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Riza is a quiet and collected woman with a serious but courteous demeanor. She has a moderately muscular and curvaceous build where the author has stated that Riza has broad shoulders from her military training and flared hips that are appropriate for her age. In the manga and 2009 anime, Riza has a large and ornate tattoo that covers most her back with some parts of it obscured by burn scars that she hides. She had worn her hair short in her youth and during her tenure in Ishval, she began letting it grow out in 1910 after she becomes acquainted with Winry Rockbell. Even though Riza has noted (in Perfect Guidebook 2) that skirts restrict movement and therefore are not welcome in a military office, while in civilian clothes, she is mostly seen with in long skirts and boots with her hair down. She frequently wears a black, short-sleeved turtleneck under her military uniform and often dons it in casual dress as well. She is known to wear faux eyeglasses while in disguise.

Her eyes are brown and each of her ears is pierced with a silver stud.

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Take it from me – “Instrumentals Two” is free – but you’ll want to pay him for it.Riza is a pale-skinned woman in her mid-to-late twenties with mid-back length blonde hair that is fastened up in the back by a dark-colored clip barrette in a style where it resembles a bird tail with bangs falling in a hawk's wing pattern from right to left, occasionally partially obscuring her left eye (when she is on the job). I could rave about the gritty and dirty feel and horny horns of Natti’s “Bright Lights Big City” and bemoan the fact I didn’t praise the softly strummed guitar rhythms of JustMe’s “Truth and a Lie.” I could tell you about the Jimi Hendrix meets Herbie Hancock meets Dan the Automator amalgamation of “Still Motion” and completely neglect the easy and breezy sound of the previously unreleased “Keep Pushin’.” If you put these tracks on a dartboard and blindfolded yourself first, you’d still hit gold with each point that connected. For every song I reach out to specifically talk about, I feel like I’m doing an injustice to one of the other gems here. Singling out individual tracks to praise is an exercise in depression itself. Sometimes you just have to embrace your inner blues, and “Tired of Living” does that cathartically. The gospel choir, the somber piano keys, the air of gloom all wrap around you like a snug coat – and yet it’s so beautiful that it’s uplifting even amongst the sadness. SOS on “Tired of Living” to get what was going on here – rapping about losing his furniture, his family, and feeling so despondent that suicide seems like a reasonable option.

His songs capture moods and fit the artists they are meant for perfectly. It may be possible to understate how much of the “It Factor” Deacon has, but I’m not convinced it’s possible to overstate it.

Instrumentals Two by Niggaz With Latitude

The song seamlessly makes transitions from hardcore hip-hop to headbanging heavy metal and could easily satisfy fans of either, but definitely caters to rap expectations in it’s structure. track for “Rip the Guts” exemplifies the things that put him in a different stratosphere. It’s not just the elements he samples (or manufactures himself), it’s not just the way he combines them with perfect timing over beats, it’s not just the way he changes things up instead of finding a loop and sticking to it, it’s all of the above.

His tracks have that hypnotic aural quality that make them suitable for consumption with or without an emcee. You know it when you hear it – DJ Premier, Alchemist, Tyler, the Creator, Polow Da Don, Pete Rock, et cetera.ĭeacon is cut from their cloth. For producers there’s an even more nebulous “It Factor” too that writers are constantly trying to quantify. If you try to quantify it in more concrete terms it comes down to having a charisma that attracts people to you, a look that a majority of the audience finds pleasing, and a clever way of engaging said audience.

In the entertainment world, particularly the insular breed that can be found in Southern California, they often refer to the nebulous “It Factor” when it comes to being a star. In my head I had already started writing this review back in October, but life as it often does got in the way. I already thoroughly enjoyed the first “Instrumentals” volume from Deacon The Villain, well known for his membership in the CunninLynguists crew but a formidable producer both in-and-outside that collective.