The same goes for Bop Alloy's new recording, The R&R: Remixes and Revisions, which repurposes the group's 2010 songs with different R&B grooves, resulting in a project that's a little more upbeat than the original, but still deeply nocturnal.

For instance, "Lead The Followers (Part 2)," with its faint horn and piano parts, is a full-blown posse cut featuring MCs yU, Kokayi, Gods'Illa and Wordsmith. (The vocals seem a little low, though). The remixed "Chillaxation" features more percussion and a decent flute solo.

The R&R is for sale. Go here to buy it, or listen below.

D.C. rapper yU included the empowerment jam "I Believe" on his strong 2011 album, The EARN, but his label Mello Music Group sent out a reminder this morning that the song has some serious MLK vibes. In it, yU rhymes:

I draw from dreams. Cuz they're talking to me at night
Loud and clear, and I never bow to fear. Greater
Thoughts I have right now, happen some years later
The weird way the universe works,
trust is the crust of life's pie, I succeed because I believe

Rousing! But maybe not as rousing as this, a vocal-only edit of Marvin Gaye's classic "What's Going On" that Beauty Pill's Chad Clark shared on Soundcloud a year ago. He reshared it today. "It is a file that is passed around a lot," he writes. "It's not hard to find. It's on the internet. It is common for music producers to share it with each other as an example of the magic of performance." That's not the reason he's sharing, Clark says:

I am putting this up on our Soundcloud today for obvious reasons. Today is MLK Day. You have the day off. It's nice to have a day off. But take a couple of minutes to enjoy this lovely song anew and think about what this day means. Tolerance, love, courage, empathy. Try to imagine a horrible world where people like this don't come along to rescue us all from our ignorance and our gnashing teeth.

What's Going On (vox only) by beautypill

Instead, aspiring rappers not named Asheru, Head-Roc, or Black Indian spit their rhymes alongside prominent go-go bands in hopes of making it big. This topic, and a whole lot more, was recently discussed on what radio host Jamie Benson hopes will be a semi-regular podcast that interviews notable figures central to the D.C. hip-hop scene.

On the show's first installment, Benson, Kokayi and yU interviewed The Unspoken Heard (Asheru & Blue Black) about its rise to prominence in the Chocolate City scene. Go here to download the podcast or listen below.

Hume, "Inverse Fireworks" ("Inverse Fireworks" single)
The psych-inflected pop of this early 2011 track sounds miles away from the infinitely spaced-out Hume of late 2011, but its relative restraint makes the song all the more memorable.

Meredith Bragg, "Birds of North America" (Nest)
The haunting folk of Meredith Bragg doesn’t really belong alongside the more Americana-focused singer-songwriters in the area, even though that's often who he shares bills with. The ever-persevering troubadour traffics in quiet subtleties, and the slight changes in timbre and instrumentation throughout "Birds of North America" reinforce a simple, repeated melody without becoming stale.

Oddisee, "Skipping Rocks" (Rock Creek Park)
With the kind of beats hip-hop heads dream about, this mostly instrumental record is like hearing the ‘90s in soft focus. Oddisee seamlessly blends live instruments with choice, ‘70s-style samples, and the result is a soundtrack to your favorite summer memory.

More Humans, "Mason-Dixon" (Demon Station)
The harmony-laden post-punk of More Humans’ Demon Station was one of the year’s more pleasant surprises. This track somehow feels both breezy and urgent, showcasing both craft and accessibility.

Mason-Dixon by More Humans from NIGHTTIDE on Vimeo.

The Caribbean, "Mr. Let’s Find Out" (Discontinued Perfume)
One of the densest, strangest pop releases of the year (can you really call it pop?), The Carribbean’s Discontinued Perfume continues to occupy a strange, dark corner of my record collection. The hooks in "Mr. Let’s Find Out" aren’t especially obvious, but its texture-driven, stream-of-consciousness melody quietly refuses to leave.

yU, "If U Down" (the EARN)
I may be a bit late to the Diamond District’s party, but this yU record has me stoked about whatever those three put out next. Smart, effortless delivery, conscious lyrics that aren't pedantic, and warm, understated beats.

Deleted Scenes, "Bedbedbedbedbed" (Young People’s Church of Air)
This song is inescapable. While the live version packs more punch, the recent single off the effects-drenched Young People’s Church of Air softly plants itself in your skull for the rest of eternity.

Deleted Scenes "Bedbedbedbedbed" from Stephanie Wuertz on Vimeo.

Poor But Sexy,  "Fool Runnin’" (Let’s Move In Together)
Despite featuring familiar guitar work by ex-Dismemberment Plan guitarist Jason Caddell, Poor But Sexy doesn’t quite fit into any particular D.C. scene...which is fine by me. Their funkiness recalls the golden days of yacht rock, and while their frank, straightforward relationship lyrics are somehow startling, they’re also weirdly bold and endearing. Oh, and the sample that kicks off this tune is totally Plan-worthy.

SPRCSS, "Ours is Expanding Light" (05/2010)
The primal urgency of SPRCSS, replete with constant 16th notes, creates a constant forward motion. On “Ours Is Expanding Light,” an extended, slow build leads to a cathartic release that somehow feels longer than its mere four and a half minutes. In a good way.

Joe Lally, "What Makes You" (Why Should I Get Used To It)
Three records deep into his post-Fugazi career, Joe Lally displays fresh confidence with “What Makes You.” It’s a mid-tempo rocker with an expectedly groovy bassline, and Lally’s understated vocal delivery adds heft to the song's sultry attack.

For the second year in a row, I voted in WKYS's list of the hottest local rappers. (So far, Nos. 3-10 have been unveiled.) It's nice to see acts like Gods'Illa and X.O. get some shine, but I'm still trying to sort out how M.C.-producer Oddisee tied for10th (?!?!?) on the list.

In 2012, expect to hear new albums from Substantial, RDGLDGRN (formerly The Five One), and Lyriciss. Until then, here are the 2011 projects that kept my finger on the rewind button and my stereo volume at max level.

5. Soulful!, Mumbo Sauce & Drumbreaks

Hip-hop embracing the sounds of blaxploitation never sounded so good. Released in January, Soulful!'s expansive concept album combined brassy '70s compositions with finely-chopped cosmic grooves, resulting in an energetic opus driven by its layered production. On Mumbo Sauce, Soulful!'s music held its own; the guest MCs were pure frosting.

4. Maimouna Youssef, The Blooming

From the bayou blues stomp of "Black Magic Woman" to the volcanic unrest of "Wake Up," The Blooming was a dynamic debut album for the former Roots collaborator, as these songs—each one very different in scope and sound—blended together for a thoughtful look into love ("I Got A Man"), overseas romance ("O Encontro No Brasil"), and phony rappers ("You Ain't Hard"). Youssef has come a long way since singing background at Dave Chappelle's Block Party.

3. Oddisee—Rock Creek Park

We're still awaiting his proper solo debut and the follow-up to Diamond District's In The Ruff, but producer Oddisee released Rock Creek Park in September, a mostly instrumental project of nostalgic soul renderings that paid homage to the D.C. park and provided a glimpse into the composer's artistic trajectory. Rock Creek was lush and layered, and stood tall without vocals. Quite the feat for an instrumental project.

2. yU, The EARN

As if his debut album weren't great enough, yU's sophomore release exceeded 2010's Before Taxes and solidified yU's place as the "humble king" of the local rap scene. Hard work and self-actualization were the central themes of this electro-soul offering, as the Diamond District M.C. reflected upon his childhood ("Time Machine"), exorcised personal pain ("If U Down"), and chastised capitalist excess ("Money"). As a man, yU is low-key and relatively unassuming. As a rapper, he's the total opposite, controlling the microphone with remarkable maturity.

1. Gods'Illa, CPR: The Blend Tape

Simply put, Gods'Illa's Blend Tape changed the landscape for local mixtapes, making it unacceptable for DMV rappers to litter their projects with throwaway songs and radio singles. Instead, the Forestville trio proved that free music doesn't have to sound cheap, and that insightful lyrics don't need to be preachy. From beginning to end, the Blend Tape is chock-full of quotable one-liners and neck-breaking production, resulting in the same gritty feel as the aforementioned In The Ruff album. And while neo-soul superstar Erykah Badu hosted the Blend Tape, she eventually faded into the background as Gods'Illa's assertive wordplay took center stage. The group made major moves this year and show no signs of slowing down.

Chris Klimek leads the section with his reviews of Arena Stage's freewheeling production of You, Nero, in which the disastrous Roman emperor is coronated as something of a pansexual glam rocker, and Signature Theatre's Hairspray, a take on the John Waters-inspired musical that features jocular WETA host Robert Aubry Davis in a dress. Marcus J. Moore reviews the new record by D.C. hip-hop's best humble-bragger, yU, while Ally Schweitzer listens to the sophomore LP from D.C.'s only noisegazers, Screen Vinyl Image. Tricia Olszewski reviews two films about disturbed ladies that will eat at your patience: Young Adult and A Dangerous Method. And in One Track Mind, Lindsay Zoladz chats with Pree about the indie-folk band's Hawthorne-inspired song "Lemon Tree."

On "Disturbed," yU finds a way to do what he does best, twisting a tale of personal unrest into a horror story, casting his complicated rhyme scheme over a haunting Usef Dinero track.

The song is a prelude to the Killer compilation project being released through Mello Music Group next October. yU's new album, The EARN, will drop Dec. 13. You can download "Disturbed" for free. Listen below.

Elsewhere, he and RAtheMC address their haters on "Can't Forget About You." On "County," Pro and Don Juan show love to Prince George's County over a methodical, Kokayi-produced beat.

We've foreshadowed Pro'Verb's new project a couple times on Arts Desk: once when he dropped the reflective "Too Hip-Hop," featuring Diamond District member yU, and when he released the energetic "Write Brothers," featuring Lyriciss, an MC with whom he frequently collaborates.

DJ Booth has the full mixtape.

One year later, X.O. sounds restless on Monumental II, a 17-track mixtape of familiar soul samples, reflective anecdotes, and aggressive lyricism released today. Monumental II is the follow-up to his acclaimed Monumental mixtape from 2009. We review Monumental II in this week's paper. In addition, I spoke with X.O. about the new project, his push for more collaboration among local MCs, and the restructuring of the once-formidable Studio 43 record label, which once had Wale on its roster.

Washington City Paper: I've been following your music for some time now, and on this release, you sound very edgy and determined. Is there any reason why you had a different tone on this one?

X.O.: The difference in tone on this one, I would have to say it's the anxiousness to take things to the next level, as far as my skill, overall music career, overall sound and energy.

WCP: It's been two years since the release of the first Monumental mixtape, so describe in detail some of the personal and professional challenges you've endured since then.

X.O.: I'm just trying to stay focused on this plan. Sometimes, we have a plan or we want something so bad, we get anxious and that anxiousness turns into impatience, and that impatience turns into frustration. It's all a cycle, so that frustration goes back into the music. With Monumental II, I actually recorded over 70 records. In the last month, a lot of things were going on. I had a lot of things I was going through, but I finally got it together. I learned that I have to keep going and not get distracted by things, and keep people around me that are like-minded. Through certain trials and tribulations, I slowly solved a lot of problems.

I've long wanted to put out Monumental II, but I had to work out some things. I'm not with Studio 43 anymore. It was no beef with those guys. In my natural spirit, I started asking myself a lot of questions and that's when the answers came. I don't wanna be just an artist; I wanna be an entrepreneur. That's really my true passion, and if you look at KRS-ONE and Boogie Down Productions, Jay-Z and Roc-A-Fella Records, these are artists with the mindset of businessmen. Artists with more control end up being innovative.

WCP: From what I'm hearing, you don't just want to be an MC, you want to be your own brand.

X.O.: Exactly, so I had to detach myself from certain things to make myself stronger. And with this Secret Society movement I created, it's mainly people in my clique. It's a movement. It's the people who know that we are some of the best and some of the nicest MCs, and we are getting overshadowed. We're not getting acknowledged because of politics, ya know? AB the Producer, his beats? Hearing the production on [Monumental II], it's some of the best from this area, hands down. Period.

WCP: Anybody else in the Secret Society?

X.O.: Yeah—Benji, Gordo Brega, Tony Night, D.O.E. C.I.G.A.P.O.M, Tragic, and my extended friends like Phil Da Future and Fat Trel. They don't even know about the Secret Society, but that's the movement I'm starting. I consider them to be a part of it because we're nice and we're not getting acknowledged. We're not in the forefront yet. It's like the most known unknown. People know that we're not right in front of people's faces with it. The Secret Society is really like an analogy. We're making silent moves. When you look at the real Secret Society—like Illuminati and all that—they move the same way. We're gonna unite. That's what I want to do with all the hot D.C. artists. You already know it's strength in numbers. We've got to come together.

WCP: When you mention people like AB The Pro and Gordo Brega, did you pick people for Secret Society who used to be on Studio 43? Are they still on the label?

X.O.: Studio 43 is not a label anymore, it's like a marketing company or something like that. I don't think they had what it takes to give the artists what they needed. It was definitely a great stepping stone. But as far as going further than that, with certain people who were involved with it, it couldn't go to the next level. So I had to put on this entrepreneurial hat, which I already had on doing the [Club] Pure open mics.

WCP: What are the differences between X.O., the solo rapper, and X.O., one-third of the Diamond District?

X.O.: Not too much of a difference. I'm my own entity. That's like, for instance, me being a good basketball player on the level of Lebron [James] or Mike Beasley. I used to watch Mike Beasley at Barry Farms. He already had a reputation for playing basketball here or there on his own, but when he got on a team, he just played his part. Same thing with me. I went around the city and had my own thing going. When I'm with [Oddisee and yU], I just play my part. On the next joint, it's gonna be a whole new sound because my mind is in a different place when I'm laying those tracks. I know that when I make music with them, it's a totally different sound and demographic. I may talk about different things because I know a different type of person will be listening. When I'm alone, I get to go into that mode, but I get to do a lot of other things that Oddisee and yU would never do. I do that on purpose. When I put out stuff by myself, I want to keep that separate sound, so you'll know what I bring to the table when I come to that group.

WCP: Growing up, what were some of your musical influences?

X.O.: My mother and father were my first musical influences. My father used to play with Gil Scott-Heron. I never grew up around him; we weren't close until later in life. But, just hearing the story and knowing why I like certain things, or why I'm attracted to certain things, is because my family had me around that. My mother is also a musician. I didn't get into rap until elementary school. Coming up in the late '80s and early '90s, we mainly listened to R&B. My folks used to listen to Earth, Wind & Fire. Then when rap came along, L.L. [Cool J] was one of the first dudes I was rocking with. After that, it was Biggie Smalls. Then it was over from there [laughs]. After that, it was DMX and Jay-Z, when I started getting into the streets and was able to relate to the things that he was talking about. I heard the Jay records, but I wasn't hustling in 1996. He brought a lot of lyricism to the table. It was that 'hit home' feeling that I got from him. But I listen to all music, not just rap.

WCP: I compared Monumental to Monumental II, and it seems like you were really honest about the things you used to do. Was that done on purpose?

X.O.: When I was younger, and my mother was struggling, I would pay bills in my house. At 16, 17, 18, I was helping my mother pay bills. It came to a point where we discussed what I was doing in the street, and she OK'd it. She was like, "We gotta do what we gotta do!" It wasn't always like that, only when our backs were against the wall. She ended up kicking me out for selling drugs.

WCP:  So what are your plans for Monumental II? Where do you want it to go?

X.O.: I want Monumental II to set a new tone for me, what I have to bring to the table, and our Secret Society movement. This is the first installment of consistency and great music representing this area. I want it to be heard all around the world.

Musically, the park represents another notch in his creative belt. Yesterday on iTunes, Oddisee released Rock Creek Park, a 10-song, mostly instrumental album of sample-based production and live arrangements, saturated with nostalgic funk grooves and soul-ridden compositions. "It's a soundtrack to my memories and experiences in Rock Creek Park," Oddisee says. CD and vinyl versions come out in September.

Oddisee now lives in Brooklyn, N.Y. The album, recorded in D.C. over a two-week period in June, stems from his bicycle rides through New York's Prospect Park and Central Park—treks that made him remember the good times in Rock Creek Park.

Just three months ago, Oddisee dropped the 31-track Odd Seasons album, a frenzied collection of standout vocal tracks ("I'm From P.G.," "That Day") and raucous break beats ("To Tell The Truth," "Sand To The Beach"), which demonstrated his continued growth as a producer.

But unlike Odd Seasons, which stood out for its schizophrenic energy, Rock Creek Park is much more serene, blurring lines between old and new. "Still Doing It," for instance, is rich and percussive, held together by the sound of crackling vinyl and a scene-setting verse from Diamond District member yU. Conversely, "The Carter Barron" swells as it plays, as cascading drums and horns give the song a triumphant feel.

Listeners should expect an even richer feel on People Hear What They See, Oddisee's proper solo debut, scheduled for a December release. He worked with string and brass sections, which gave the album's tracks an orchestral sound, he says. The album—a mixture of underground hip-hop, pop, and everything in between—will feel lush and dynamic, he says: "You can take the vocals off the album and listen to the instrumentals, and it won't sound redundant."

Oddisee's also compiling beats for a new Diamond District album, that will come out next year, he says. A follow-up to In The Ruff was supposed to drop in 2011, but Oddisee decided to start from scratch after signing a new publishing deal, which gives him access to a hard drive with pre-cleared samples. Until then, Rock Creek Park will have to do. Not a bad way to wait.