Wrestling Singlet Blac

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Blac Sabbath $12.78 Despite its proximity to hip-hop's birthplace, the Constitution State has failed to produce much in the way of stand-out rap artists. But the up-and-coming lyricist known as Blacastan is out to change that. Representing Hartford, CT, Blacastan has been steadily earning stripes since the mid-2000s with a string of highly touted mixtapes and appearances alongside underground mainstays like Jean Grae, Krumbsnatcha, and Esoteric. "Locked up in jail during the shiny suit era," as he puts it, Blacastan was inspired to side with the indie hip-hop movement that developed in the late '90s in response to the excessively danceable hip-pop efforts of Mase and the artist formerly known as Puff. And while he's been quick to cite first-wave Rawkus albums such as the Soundbombing comps and Pharoahe Monch's Internal Affairs as the material that awoke the lyricist in him while he was inside, a cursory listen to his debut studio LP should give an inkling to the CT rapper's true pedigree. A street-level realist more in line with the hardcore side of the boom-bap tradition than brainier backpack rap trends, Blac's finely honed storytelling skills recall Raekwon at his best, his unflinching vignettes of Hartford's street-life are reminiscent of QB vets like Tragedy Khadafi, and the man's poetic sensibilities, which include a penchant for first-person personifications (displayed most compellingly on the extraordinary "Life of a Tape" as well as verse two of "The Dice Life"), will inevitably draw comparisons to Nas. Blac Sabbath has been years in the making (as Blacastan's ad libs indicate) but the crisp production -- largely handled by CT homie ColomBeyond, with supplemental beatwork from Blue Sky Black Death, DJ Doom, Mr. Green, and Statik Selektah -- built on spine-tingling piano lines, haunting vocal loops, resounding horn samples, and hard-hitting drum arrangements, add up to a sonically cohesive exercise in updated boom-bap. And as far as mike skills go, Blac proves he can wear a lot of hats; from the confident, battle-ready approach of the minimalist intro and "The Dice Life," to the disturbing verbal brushstrokes of "Crac House" and his powerful characterization of a mentally scarred Vietnam veteran on "Returnin' to Nam," he executes it all with finesse. The closest Blacastan comes to soft is on the stand-out, relationship-themed cut "Diamond," in which he details strife with his Puerto-Rican love interest's father while borrowing the hook from a yesteryear K-Solo hit. Engrossing from start to finish, Blac Sabbath heralds the arrival of a new hip-hop heavyweight, and stands as a strong contender for the title of hottest debut of 2010. ~ Matt Rinaldi, Rovi

Blac Static $11.87 Jay Reatard's visibility outside of the garage punk underground was steadily on the rise in the last years of his life, having signed with Matador Records in 2008 and issued a handful of singles before his album Watch Me Fall arrived less than six months before his death in January 2010. As a consequence, many new fans were still catching up with Reatard's many previous projects, recorded for a variety of small labels, when he passed, and for those still investigating his earlier works, Blac Static is a fascinating collection that gathers the high points of his years with one of his most interesting bands, Lost Sounds. While his first serious group, the Reatards, offered up frantic, lo-fi garage punk, and his final solo LPs were devoted to hot-wired pop with a punky undertow, Lost Sounds at once sounds like the missing link between these two styles and something unique in his repertoire. Lost Sounds was one of Reatard's few projects that sounds like a genuine collaboration, with Alicja Trout trading off with Reatard on lead vocals while playing guitars and keyboards beside him. Lost Sounds held on to the harsh surfaces and in-your-face attitude that were Reatard's trademarks, with synthesizers sharing space with guitars in the arrangements, but here the group's more sophisticated melodies were just as important as their muscular attack, and there's a gloomy minor-key undertow to these tunes that suggests someone in this band had gone through a Goth phase in their youth. The banks of synthesizers give Lost Sounds a sound some have pegged as new wave, but this wasn't the friendly approach of A Flock of Seagulls or the Fixx, favoring instead the more ominous tone of earlier bands fusing punk with electronics; "I'm Not a Machine" and "Plastic Skin" could pass for outtakes from synth punk legends the Screamers, and the random noise patterns of "Dark Shadows" and "Rats Brains and Microchips" recall what Allen Ravenstine brought to Pere Ubu's early recordings. And as important as the keys and the melodramatic tunes were, there's no question that Lost Sounds were a rock band and they played like one, with Reatard and Trout unleashing fury on every track, Rich Cook pummeling his drums with brute force and precision, and a handful of bassists keeping the bottom end solid and unrepentant. Blac Static's fusion of rage and musical smarts is evidence that the excellence of Reatard's later solo work didn't come out of nowhere, and suggests that Lost Sounds were maturing into something quite remarkable before they broke up in 2005; what they left behind deserves a careful listen. ~ Mark Deming, Rovi

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	Brute Men's Lycra High Cut Wrestling Singlet List Price: $39.99 See Reviews For This Product
	Description The Brute men's Lycra® High Cut Wrestling Singlet offers a quad-length design with inside gripper elastic in the legs for a secure fit.

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