Every now and again, a group comes along and simply makes you think.

Enter L.A. Symphony, a group of gifted emcees who finally make their nationwide presence felt with their dual Gotee Records / Basement Records joint titled The End Is Now.

This eclectic group consists of FLYNN, CookBook, Sharlok Poems, UNO Mas and Joey the Jerk, all of whom have bonded to take hip hop to another level from their own unique perspective.



This sophomore effort consists of 16 tracks, and spans the gamut of musical influences. It simply can't be categorized as your average hip hop project.

From the opening cut (the title track), it's evident that L.A. Symphony will not be bound by stereotypes or preconceived notions. The bulk of the project addresses real life issues, as the crew unapologetically share their opinions about life and experiences.

Perhaps the most attractive element to this project is the group's willingness to share their emotions. "I Can't Have Her" speaks to the difficulties that men face when they have affections for a woman that they can't have. The subject matter is real and their expressions are as genuine as the day is long.

Arguably, the most expressive song on the project is "Wonderful". The track for this project is almost dark and serves as the perfect backdrop for the subject matter, as the group deals with issues ranging from watching others wrestle with suicide, to the struggles of being signed by a record label. The cut also addresses the struggles of racism, and candidly addresses the feelings that the group deals with, relative to all of these issues.

While L.A. Symphony take time to express the issues, they also look to provide a solution. "Gonna Be Alright" serves as a word of encouragement to those who have lost their jobs or a recent love. It reminds us that no matter what we deal with, everything will be just fine and will work out according to God's plan.

The group partners with longtime friend Pigeon John (see review)on several tracks, and naturally, this union flows effortlessly. Pigeon John's flow can be found on "I Can't Have Her", "187 On the Dancefloor" and the infectious "Charlie Brown", a cut that has some serious bounce and shows exactly how creative this group can be. They sample that 'wah wah' sound of the Peanuts' teacher's voice and make it a part of the track in a slick way. Quite frankly, this is a fun track that you'll have to play a couple of times to catch everything that's in it.

Speaking of fun, that may simply be the other hallmark of L.A. Symphony. They're not Cyndi Lauper, but they just really wanna have fun, and that's obvious by listening to their music. While they can deal with serious subject matter, a lot of their tracks are based on fun and sheer enjoyment. Perfect example —"Heeve Ho!". It's a simple piece that features a tuba, piano and a simple drum track. Yet, these guys flow over it and in doing so, take you back to the time when hip hop was simply about having a good time. "Here to Party" is a party track (surprise!) with a catchy beat that's designed to make you nod your head.

LA Symphony is so eclectic that it's really hard to encapsulate the full experience of this project in a simple review. It's a project that must be experienced. It's a project for those who appreciate true musical expression and are willing to step outside of the proverbial "holy hip hop" box. It's definitely hip hop. It's holy. It's cutting edge.

Let's hope that for L.A. Symphony, the end is later...