Parallel Thought
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Parallel Thought

Freehold, New Jersey, United States | INDIE

Freehold, New Jersey, United States | INDIE
Band Hip Hop R&B


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This band has not uploaded any videos



"Del the Funky Homosapien & Tame One, 'Parallel Uni-Verses'"

With two decades of graffiti writing, drug consumption, and alt-rap classics under their belts, Del and Tame One have much to reminisce about. Losing themselves in a weed-induced fog of memories, Del weaves loquacious tales about going to "GATE" classes as a teen, while Tame One drops punch-drunk lines about "slaying the tenth grade on mushrooms." Producer Parallel Thought supports the storytelling (and saves the duo from dissolving into navel-gazing) with sharp loops, from the arch electric guitar riff on "The Franchise" to the melancholy cool jazz of "Life Sucks." - Spin Magazine

"Del the Funky Homosapien & Tame One, "Parallel Uni-Verses""

There aren't any chart-topping guests on the new release from Oakland, Calif., hip-hop pioneer Del the Funky Homosapien and New Jersey underground stalwart Tame One. "Parallel Uni-Verses" is a true East Coast/West Coast dual team-up; every track a shared effort of like minds and tight handoffs. The song "Gaining Ground" revisits Del's past with futuristic ambient grooves, while "Teddy" is a hot metallic mix of crackly funk horns and space-age effects. Some may hear tracks like "The Franchise" as sour grapes for other rappers' current commercial success, but the duo backs up its devotion to classic sounds with rich layers of funk, soul, jazz, blues and rock sampling that honor the genre-bending experimentation prevalent in '80s and early-'90s hip-hop. It's a blending that the pair calls out in the song "Flashback," with references to Herbie Hancock and Hall & Oates alike.-Evie Nagy - Billboard Magazine

"Parallel Thought - Drugs, Liquor, Sex & Cigarettes"

Industry Rule #4,080 might be the most quoted hip-hop law, but lyricists and commentators alike also understand Big Pooh's Rule #1: "Make sure the beat knock 'til the trunk pop / And everybody pause when you cruise down the block." The New Jersey production team Parallel Thought respects the rules on its debut EP Drugs, Liquor, Sex and Cigarettes, delivering five creative, evocative compositions.

At the same time, the teenage trio of Drum, Knowledge, and DJ Apendix Hed defies the beat-first mentality, giving rappers like Jean Grae and C-Rayz Walz beats that complement, and rarely dominate, their lyrics.

Over the EP’s five songs, the Parallel Thought trio puts its production skills to the test, displaying a wide-range of styles. Drugs opens and closes on the upswing, with the lively “Freaky” (featuring PackFM and Jean Grae) and “Chorus II” (featuring C-Rayz Walz) bookending the album. In the middle of the EP, however, lurks Parallel Thought’s best work; a string of grimy, string-laden cuts. On “I Wonder”, M.F. Grimm offers an ode and apology to Malcolm X over swirling violins, which well-up underneath his layered vocals. Meanwhile, Illogic (on “Stay Sleep"), and Breez Evahflowin & Slug (on “Don’t Ever Think") go to work with rich, throbbing beds of violins, bass, and dusty drums. The Jersey teens cite Pete Rock and DJ Premier as influences, but the swampy, moody atmosphere that seeps through the speakers seems closer to early Beatminerz productions. And, like the Beatminerz, Parallel Thought establishes a fine balance between live instrumentation, sampling, and DJing.

Of course, this isn’t just a producer’s EP. The cleverness of the EP is really in the way that Parallel Thought creates attention-grabbing beats that can coexist with the lyricists that perform over them. The beats on Drugs are perfectly structured for complex rhyming. The secret: Parallel Thought’s beats have momentum of their own, but they also give rappers space to build. In short, the Jersey trio let their vocalists make or break the songs. As a whole, their guests turn in mixed performances. MF Grimm is easily outshined on his cut, and the unhinged deliveries of Breez and Slug leave something to be desired. PackFM and Jean Grae, however, turn in solid performances, and Illogic steals the show. On “Stay Sleep”, he taps into the beat to flip his words: “Devastating / diabolic method master / masterpiece piecing jigsaws / of mixed puzzle pieces.” After listening to Illogic spin-out his jigsaw, it’s clear: Drugs takes the Pooh’s Rule one step further, offering thorough beats that empower, rather than overpower, the rhymes.

&8211; T.M. Wolf - Okay Player

"Parallel Thought - Drugs, Liquor, Sex & Cigarettes"

A debut EP from a trio of teenage hip hop producers generally raises a little interest, and when that debut is on the label of underground legend MF Grimm you know you’re in a good place.
Parallel Thought are three friends from New Jersey. Knowledge on production, Drum handles all the live instrumentation, and DJ Appendix Head who provides all of the well placed cuts. The fact that the oldest member is 19 and the quality of sound they have produced here really places them in a position to take underground hip hop forward for the next 15 years at least. In fact my biggest problem with Drugs, Liquor, Sex and Cigarettes is that at 5 tracks (plus 5 instrumentals) there really isn’t enough chances for them to showcase their skills.
Getting things started is Freaky, a beautifully layered beat with Jean Grae and Pack FM trading verses all over it. Next up the beat is shifted down tempo as MF Grimm delivers his ode to Martin Luther King, the minimal beat is used well as Grimm is in a reflective mood apologising for his past discretions, for me it’s a little too laid back but the emotion in Grimm’s lyrics still grabbed me. Next up another underground star Illogic controls another restrained soundscape, the lyrics allowed to be the star, again a little chilled for me but that is personal taste. Don’t Ever Think is the best example of their production, a brilliantly structured and layered beat featuring Slug and Breez Evahfowin. This really shows why they are being talked up as the future of hip hop. To round things out C-Ray Walz brings his unique flow to a perfectly suited best on Chorus II, the vocal given an unmastered feel adding some uniqueness to the track.
As I said my only problem with the EP is its shortness, however when you show this much talent over 5 tracks it is clear that the long player will be worth waiting for, Parallel Thought are a name to look for in 2005 and beyond. - In The Mix

"Parallel Thought - Drugs, Liquor, Sex & Cigarettes EP Review"

When femcee heavyweight Jean Grae anoints you "the future of hip-hop", that's one hell of a cosign. Enter Parallel Thought, an up-and-coming production squad comprised of New Jersey teenagers Knowledge (19), Drum (19), and DJ Apendix Hed (18). Don't let the wet-inked birth certificates fool you. The group's gritty sound is a mature, complex fusion of sampling and live instrumentation. You don't have to take my word for it; Grae, MF Doom, Poison Pen, Pumpkinhead, and Vordul (Cannibal Ox) have all knocked on PT's door. Three years in the making, "Drugs, Liquor, Sex, and Cigarettes" is the coming out party for the next "it" underground beatsmiths. Who's whoers Grae, PackFM, MF Grimm, Illogic, Breez Evahflowin, Slug, and C-Rayz Walz provide the lyrical lightning for this PT thunderstorm.

Even though the EP contains only five original tracks, it serves to show PT's versatility behind the boards. From upbeat ("Freaky", "Chorus II") to haunting ("I Wonder"), simplistic ("Stay Sleep") to layered and evolving ("Don't Ever Think"), all bases are covered and covered well. To the group's credit, their production always manages to stay out of the emcee's way. The problem with a lot of modern production is that the beat is overcooked and drowns out the emcee. It's like the beat and the emcee are battling each other to be the star of the track. This might not be an issue when your goal is to hatch a club banger, but for heads looking for a lyrical showcase, a quality beat requires enough subtlety to inspire, not outshine, the lyricist. Not only does PT construct hot sounds, they play their position to the fullest, resulting in the ultimate goal: a quality end product. To use a basketball analogy, Tim Duncan may get the headlines, but the Spurs wouldn't have won the championship without role-player supreme Robert Horry.

"Drugs, Liquor, Sex, and Cigarettes" is really only an appetizer. With a debut full-length expected in fall 2005, the best is yet to come. In the meantime, the PT buzz will be fueled by an upcoming MF Doom single "Vomit". Heads, keep your ears open because the future has arrived.

Music Vibes: 7.5 of 10 Lyric Vibes: 7 of 10 TOTAL Vibes: 7.5 of 10

- Rap Reviews

"Parallel Thought - Drugs, Sex, Liquor & Cigarettes Review"

Drum, Knowledge and DJ Apendix are Parallel Thought, a production team based in New Jersey and this EP consists of five of their tracks, including an instrumental of each. Guest vocalists are PackFM, Jaen Grae, MF Grimm, Illogic, Breeze Evahflowin, Slug and C Rayz Walz. The first track, 'Freaky', has a cool drum roll ending each of its soulful loops. 'I Wonder' begins theatrically, sampling dialogue by Malcom X. Strings climb up and down a scale simply, creating a haunted vibe to the track. 'Stay Sleep' is again of a strings orientation which is solid but perhaps not the strongest of the EP tracks. 'Don't Ever Think' uses an army of violins, some layered and sung lines and verses of a romantic leaning. 'Chorus II' ends things with a fresh summery vibe with vocals that have been treated to sound like you're in the vocal booth with C-Rayz Walz as he raps with character and ease. The quality of the tracks, the calibre of the guest artists and the fact that the guys are very young and this is only their first project, equates to a lot of promise and excitement. -

"C-Rayz Walz - Chorus Rhyme"

C-Rayz Walz is tuned into his own frequency. Propelled by creative impulses, one could use the cliche that Rayz is like a shark. If he ceases to move forward than it's over. Having conquered the 12" scene, shut down many a battle, shored up his catalogue with countless stellar releases like Ravipops and even coached the musically-challenged "Blizzard" on MTV's Made, what's next? The follow up to The Dropping and part two of the Collectible Classics trilogy finds C-Rayz toying with song structure and drafting up his own blueprints. Backed by the production of Parallel Thought's Drum & Knowledge, Chorus Rhyme conceptually challenges the notion of what a studio album should be.

Record sales are often in direct correlation with who sings the catchiest hook. C-Rayz throws convention out the window by crafting "chorus rhymes" as he's tagged it. Instead of dropping stagnant 40 or so bar tracks, the beats switch-up and the rhyme style may even parallel a hook, but these mini-verses aren't repeated and often summarize or provide closure to the preceding lyrics. The best examples are the simply-titled "Chorus I" and "Chorus III". The latter features Vordul Mega and 4th Pyramid as each Trinity member trails their verse with an individual chorus rhyme. One traditional hook snuck through the gate on "Chorus Legacy", as the three verses lift song titles from The Prelude, Limelight and Year of the Beast respectively. The uplifting "Leo Chorus" also twists the formula and is packed with jewels for your personal betterment. Rayz even throws in some of the Lion King's words of wisdom.

"Chorus Collection" elevates the term "posse cut" to the next level. The track clocks in at fourteen minutes and features thirty guest rappers, and no, thirty is not a typo. The eight bars and pass formula holds up impressively well despite running over triple the average song length. While I'd need a second review to list the entire guest list, some of the notables include R.A. the Rugged Man, Sean Price, L.I.F.E. Long, Tame One, Wordsworth, Icon the Mic King, Thirstin Howl III, Poison Pen and Immortal Technique playing the closer role. The Supervillain MF Doom guests on the gloomy "Vomit Chorus". Rayz swiftly calls Doom out for re-selling his verse. "Even though he's crook, took the money, ran when he finished it. Fam's gotta eat, so we'll reheat the dinner kid". The chemistry with Can Ox member Vast Aire on "Chorus V" negates Doom's shady move, plus Rayz drops quotables like, "A thin line between hell and where the hell's that. The streets eat cats, like the beast from Melmac". "DJ Chorus" stars DJ Ruffneck, Turntable Anhilists and DJ JS-1. The DJ's step to the forefront while Rayz accompanies in the role that turntablists are usually relegated to.

The mad scientist has devised another creative concoction. Since when is Hip Hop song structure written in stone, and who said thirty artists can't collab on one track? Chorus Rhyme is a perfect companion to the concurrently released Monster Maker, a genre-bending union between C-Rayz and Sharkey. One project reinvents the hook and the other remakes the 80's Pop classic "Electric Avenue". Drum & Knowledge supply a cohesiveness in which this type of project demands, and extra props to them for crafting a beat worth rocking for fourteen minutes. Just lace C-Rayz with the ingredients and leave him in the kitchen. Nobody knows the path that Hip Hop taking but I'd gladly nominate C-Rayz Walz to steer the ship. - Art of Rhyme

"C-Rayz Walz “Chorus Rhyme” Album Review"

Rating: 5/5

From my perspective, C-Rayz Walz is an emcee that has been victimized by the hyper-masculine know-it-all braggadocio attitude of music critics. Despite being one of the dopest and courageously-evolving rappers of our time, reviewers have dissed pretty much every album C-Rayz has ever made, and I think I know why.

See, C-Rayz Walz is much more intelligent than the majority of us. The topics he discusses, or perhaps the manner in which he discusses them, are so far above the heads of most people that they can’t even begin to understand what he is saying. And this upsets many people. After all, nobody wants to admit that someone is smarter than him or her, right? So instead, they lash out at C-Rayz, calling his music inarticulate, tangential, schizophrenic, inconsequential, and even half-baked. Anything to keep from admitting that they are not capable of understanding, or just too lazy to do any research and actually attempt figure it out.

The newest release from the poetic mastermind, titled “Chorus Rhyme,” is no different. Probably fifty percent of C-Rayz’ verses are way over my head in this one. But that doesn’t bother me homie. Unlike insecure music critics, I treasure hip-hop that is challenging. I enjoy researching lyrics and making an attempt to understand. I like the fact that I can listen to an album for an entire month and still pick up new things. And in time, this album really starts to make a lot of sense. “Chorus Rhyme” is one of the year’s few hip-hop classics, and I just can’t stop listening to it.

A Hip-Hop Classic
So what makes it a classic? First, this album is progressive and trend setting. Despite being titled “Chorus Rhyme,” C-Rayz and Parallel Thought challenge traditional concepts of chorus, even leaving the hook out of some songs altogether. There are no R&B cats singing hooks. No breaks or pauses. Just dope beats and lyrics from start to finish. I don’t think I’ve ever heard an album that strays so far from the formula of modern day songs, as it ignores current trends and perceptions of what’s hot and offers nonstop verses, rhymes and lyrics. For those of you who can appreciate new directions, this album is packed with them. Vast Aire touches on this as a guest emcee in Chorus 5:

They say great minds think alike, here’s the ticker
The truth is fools seldom differ
Think fast cause somebody’s thinking quicker
I figure I’ll be that whiskey in your liquor
Second, this album is record breaking. Track ten does something that no song has ever done: It features thirty emcees on one track, each spitting eight bars a piece - no chorus, no hooks. And even more so, the featured emcees are from all sides of the hip-hop spectrum. The song opens up with a rock-and-roll-singing-rapping-hip-hop girl, ends with Immortal Technique, and touches upon countless styles and genres in between. It is by far the largest collection of unique emcees I’ve ever heard make music together, and they give amazing insight into the mainstream’s perceived need for a chorus or a hook, which C-Rayz attempts to define in his verse:

It’s what you need to catch fish with
The Candyman’s weapon of choice, Peter Pan’s arch nemesis
Just don’t let me connect one to your cheek
Cause if I do, you’ll tongue kiss your teeth for a week
Kareem Abdul jab y’all - I stay hittin’
No dunks but if the beat’s banging they don’t listen
That’s why my style is the science of Jux
I am Demetrius Mitchell - I am the Hook!
And third, the album is highly thought provoking. Virtually every verse C-Rayz spits, though often difficult to follow or understand, contains some kind of mind-boggling rhyme, contradiction, perspective or intellectualism that will have you rewinding to hear verses over and over again.

For example, C-Rayz opens the album with the following verse, which appears to question those who blame their faults or negative behaviors on external circumstances while questioning the reality of truth and knowledge:

Sperm bust the way gats do: Unexpectedly
Take life or create life: Very effectively
Blame it on your pops; Why? Cause he was a thug
Or you could blame it on your mom, cause she did drugs
Or blame it on your family for not spreading the love
But you make the final choice and you will be judged
There’s truth in everything, so I listen to fools
Cause I ain’t really learn nothing from my teachers at school
Another verse, which I have read and listened to like 100 times now and still don’t get, appears to make a statement on people who worship money:

Monkey see - forget how monkeys do
When they hang with gorillas and become one of the crew
With bandanas and boots
They turning cold but this bananas but truth
They money see and see money as truth
Those idolatries bleed coin less fruit
You got the gall to score, but you don’t got the balls to shoot
When the pigs walk in, we’ll see whose liver
Ordered a Bloody Mary woke up with a Screwdriver
The final call sounds, elephant - Hip-Hop Linguistics


New Jersey’s Parallel Thought is the underground’s latest hip-hop sensation. Being only teenagers, these producers already have worked with the most respected underground artists of today. Their latest EP is the fore-runner of their upcoming debut full length on MF Grimm’s DayByDay Entertainment and reveals their unique freshness with the production tools. By the way, Parallel Thought is more than just a producer’s squad…

What’s the difference between the production crew and the group Parallel Thought?

Drum and Knowledge: Basically it’s simple, and we would like to clear this up for the record. Parallel thought consists of a production duo named Drum and Knowledge along with our DJ Apendix Hed, and a dope emcee from Alabama, currently going to school in New York City, named Caness.

How did you meet?

D and K: We met in high school. After getting to know each other the two of us got together to start talking about music and decided that we wanted to make beats. After Adam purchased the MPC2000xl we got to business. The first night with the new machine we cranked out 5 beats and we were hooked. After a while making beats, Adam introduced Jeff to a friend of his (soon to be DJ Apendix Hed ). After the three of us got to know each other some more, Apendix Hed decided he wanted to be a DJ, so Parallel Thought’s original line-up was born. Soon after that we all came to the conclusion that we really needed an emcee to officially be a group. After searching on-line we met an emcee who called himself Sol Infinite. We then linked up with him and released an EP called, ‘Mind For The Takin’, which we did independently and of which we only pressed up 100 copies before the group went through its first line-up change. With things not running smoothly with our original emcee, we were on the hunt for a new raw talent that we felt could grow with us as a group and individually. That emcee was Caness. And that’s how Parallel Thought all met.

You’re all very young. At what age did you start to listen to hip-hop?

D: I really only started listening to hip-hop once I met Adam. At the time I was in a punk band so that was my main focus. But once I started to hear what was out there in the hip-hop scene both mainstream, like Nas and Jay Z, and underground, like Illogic, Blueprint and Atom’s Fam, I was definitely impressed by the talent I was hearing.

K: Once I got into middle school is when I started really getting into hip-hop. Wu-Tang was the first shit that had me open. From there I was listening to it all, studying the classics. There was even an unspoken time in my life when I was hard into old school No Limit shit. That would be Master P, pre-Ghetto D, I think No Limit put out one of the south’s most slept on records; Young Bleed’s ‘My Balls & My Word’.

DJ Premier and Pete Rock are mentioned as one of your influences…but I guess you never experienced the heydays of these two…the early/mid 90s…still you’re production is very much 90s influenced, do you listen to a lot of the mid-school hip-hop?

D and K: I think our music sounds so 90’s influenced because we keep things simple and sample-based for the most part. Not to say that some of our beats aren’t complex, cause sometimes we will tweak samples till they don’t sound the same as the original at all and I also love to do that. Premier and Pete Rock are by far hip-hop’s greatest producers. They are two producers that will always be relevant to hip-hop.

Besides them who are your fav producers?

K: Fuck it I’m going to just say that Premier and Pete Rock are by far hip-hop’s greatest producers. Other than that, I got a long list of producers that have influenced me; Dr. Dre, T-Ray (slept on), Da Beatminerz (gritty NYC sound), Marley Marl, the whole D.I.T.C., Havoc, Jay Dee (illest drums), Large Pro, Prince Paul and RZA. Other than that, I’m feeling Cryptic One, Madlib and Belief.

D: Got to love DJ Shadow…. ‘Endtroducing’ is amazing. El-P also gets a lot of my respect for tweakin shit but still keeping it sounding good and bringing a different style to hip-hop. I also like Blueprint’s instrumental stuff a lot. Other than that, I have more favourite beats than I do producers in general.

On ‘Chorus II’ you used the same Donald Byrd sample as in Pete Rock & CL Smooth’s ‘All The Places’, is that like a tribute to Pete Rock?

K: I would say that we payed tribute. I have the up most respect for Pete Rock and what he did with the sample. So when Drum and I approached that beat we wanted to make sure we did not flip it like Pete did. I think it came out well. On our production album we have a track with Vordul and LoDeck called ‘Pancake Brain’, for which we flipped the Nautilus sample (Bob James’ ‘Nautilus’, ed.). That Nautilus sample must have been used a thousand times but we flipped it differently. So in a way, every time we flip a sample used by the great, we are paying our tribute.

When did you start ‘doin’ hip-hop?

D: As soon as we go - Platform 8470

"C-Rayz Walz: Duplicitous Prolificacy :: Snarly mouthed MC C-Rayz Walz has gone from basement to MTV and back again"

In a peculiar hip-hop paradise where you don’t have to choose between quality and quantity— C-Rayz Walz has made something resembling a home. Since 1999, dude has put out more original yet listenable music, than most of the industry. C-Rayz is to rapping what Madlib is to beat making—head scratchingly prolific with an un-jacked swagger, you swagger jacker.

Under a grip of definitions, C-rayz is the complete MC. His battle gloves are as tried and tested as his lengthy, lush discography. “I always [return] a cold stare with a warm smile,” he says. “The whole thing is that in New York, we are a bunch of unappreciative bastards. We got everything here.” Somehow C-Rayz Walz just doesn’t seem like just another rapper from The Bronx.

Phoning in from Japan, C-Rayz talks preparations for his entrance into the dozen albums club. He is set to unvail disc two of a three-part series that he calls the Collectable Classics. Earlier this year he launched The Dropping, far off the radar despite appearances as big as Matisyahu. The new record is called Chorus Rhyme, set to be released this fall with none of the 11 tracks containing a single chorus. “These albums are like a farewell to my friends. Some raw, pure, uncut C-Rayz shit that’s classic that I want ya’ll to have,” he says. “Now, I don’t want everybody to have it; that’s why I’m only making 3,000 copies of each.” It’s odd enough to hear an MC proclaiming that he actually wants people not to have his album, much less that there are two other full lengths that are being packaged with the same purposely-limited distribution.

It all sounds a bit, cray-z, but not as crazy as the amount of troops the MC managed to recruit onto one groundbreaking selection from Chorus Rhyme called “Chorus Collection.” He assembled 30 different rappers to lay down 30 original verses for 15 minute marathon of a cut. “It’s not like I just e-mailed a bunch of cats and told them to get on. All these people are my friends that I have history with, “ says C-Rayz. The laundry list of rappers includes Immortal Technique, R.A. The Rugged Man and Poison Pen. “The Collectible Classics are a gift to my, hardcore loyal fans before the whole world gets open off the Monster Maker project.”

Following the unloading of his tri-fecta of rare releases, C-Rayz relishes in un-caging his beastly callabo with DJ Sharkey that dropped on July 31 (Babygrande Records). Monster Maker is a see-saw of everything independent in music right now—but the hip-hop kid is slightly chubbier from C-Rayz's rhymes and tilts the techno, rock and alterative kid to the sky. “After this shit comes out, it might overshadow my older music. My whole, rock star vibe, that’s where I’m goin,’ an open relationship with rock and alternative music; whatever the hell that means.” C-Rayz says.

This Frankenstein of a project has been built as a side-show, to the 500+ live solo performances he’s tallied over the last four years. Stages are where the screws tighten and C-Rayz comes to life. His rambunctious antics have ransacked crowds globally. “I just came back from the Jewish music festival in Cracow, Poland, where the Holocaust went down. I rocked in front of a crowd of 15,000 who didn’t understand English but noticed me spilling into a 15 piece orchestra with a Jewish rabbi.”

Maybe the overseas scene is the only one that really gravitates to C-Rayz steez, but millions domestically have seen his face. He appeared on MTV’s hit series "MADE" as a coach in the “MADE into a rapper” edition, where he manages to morph a nerdy Minneapolis nimrod into rapper, The Blizzard. “The best thing is that it was with real integrity,” C-Rayz insists. “Nile really learned how to be The Blizzard [by being] warm inside and freezing out the inadequacies of the world. So The Blizzard and the SunCycle really made sense and we’re far from finished.” In fact, the network filmed a follow up episode with the teacher and pupil in a run-down called “Remade.” Overdue exposure or not, C-Rayz is aware of the fickleness of the subterranean mob. “Success is failure in underground music the same way some of them use the underground as an excuse to make wack music.”

By now, C-Rayz knows the choo-chooing of the underground better than Tudman—from independently independent to jumping on Definitive Jux and now back again, with his own SunCycle label. “The album Year of the Beast was supposed to be named Nerd Rap, which would have been genius. I was so ahead of my time with that concept, as I went on to teach a nerd how to rhyme in front of three million people on TV. In 2005, when I released that record, nerds just started blowin’ up, things like Spank Rock and TV on the Radio started getting’ a lot of props,” C-Rayz says about his Def Juxtaposition. “I felt bad that I was censored, I felt like I was on Def Jam. So then I was like, fuck that shit.”

Now, C-Rayz’ wants the SunCycle to set his career in effect, starting with the Collectable Classics and not st - URB Magazine


Caness & The Shit Spittin' Factory (Mixtape)
Drugs, Sex, Liquor & Cigarettes EP (Day By Day Entertainment)
M.F. Doom - "Vomit" 12" (Crosstalk)
C-Rayz Walz & Parallel Thought - Chorus Rhyme (Urchin Studios)
Tame One & Parallel Thought - The Ol' Jersey Bastard (Amalgam Digital)
Tame One & Parallel Thought - Acid Tab Vocab (Amalgam Digital)
Del the Funky Homosapien, Tame One & Parallel Thought - Parallel Universes (Gold Dust Media)
Production Featured on:
Loer Velocity - Ready for a Renaissance (Embedded Music)



For those who are growing weary of the predictable sounds emerging from hip-hop music, help is on the way. It arrives in the form of producers Drum & Knowledge, and emcee/producer Caness. The New Jersey natives comprise the talented mix of hip-hop producers & emcees, to give you, Parallel Thought. Combining several years of musical training and the sounds of gritty urban beats, this group is fast becoming one of the most talked about set of hip-hop artists on the east coast.

Described by indie hip-hop queen, Jean Grae, as being “the future of hip hop," Parallel Thought has already begun living up to their remarkable reputation. Parallel Thought has expanded their fan base with their first release debut EP entitled “Drugs, Liquor, Sex and Cigarettes.” The project features a collective of contributors to the underground hip-hop movement: the queen of the underground, Jean Grae, and the equally talented MF Grimm; C-Rayz Walz and Breez Evahflowin of the crew, Stronghold. The project was released on MF Grimm’s label, Day By Day Entertainment, and was licensed for vinyl release on Crosstalk, a label based out of Chicago. The project was praised by notable media outlets such as and Urb Magazine who gave the review 4 out of 5 stars.

In addition to the release of the EP, Parallel Thought is solidifying their place in the industry, having released a 12” titled “Vomit” with lyrics courtesy of MF Doom. The single is a cult classic that sold over 3000 copies, and precedes their forthcoming debut production LP (as yet untitled).

Shortly after the single dropped, C-Rayz-Walz approached Parallel Thought to start the concept album, “Chorus Rhyme.” Recorded over a period of two years, “Chorus Rhyme” is a concept record. Every song is made up of chorus’s rather than the typical, verse-chorus repeat structure that most hip hop songs contain. With the backing of C-Rayz-Walz, this was the group’s biggest release, going worldwide digitally with a limited physical release of 3000 hard copies. Not to mention that it featured the biggest posse cut in Hip Hop history featuring 30 emcees spitting for over 15 minutes. The record charted for weeks on the Underground Hip Hop sales charts and was praised by online publications such as and

After the release of their EP, first 12” single, and Chorus Rhyme collaboration, Parallel Thought went into a public “quiet mode” going on a production frenzy producing two full length LP’s. Locked in their New Jersey studio, they began a new project with a fellow Jersey native. This was the first time that the group collaborated with an unknown emcee and the result is the gritty urban tale titled “The Gorgeous Ape”. Recorded over the span of eight months, it exclusively features the microphone talent of the 26-year-old Yasin.

The next project that Drum & Knowledge started was with Harlem resident, former EOW champion and Stronghold member, Swave Sevah. After a meeting between Knowledge and Swave, at a mutual friend’s album release party, the project was on its way. Recording over the period of a year, Parallel Thought and Swave went back and forth between Jersey and Harlem. The influence of the time spent in Harlem is evident in every track. Titled, “Hell Up In Harlem”, this is the group’s most cohesive effort to date.

Most recently Parallel Thought has released "Da Ol' Jersey Bastard" with legendary emcee Tame One on Amalgam Digital and are finishing up another solo album with Tame. If that wasn't enough, Tame One and Del the Funky Homosapien have teamed up with Drum & Knowledge for an album entitled "Parallel UniVerses" and a solo Del the Funky Homosapien album.

Caness has released a mixtape and is currently working on numerous projects including a full length animated movie and album with Embedded All-Star Loer Velocity as well as a solo album. Since leaving his home-town of Muscle Shoals, Alabama, he has performed in venues all over New York City and the United States as well as across Canada and as far as Paris, France. Sharing the stage with artists ranging from Jean Grae to Zion I, he has also collaborated and appeared on songs with Bicasso from the Living Legends crew, Tame One, Del the Funky Homospaien, Swave Sevah, Loer Velocity, Gene the Southern Child, Yasin, C-Rayz Walz, and more.

Since the ages of 16, Parallel Thought has been attracting the attention of some of underground hip-hop’s heavyweights and have worked with Jean Grae, Pack FM, Illogic, Breez Evahflowin, Poison Pen, Slug, Cannibal Ox, Lo Deck, GM Grimm, MF DOOM, R.A The Rugged Man, Marq Spekt, Thirstin Howl III, Swave Sevah, Immortal Technique, I-Self-Divine, Cryptic One, Windnbreeze, 4th Pyramid, Masai Bey, Pumpkinhead, C-Rayz-Walz, Sean Price, Wordsworth, Karniege, Double AB, Dusted Dons, Tame One, Del the Funky Homosapien to name a few. With a resume this extensive it is evident that they have a bright future ahead.