4.5 OUT OF 5 - [1] Nicolay & Kay
If there was any question on where hip-hop was headed in this ring tone obsessed society, Nicolay answered it with Time:Line, one of the most powerful hip-hop albums to come around in a while. Along with rapper Kay, who’s lyrics come nowhere near the level of Nicolay’s genius production, Time:Line sets the bar for every young hip-hop artist looking to make a mark in this culture. Nicolay, also one half of the rap group Foreign Exchange[2] (with[3] Little Brother’s Phonte), creates a sound so fresh, unique, and needed during a time when producers like [4] Timbaland and [5] Soulja Boy are taking hip hop to a world of megatones and line dances, and the beauty of a well versed flow or a beat that can make your heart drop gets completely overshadowed by over-produced synthesized patterns.

Throughout the album, there isn’t a song that can constitute as a filler or weak link. From the very beginning, Nicolay hits hard with an upbeat intro on title track Time:Line. Not only does he use digital elements like a drum pad and computerized beats, but Nicolay also incorporates live instruments in the song to illuminate the unique sound that he brings to the table. His creativity, however, doesn’t stop there. Nicolay is able to link each track together to create the illusion of one single record being played over various rhymes with changing tempos that Kay throws down. Try playing this album continuously, without pauses in between tracks and you won‘t notice a single gap of silence.

The hardest thing about this album is attempting to pick a standout track amongst the twelve that Nicolay and Kay collaborated on. Each song brings a new sound with different rhymes, yet they all work together as well as the Chicago Bulls in the 90s; no team could touch that squad.

“What We Live” and “I’ve Seen Rivers” are two examples of how a rapper’s verses would be hard to stand alone. Unless given a foundation by a DJ, these lyrics could not be lifted past decent into the status of profound. Those airy keyboard notes glazed over by wind chimes give a feeling of rebirth, something new, something just beginning. Kay then enters with a catchy chorus that can get anybody moving and singing along. The beat drops and everything just falls into place.

Nicolay’s fresh and smooth beats make it easy for Kay to lay down anything he wants to say, and when the lyrics do come out as noteworthy rhymes, Nicolay gets a chance to create a record that could be placed among the world’s 8-Wonders. “The Gunshot” is a politically driven song with a sample of Kay’s best stuff. This reggae influenced sound has a great guitar pattern and Caribbean-esqe drums, but as always, Nicolay puts a touch or two of his own in the mix and makes it one of the best tracks on the album.

“Grand Theft Auto” and “When You Die” follow and also contain a great storytelling flow from Kay. When Nicolay shines just a little light on it, melodies and baselines that make your body feel as if it’s been caught in an emotional rave seemingly erupt. You don’t know whether to stand in awe of the collaborative efforts or instinctively move with the music the way your body wants to.

Either way, you understand what Nicolay has brought into the world of hip-hop. He has made this genre of music beautiful again. And after hearing this album on repeat for the last week, it’s hard to believe anyone could doubt whether or not true hip-hop can survive in this MTV driven society. The real question is, whether or not Nicolay‘s last piece will get a chance to reach the masses. Hopefully this word will spread and the integrity of hip-hop will be restored. Spread the love. Hip-hop is forever.