop is not hip-hop. It’s something I’ll never be able to do.” With his thunderous baritone rumbling across the terrains of his soulfully-steeped hip-hop, Sareem often angles for the more robust grooves of the genre. His intense bass upon bass approach is his brand of hip-hop’s most identifiable trait, though his profile amongst the hip-hop community remains rather low. The decidedly gospel filter with which he forces out a poetry of urban spiritualism has set audiences on either side of a preferential divide. But those keyed into the heavy swing of a hard loping groove can appreciate the pleasure-seeking vibes in his work. Sareem first cut his teeth as an artist, performing as a member of Californian hip-hop group LA Symphony in the late ’90s. Then known as Sharlok Poems, he would spend the better part of the early ’00s putting together demos for a solo album called Left (2002). “My goal was to put more of what I listened to into the music,” Sareem says of his debut. “Native Tongues, poetry, jazz, R&B. When writing, I steer clear of listening to hip- hop so I don’t subconsciously take on what I’m hearing.” While still playing within the conventions of hip-hop, he managed to turn out some unusual sounds that owed much to the burbling textures of underground electronica. Synth-rubbed numbers like the album’s title-track opened up channels that allowed the rapper to explore more influences outside of hip-hop’s perimeters. The Movement followed in 2004 after a meeting with The Procussions (whose member Stro Elliot would later join The Roots). Widening the gamut of styles opened up new dimensions of sound that only furthered his reach on the disparate influences that have since shown up in his work. Examining topics such as absentee fathers and the routine doldrums of 20-something life, the album’s influences referenced a range of artists including The Roots, Esthero, Aesop Rock and El-P. Burrowing even deeper into the bass-entrenched grooves he explored on his previous albums, Sareem offered audiences what remains his heaviest and most stately declamation of hip-hop with Blooming Sounds (2007). Throbbing hard with his trademark booming bravado, Blooming Sounds redirected all of the more off-handed experiments of his last two LPs into a densely compressed package of rumbling, boulder-shouldering beats. Pumped to bursting with the curvatures of his sonorous poetry and intensely bassy beats, numbers like “See It”, “Feels Good” and “Special Delivery” exploded from the bass bins with newfound creative force. “I worked with the now-defunct label Hip Hop Is Music, which was owned and run by Braille of Light Headed,” he says. “[Braille’s] approach was for me to pick beats that appealed to me, without knowing who produced the track. So I ended up working with a lot of great producers that I have never met. “I also selected a few tracks from Stro Elliot on my own. This album was the beginning of my new norm. I wrote 80 percent of the album before recording anything. In the past sitting on songs too long proved to make me indecisive.” Sareem’s greatest asset on this album was Stro Elliot, a producer, rapper and musician in his own right who just also happens to be the latest member of The Roots. While Elliot is but only one in a handful of producers who have since laid down work for the Michigan-based rapper, he has supplied Sareem with the kind challenging rhythms and textures that would persuade The Roots into bringing him aboard as an official member. Sareem’s newfound approach to songwriting generated much of the material that would appear on his fourth solo LP, 2009’s Black and Read All Over , an album of choppy, sci-fi hip-hop funk, full of backward loops, zinging bells and jalopy rhythms that came courtesy of some of hip-hop’s more off-the-wall producers. It’s the album that expanded Sareem’s music beyond the insular circle of listeners who had been following him since his debut. Produced by Oddisee (Homeboy Sandman) and Theory Hazit (Redman), Black and Read All Over pitches wildly from influence to influence. What really congeals the sounds, however, is the overall flexibility and electricity of the beats; Sareem’s baritone raps and the touchpaper production combine to create a smoldering bomb of combustible funk. “I owe the scattered influences to my taste in music,” Sareem says. “I listen to everything except country and death metal. Theory Hazit had to deal with my ear candy ideas, phone calls and emails about adding weird sounds here and there. He produced the entire album outside of two tracks by Oddisee. That wouldn’t have happened without Mello Music Group [the indie hip-hop label that has put out works by Kool Keith, Peter Rock, and Oddisee].” Notable numbers like the tin-pan slam of “See What Happens” and the piano-storming blues of “Tell It” sidle up to the more outré grooves like “Impossible”, an electrical hip-hop jam flushed with galactic synths and featuring a sage, fatherly rhyme by Stro Elliot. The album’s single, “Lower the Boom”, a chugging, mechanical beat of railway rhythms, would afford the rapper some exposure outside of his cultish fanbase.