Relic (aka Rel McCoy)

By Thomas QuinlanToronto, ON's Relic is a true solo artist, putting in work over the last few years as an MC, producer and DJ, with an album and a couple of EPs under his belt (not to mention a recent beat tape). He follows this formula on his sophomore full-length. On opening track "Gone Clear," Relic raps, "Religious topics I'm not speaking, I just walk what I believe in." This isn't exactly true, as his born-again Christian beliefs and themes of spirituality figure heavily into the music, especially on testimonial track "Pocket Full of Change," although he's never overly preachy. At the same time, he also touches upon topics that include individuality and being yourself as an artist, hard work and perseverance, positive transformation and fatherhood alongside wicked wordplay and bits of braggadocio. Well-suited to his introspective raps and serious subjects, his production is mostly mid-tempo headnodders that combine thumping drums, keys (both piano and synth) and singing provided by a selection of sped-up soul samples, soulful guest vocalists and from Relic himself. Exceptions to this include "Down & Dirty," which features an up-tempo, hectic beat anchored by a funky bass line and a cut-up chorus for the intelligent sex raps of Shad and Ghettosocks, the former comparing his balling skills to bowling and the latter dropping enough comic book and sci-fi references to inspire a nerdgasm. While "Action Figure" has a big, banging beat that's the perfect backdrop for Relic's call to action. If you're looking for positive, personal lyrics with a laidback vibe, Relic's Miles to Go would be a good choice. - Exclaim!

Canadian rapper Relic released his album Miles to Go in September. The album is purely Relic’s, and by that, I mean that he wrote the lyrics, made the beats, mixed, edited and arranged the entire project by himself. Now with that much blood, sweat and tears poured into this project, you’d hope and think that this album would be pretty damn good. So if you thought that, you’d be absolutely right.

Harnessing a mid-west kind of hip hop sound, Relic embellishes his track with witty wordplay and a hardcore voice over some pretty melodic instrumentals. The sound and quality of the album is superb and you can really and tell the amount of heart Relic not only put into this album alone, but his music in general. From showing off his rhyming talents, to going in and wearing his heart on his sleeve on tracks like “Nobody Like You,” Relic bounces ideas around in a very fluent and organized manner. Thought-provoking rhymes, razor-sharp delivery and a perfect flow, Relic has it all on the words-portion of his project Miles to Go.

A spirit-bursting amount of soul finds its way into almost every single beat on this album. Relic’s lyrical abilities are not only outstanding, but his drums are excellent, as well. Staying true to old-school-type hip hop and utilizing beat-break-like drums and chopped up vocal samples, the instrumentals on this album are full of energy and fuel the fire that Relic spits on each song. All the way down to the crispness of the snare hit, Relic knows how to make a beat, and what’s best is that they’re his beats, so he really has all of the emotion and feel built into every track before he even touches pen to pad.

There’s only a select few features find their way on Miles to Go. Canadian emcees back-up Relic, most notably Shad; however, Mr. J. Medeiros, Die-Rek and Ghettosocks all provide some vocals for Relic on a few songs. Although few in number, these featured lyricists are strong in talent and really add depth and wholeness to the songs they are heard on.

Relic is truly an impressive emcee. His ability to tell stories and paint a picture for the listener is fantastic and his ability to produce and write an album like this is hard to find sometimes in the hip hop world. A very personal album, Miles to Go really allows people to see and hear who Relic really is as an artist. The relentless soul heard in every beat is what hip hop should always have backing the emcee, and the true and authentic lyricism is what all rappers should possess when stepping up to the mic. Don’t doubt Relic, because in one album, he can most-likely turn a non-believer into a ultimate fan. The album can be heard in its entirety via Bandcamp below. - Hip Hop Speakeasy

esterday Jay-Z, Masta Ace and I celebrated our birthdays. Not together mind you, Jay was likely feted on some exotic island he owns, while Ace and I celebrated in a more modest fashion. Well I’m just assuming Ace’s birthday was more low-key than Jay’s, but who knows, he might’ve gone wild with the Biz puppet, Full Retard style. Anyhoo, my point here is that I wanted to keep the gift giving going, and so I wanted to post something special that I hoped you’d really like. Enter Relic’s last album Miles to Go.

Truthfully I thought I’d already posted on this record months ago. I’ve listened to it numerous times since I got it, developed a sincere appreciation for it, and was sure I’d done a post on it. But there it was in my todo list, and when I checked, it seemed I’d only posted on Rel’s last video, Work of Heart. That’s a fairly common whoops for me, and, as usual, it’s a shame, because Miles to Go is the kind of fantastic-but-unheralded album that deserves whatever little shine we can give it.

Relic’s a veteran MC and producer, and his experience, both in life and the rap game, shines through as you soak this record in. The sounds are polished, but organic & authentic, and the beats thump with true school percussion, but are also more musical than you’d expect. Rel readily admits he’s a disciple of the folks oldsters like me consdier the best to do it, guys like Rakim & KRS, and he certainly does them proud. He’s been doing this for a long time, but he stil sounds confident and hungry. He makes an effort to be positive and pass on his experiencees, but he never preaches. He also has a knack for doing sing-song hooks on tracks like Gone Clear, Pocket Full of Change and The Goodness that’ll have you nodding along the first time you hear them. But there’s also plenty of straight-ahead, high-quality hip hop, like Down & Dirty, his collab with two of the hill’s favorite MC’s: Shad & Ghettosocks.

So even if it’s not your birthday, Christmas is right around the corner, so treat yourself to this one. It’s fourteen tracks of honest to goodness, stick to your ribs hip hop. That’s the gift that keeps on giving. - Hero Hill

esterday Jay-Z, Masta Ace and I celebrated our birthdays. Not together mind you, Jay was likely feted on some exotic island he owns, while Ace and I celebrated in a more modest fashion. Well I’m just assuming Ace’s birthday was more low-key than Jay’s, but who knows, he might’ve gone wild with the Biz puppet, Full Retard style. Anyhoo, my point here is that I wanted to keep the gift giving going, and so I wanted to post something special that I hoped you’d really like. Enter Relic’s last album Miles to Go.

Truthfully I thought I’d already posted on this record months ago. I’ve listened to it numerous times since I got it, developed a sincere appreciation for it, and was sure I’d done a post on it. But there it was in my todo list, and when I checked, it seemed I’d only posted on Rel’s last video, Work of Heart. That’s a fairly common whoops for me, and, as usual, it’s a shame, because Miles to Go is the kind of fantastic-but-unheralded album that deserves whatever little shine we can give it.

Relic’s a veteran MC and producer, and his experience, both in life and the rap game, shines through as you soak this record in. The sounds are polished, but organic & authentic, and the beats thump with true school percussion, but are also more musical than you’d expect. Rel readily admits he’s a disciple of the folks oldsters like me consdier the best to do it, guys like Rakim & KRS, and he certainly does them proud. He’s been doing this for a long time, but he stil sounds confident and hungry. He makes an effort to be positive and pass on his experiencees, but he never preaches. He also has a knack for doing sing-song hooks on tracks like Gone Clear, Pocket Full of Change and The Goodness that’ll have you nodding along the first time you hear them. But there’s also plenty of straight-ahead, high-quality hip hop, like Down & Dirty, his collab with two of the hill’s favorite MC’s: Shad & Ghettosocks.

So even if it’s not your birthday, Christmas is right around the corner, so treat yourself to this one. It’s fourteen tracks of honest to goodness, stick to your ribs hip hop. That’s the gift that keeps on giving. - Hero Hill

November 13, 2012
Out of my Comfort Zone: Miles to Go by Relic

By Stephanie Raycroft

The Argus

This week, we went in a bit of a new direction, giving Relic, a.k.a. Rel McCoy’s, latest offering,Miles to Go, a listen. The Toronto artist has been proclaimed a “hip hop guru,” with such titles as Emcee, DJ, Juno award-winning producer, engineer, and singer. The “total package in Canadian hip hop” has his hands in many pots, having undertaken a huge project:endeavouring to write, record, produce, perform, and mix Miles to Go entirely on his own.

That’s not to say that he can be credited for every track on the album. Relic’s close friends, Shad, Ghettosocks, Brotha Soul, and Mr. J. Medeiros,contributed to the album.Thus, Relic maintained sole creative power over his album, but also continued strong personal relationships with these artists.

Now, you all know me. I am a big fan of the sweet, happy, “sparkles and unicorns” indie music, so a hip-hop album is hardly my style.

That’s not to say that I have no background knowledge of hip-hop. But it’s sparse, at best. So I turned to my 19 year-old rap enthusiast brother for guidance. For the record, he was no help. Although, he did say, “This is so sick.” So, yeah.

Regardless, I plundered on, expanding my hip-hop horizons. Miles to Go is Relic’s way of telling the story of his still on-going rise to the top. At first, I interpreted this theme as a generic rap genesis story that we’ve all heard time and again from rapper after rapper. I soon realised that far from generic, this ishis story, and his journey is something that hip-hop fans and aspiring rappers alike can all relate to. In some way, I also found this relatable. I think everyone has a shiny, fabulous life goal that they’re working to attain.

I found Miles to Go incredibly individual and moving. The individual bit seems obvious, considering he was the major creative influence on the album, and the only hand in its production. Yet, it goes deeper than that. Relic pulls from many old-school influences, for example, he uses soulful blues/jazz interludes. This, combined with incredibly poignant lyrics and impressive delivery, demonstrates his supremacy in the Canadian scene.

Tracks like “Out of the Blue” are incredibly funk-heavy, which is the type of hip-hop I tend to gravitate toward, so he hit a soft spot of mine, and I really enjoyed it. Other tracks, like “Action Figure”, are reliant on strong, inspired lyrics, and leave you feeling like he just gave you the tools to take over the world. I think my favourite part is that he masterminded the whole thing. It just makes this offering so much more inspired.

All in all, I had a lot of fun listening to Miles to Go, and I recommend it to anyone, regardless of musical comfort-zone.Nothing on this album feels synthetic, and Relic’s attention to detail must be appreciated. The melodies feel natural, very unlike the rap that dominates the billboard charts right now. This is just what we need. - The Argus

Stephanie Raycroft of The Argus reviews Miles To Go by Toronto artist/producer Relic (aka Rel McCoy). Be sure to check the project out via Relic’s Bandcamp profile. Big shouts to The Argus, the student voice of Thunder Bay, for supporting Canadian hip-hop. Follow them on Twitter @TheArgusNews

Thunder Bay, ON – This week, we went in a bit of a new direction, giving Relic, a.k.a. Rel McCoy’s, latest offering, Miles to Go, a listen. The Toronto artist has been proclaimed a “hip-hop guru,” with such titles as Emcee, DJ, Juno award-winning producer, engineer, and singer. The “total package in Canadian hip hop” has his hands in many pots, having undertaken a huge project: endeavouring to write, record, produce, perform, and mix Miles to Go entirely on his own.

That’s not to say that he can be credited for every track on the album. Relic’s close friends, Shad, Ghettosocks, Brotha Soul, and Mr. J. Medeiros, contributed to the album. Thus, Relic maintained sole creative power over his album, but also continued strong personal relationships with these artists.

Now, you all know me. I am a big fan of the sweet, happy, “sparkles and unicorns” indie music, so a hip-hop album is hardly my style. [More] - Hip Hop Canada

Please introduce yourself and tell us a little bit about yourself?

I go by the name Relic aka Rel McCoy. I’m a emcee/producer/engineer from the Toronto area.

You have self-nominated the title of being odd because of your “slant on creativity”. What’s the story behind Relic the Oddity? And how do you stand out from other artists/producers?

Standing out is a difficult thing to do in hip hop. There are so many great acts out there. If I stand out, it would have to be the style of emceeing/singing that I’ve incorporated in my latest material. Maybe also because I have an “all around” approach to making songs. I never set out with the intention to do everything myself, and I still love working with other emcees/producers. But as time went on I picked up one thing after another and I ended up doing the majority of singing/songwriting/emceeing/djing/producing and engineering on my recent music. It began mostly out of convenience, and not having a lot of money to pay for studio time, but eventually I really fell in love with each aspect of music making. It’s become a bit of an obsession.

Out of high school, you wanted to get into an audio recording program. Were there life events that made you say “I want to do this as a living” or “I want to pursue being an artist”? If so, what were they?

I was introduced to hip hop when I was around 10. By the time I was finishing high school I had been influenced by the likes of Rakim, Big Daddy Kane, Pete Rock and C.L. etc. All of the production on those records fascinated me and made me want to learn more about how it was all put together. Buying records and learning how to DJ also played a part in my drive to start producing. It sort of seemed like the next step from the turntables. It got to a point where I felt like there was nothing I would rather be doing. I don’t think I can pinpoint a specific event that made me want to make music as a job. I guess it was more like a hobby that turned into that.

You have worked on Shad’s albums ‘When This Is Over’ and ‘TSOL’, how did that come about and what was the experience like working with him?

I was introduced to Shad by a mutual friend around the same time he was working on “When This Is Over”. I was the opening act on one of his shows at that time, where we exchanged info. He contacted me about some beats for the record and the rest is history. Working on “The Old Prince” record with him was a lot of fun, which allowed us to get to know one another a bit better. I’ve always been thankful for him allowing me to contribute beats and feature verses for his projects, and for the features he contributed to my records. Shad is a real down to earth guy, with a crazy sense of humor. Even though we both take what we do seriously, our time together in the studio is always full of laughs.

Recently, what has really opened your eyes in the music industry?

Finishing this record, finalizing mixes, getting things set up to have some online presence, doing consistent shows and touring etc, has really soaked up the last 6 months of my life. I realized the other day that I hadn’t had a creative moment in months because I was busy doing the leg work to get this new record out. I found out that it can easily become un-balanced if I’m not careful. I have to make time to stay creative, and look for ways to simplify the work load. I don’t think I really realized what I was in for when I signed up for this thing. I’m learning new things every day that I have to be doing in order to make my musical endeavors successful.

After someone listens to your latest album ‘Miles to Go’, what kind of impression of yourself or your style would you like that person to leave with?

I hope that at the end of the day, people are entertained. Beyond that, maybe I can be a positive light in someones life if they can relate to the personal things I put in the music. Music reaches people on a whole bunch of levels, but I think that at the bottom of it all is the immediate feeling they get from hearing the songs. I would love if the first impression I give is on some sort of relateable human level. Nothing superstar…just good music.

You’ve been touring your album in Western Canada with a couple dates in the States, how has your response been so far? What has been your most memorable experience so far?

The shows have been great. The response to what myself, The Extremities, and Ambition ( the groups I’m touring with ) are doing has been incredible. We have been getting a lot of love. The best part of the tour has been the humbling experience of having all of these people out there that are supporting us, and seeing people enjoy the shows.

You will be performing at The Facility on October 5th and The Media Club on October 6th. What should fans that have never seen you perform before expect?

Fresh Kils ( Live MPC guru ) and myself have been working together for a long time, and have put together a dynam - Van city buzz

For those of you who may not know, or be up to tune on rap sprouting from Canadian soil, RELIC. (fka Relic the Oddity)
has been putting it down for the greater good for nearly 20 years now. A bonafide triple-threat (MC, DJ, Producer)
reminiscent of the golden era of hip-hop, Relly Rel was first exposed to many of us via the 2005 digital-only LP release of
It’s All RELative, while 2006 brought us the introspective 6-song EP, Note to Self. Fast-forward to 2009 and enter
The Green Light where green means go so, lets get to into it.

The Green Light opens up with spacious, dirty drums and keys on the album's title track. Rel comes off with a
heavy foot on the gas pedal, delivering double-time raps over top of soothing background vocals that could easily be
mistaken for vocal samples; think beautiful-raspy Macy Gray vocals, here. The vibe of the album quickly switches up a
gear or two with jams like "Stronger" ; an audibly delicious spiritual and mental exercise; and "Out There" finding a vulnerable RELIC. narrating the hits and misses on the calling of his own life, sharing:
"One day taking a break to slow up the pace
I wonder if I'd be blessed with old age?
And if I was, would I look back with a smile on my face
For decisions that I make and the trials that I face today?
Sounds wild but it's safe to say
Risk-takers will embrace the day, hesitators only waste away
I've gotta say my decisions been some difficult ones
But I never have to wonder what I could have become"
RELIC. brings along veteran Toronto-emcee, and active member of Method Man & Redman's production team,
Saukrates ("A-O", Blackout! 2 anyone?) and the always intriguing Shad K for "Just the Day" and "Count Your Blessings",
respectively. We find Rel here reflecting on some of the ill's of our society with sobering one-liners like "on the outside we
hurry up to live and on the inside we die slow", reminding us all of the chaotic, fast-paced world going on beyond our
front door. While RELIC. and Shad play tag-team in a seemingly effortless manner, counting their blessings all the while
reminding us of why we should do the same. We switch-up gears yet again on "Give & Take" as Rel offers up his own
personal starving artist' ballad, fully-equipped with an addictive and meticulously layered chorus.
"Easy Now" kicks off the latter part of The Green Light, finding REL flowing effortlessly over-top layers of spacious and
atmospheric samples. RELIC. also showcases his vocal versatility, crooning out yet another smooth and infectious hook
reminding us all not to take life so seriously. Without a doubt, the highlight of The Green Light for me was "Time
Machine". Let's just call it the rap version of "Ooh-La-La"; a heavy-laden track reflecting on past, present where REL
asserts himself:"If I had a time machine
I'd take it back to my broken past and rebuild ya na'mean?...
I'd want to make it up to them
At least leave on better terms or stay friends
Instead of burning bridges and causing mayhem
I'd stop by and expose foes and fake friends
In an attempt to make amends with the many I offended
I'd find that letter I failed to mail to my Dad and send it
It ain't all regret, so many great memories I'd never want to try to forget
My son's birth is first I want to visit
And live it all through from an outsiders point of view
I was afraid, and life was an impossible task I didn't know the way
Seeing it again would help me motivate to put a smile on my face
Would help, I probably wouldn't recognize myself"
An unabashedly honest look into the life of the man behind the mic.
It is a shame that an artist with this much talent does not have more exposure as RELIC. proves on The Green Light that
he possesses major label talent but with a minor label backing. However, something tells me that, in due time, the music
will speak for itself. - Sphere of hip hop .com

To properly introduce Relic one must first trek back to DJ Complejo's Shad review from January of 2008. While p didn't
mention any specific producers by name, he gave the "outstanding crew ofproducers" who workedon Shad's album l0 out
of 10, and praise at RR doesn't get any higher than that! As it turns out, Relic just happens to be one of those producers, as
the bio accompanying "The Green Light" notes that he did production and mixing on BOTH Shad albums reviewed on this
website along with providing a vocal or two. That's not the surn total of Relic's experience in the music industry though -
the Brampton" Ontario based artist has done work for artists on either side of the Canadian border from Manafest to Sev
Statik all while building his own Resevoir Studio to bang out beats and rhymes.
If you have heard of Relic, you may have a few preconceived notions about his lyrical content. Rather than play to those
stereot)'?es, I'd rather put that aside for a later paragraph and jump right into an album that aside from guest vocals was
"written, produced, recorded and mixed" entirely by Relic. The amount of rappers who can pull off juggling all of these
balls at one time can be counted on your hands and toes, and if you segregate that to SUCCESSFUL juggling you only
need two hands - chop oIT one if you're extra critical. Relic's experience in the music industry seems to have him wellprepared
for this challenge though, and his only complaint on "Give & Takeu is that he's just not compensated well enough:
"Never mind shakin my fist when disappoirnnent hits with this
I'm on thc grind like gears with afirst timer drivin a stick
Tryin to find the sweet spot with the least resist
Not to ease offthe work but to squeeze offperks to assist
More times, the benefit, is rnt proportion to the effort
that I'm spendin and dan't even resemble it
I oughta be cautious when I wawm cut out costly losses
and take a second thought
They might well be pieces of the puule that propel me out a trouble spot
Cause Rel stumbtes a lot
They say somethin gotta give and I release what I got
But there's so nwny on the take it make fta wawut take off!'
Relic's complaint that "it ain't askin a lot to get paid for my callin and trade" is a refrain often heard in underground rap,
but Rel manages to avoid the trap so many fall into of being a whiny spoiled brat about it. There's no sense of ego or
entitlement to Relic's sentiment because as he notes "if you're broke, and dope, then we can reach a point of settlement if its
reasonable." It's certainly unfair to not give Relic SOME barter in exchange for beats like these - smoothly merging a midtempo
beat with multiple layers of instruments and melodies into a seamless hiphop whole. Relic is far from the type to
dwell on the "I gotta get paid" tip though, and "The Green Light" reflects a whole range of topics and sounds. "One Plus
One" is a fast moving braggart's tale where he defines his style as "one leg up on competition like a dog pissin/rainin down
on your position." The sunshine sound of "Stronger" could be lifted from a 1970's soundtrack or a children's television
show of the same era - either way the harmony and uplifting topic are an ideal match. Relic isn't afraid to share the sun
though and brings in Shad to rap on "Count Your Blessings," Saukrates to rip on the electro-pop vibe of "Just fhe Day" and
let Brotha Soul and Kam Moye take +ALL+ of the sun's rays on ulrt Em Know." He's not at all selfish with the beats.
Now earlier we did not that if you were already familiar with Relic, you might have a bit of a predisposition about his
flow. Listening to this album, I'm convinced there's nothing comy or preachy about Relic's rap, but his bio does make note
that Relic "got his start at church outreaches across the GTA and northem U.S." You'll note if you examine the artwork at
the top of the review there's no parental advisory sticker and after hearing 13 tracks on "The Green - RapReviews.com

lt's often criminal how frequently I sleep on the hip-hop that's been coming out of Canada.
Obviously it's not intentional, but that's just how it is at times. Suddenly, you come across a song/
release that completely shatters any notion you had of what was ill. That's basically what happened
when I threw on Toronto produceriMC Relic the Oddity's album The Green Light.It's been a pretty
damn positive experience. As a a emcee and producer, Relic serves up an LP soaked in thoughtful
lyrics and uplifting beats. This is a thinking man's album.
The entire album's reminiscent of that gritty mid-nineties flavour that many hip-hop heads wish
was still prominent in the game. One defining aspect ofThe Green Light is the absence of overly
aggressive lyrics, or any profanity for that matter. It actually took me repeated listens to catch this.
Very refreshing.
I feel the strongest tune on this release is "Give and Thke", a tune that delves into the topic of the
lack of balance between Rel's professional work ethic and efforts in regards to hip-hop, and the lack of
monetary compensation. It's definitely a sentiment shared by many hip-hop artists (especially up in
Canada), however his message isn't presented in a manner that begs for sympathy...he's just stating
reality. The album's strong reflection on reality is also evident on "HopeFull", where Rel takes the time
to acknowledge the various hardships one encounters throughout their lives, but encourages an
optimistic outlook regardless the intensity of the struggle. "Time Machine" shows Rel reflecting on
painful and joyful memories, hoping to either change the outcome of those past situations, or
experience the more pleasant ones
One of the top hip-hop albums I've heard this year. Once again,I think it would be criminal for
any fans of Canadian hip-hop to ignore this. I recommend that all those interested in hip-hop taking a
more progressive approach to the sound grab a copy at the digital retailer.
Notable tracks:
"Give and Take"
"The Green Light"
"Let Em Know"
"Count Your Blessings"
"One Plus One"
"HopeFull"
Rating: 8/10
Labels: relic - NxEW.ca

Citing influences such as Grandmaster Flash, EPMD and Pete
Rock, Toronto, ON triple-threat Relic the Oddity is a singer,
rapper and producer who has created a solid slab of soulful
backpack rap on his latest release, The Green Light. In the
game for almost 15 years, Relic has produced tracks for and
collaborated with fellow Canadian talents such as Shad and
Saukrates, whom both make appearances on this album.
"Count Your Blessings" is a soulful, uplifting track that has
guest MC Shad and Relic giving thanks for the things they do
have, instead of dwelling on what they don't, over some highpitched
chipmunk funk reminiscent of vintage Kanye. On "Just
The Day" featuring Saukrates, Relic serves up an electro '80s
throwback vibe that he and Sauk ride nimbly. Chock full of hot
production and solid rhymes, The Green Light is yet another
addition to the fine canon of Toronto hip-hop. Relic is one
more artist the T-Dot can embrace and be proud of. Oddity? I
think not. - Exclaim!

13 has always been known as something “evil” or “superstitious“. However, triple threat (emcee, producer, engineer) artist, Relic, decides to explore within this number with his new project “The 13th Floor“. He begins the project by entering on the elevator of life and gets advised by the elevator operator to “be himself” as he is preparing to rise to the 13th floor. Relic brings thought-provoking bars as he lets us know about life and the paradox of how “the more life changes, things stay the same” with “Isn’t it Something” and “The Same thing“. He shows how our curiosity and our exhausting efforts won’t be able to close Pandora’s box. He continues speaking on the perversions of beauty with “Fire in the sky” speaking on the good and bad effects of war towards people and the earth. Within being himself on this project, Relic shows that he is done concerning himself with “the crabs hating on him for coming out of his shell“. We can see/hear this pain that he has struggled with on that issue on “Breathe easy” and “Getting Over“.

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Overall, this is one of my favorite Relic projects. It completely went in a new direction from him and I can respect that. It is filled with pain and the realization of the paradoxes that we experience in life. What makes this project so special is how it articulates the problems in such a relatable and universal way. My personal favorite track off the album is “The Least of these“. The message hit home, because I was that guy he was speaking about. I was very excited to see Relic sing on more of his hooks. It adds the soul to the production and message behind the bars. Relic’s bars sound so great over Fresh Kils production. They made “Legend” sound legenary! I highly recommend this project to show how Relic, as an emcee, just doesn’t spit…but has a purpose behind what he’s talking about. By the end of this project, you will be ready to meet Relic and Fresh Kils on the 13th floor.

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The 13th Floor by RELIC - Dead End Hip hop

Hailing all the way Canada, Toronto-based entertainer Relic, or Rel McCoy, has dropped his latest album, The 13th Floor. Although this is the first lyrical project to come from Relic since his 2013 Golden album, he’s been keeping busy with other projects and his two instrumental albums, GETSUM Vol. 1 and Miles To Go. Relic hits the studio booth and focuses his attention to delivering some insane bars, and leaves the production to Juno Award nominee producer, FRESH KILS. Together, the duo takes listeners to a whole different level with the 13th Floor .

Relic is very transparent on this album, addressing a variety of topics from his hallway-bully days in high school (“The Least of These”), to penning verses that capture the effects of war on actively deployed troops (“Fire In Our Sky”). To help maintain the album’s reflective nature, Relic chose not to collaborate with any other lyricists, even other past Canadian partners, like Ghettosocks and Shad. Fans might also be impressed with Rel’s increased amount of singing, owning each and every song, lyrically and vocally. Other stand out tracks from the 13th Floor include “Getting Over,” “The Same Thing,” and the lead single from the album, “Breathe Easy.” It’s also arguable that one of his best lyrical deliveries comes in the form of “Isn’t It Something,” giving us a different taste in his style from his usual east coast-esque flow.
This album is a great addition to Relic’s portfolio because he went all out on this project. Usually this triple threat likes to be in control of everything, lyrics, production, recording, etc. But by teaming up with FRESH KILS as the album’s only producer, Rel created an album that stimulated his writing and lyricism, and forced him to step out of his comfort zone. He’s also presenting topics that young adults all around the world can relate to. I think Rel is making great progress and with select tracks that have definite mainstream potential, Relic can only become a bigger force to recon with in the underground hip-hop scene. - KTSW 89.9

We haven’t posted this dude in a while, however, we keep a close eye on him whenever he reaches our radar. Canadian rapper & producer Relic has gotten tons of attention lately from the specialized hip hop scene, getting 9/10 or 10/10 reviews. And even though that might mean a world or nothing at all to one’s perception. This guy’s craft is simply mindblowing. Fresh. If you are into hiphop, you must check his new album! - MadDecent.com

Relic (Rel McCoy) :: The 13th Floor :: Bandcamp
as reviewed by Steve 'Flash' Juon

[The 13th Floor] I was hooked before even pressing play by the words produced entirely by Fresh Kils. Quiet as kept Andrew Kilgour has become one of my favorite producers, and it doesn't hurt that he's also incredibly down to Earth and friendly despite possessing the kind of talent on the boards (and flipping live MPC performances) most aspiring producers would kill for. It doesn't hurt that he's hooked up with Relic a/k/a Rel McCoy, an rapper who started at a high level of talent and has seemingly improved from that each time out.

Unfortunately we are well in advance of the June release date for "The 13th Floor," so there's not a whole lot of audio clips I can share with you from this album. If I'm being honest with you the reader I'm kind of mad about that. I'm mad at myself for not having the patience to wait until Rel and Kils leaked more audio from the CD, and I'm ever-so-slightly vexed they made something this good and there's nothing I can do but tell you it is and not show you the evidence. Fortunately there's at least one song floating around out there I can hip you to and that's "Breathe Easy." It's got a thumping bottom, razor sharp hi-hats, a xylophone backdrop, and a sung hook nobody could be mad at. The scratched in Guru lyrics at the end made me want to shed a tear and pour our a beer for the brother because he ain't here. DOPE.

You'll have to take my word for it when I tell you that "Breathe Easy" isn't the exception to the rule on "The 13th Floor." Each of these 13 tracks (appropriate) brings you to another place where you can stop, get off, and look around for a working ice machine. I kid - no actually each floor is another layer of Rel McCoy's style and flow. Take the eighth floor for example, as he flows (and sings again) on "The Least of These" when he talks about poverty in stark terms you can see clearly: "rain soaked, no raincoat, busted knapsack flooded with books that just won't close." The protagonist seeks escape in music and fiction but he's "caught up in the clutches of a loveless home." It hits you right in the heart.

Rel doesn't dwell in hell though, although it certainly seems like life (and possibly the creepy demonic entity on the elevator with him) wants to go there. In fact the eleventh floor is positively uplifting as "Something About" actually manages to say something new about a fly b-girl that I haven't heard before in a rap: "I'm strictly onto smooth cotton blend, easy access/remember how I laid the truth on you girl like a memory matress." Niiiiiice. It's that little extra creative flip that makes what is often an overbaked rap song concept come off fresh and tasty.

"You make that thing work - but you're not just a skirt
Don't let these Earthly jerks, act like they worth enough
to make a purchase girl - big eyes that only ever see
the surface of your world, tunnel vision for a trophy
And you're only, a prize to them..."

Damn - now I'm getting mad again that I don't have more of "The 13th Floor" to share with you. Here's one more dope joint that's out for the listeners though - the well named "Isn't It Something." Isn't it something how Rel and Fresh Kils make what sounds like an angry elephant's trumpet into a dope song? - rapreviews.com

Relic - The 13th Floor
Written by Chi Chi on June 11, 2015

Last time we heard from Toronto emcee/producer Relic was last fall, when he worked with Brotha Soul on his album Extras. Now he’s back once again, this time working with producer Fresh Kils of The Extremities and Backburner to release The 13th Floor.

As the album opens, we are presented with a skit, featuring Relic getting on an elevator headed to the 13th floor of a building. He starts talking to someone else on the elevator who claims to be a fan, who’s excited to see him and gives him advice about the new album, which is to stay true to himself and to try and do something different. As far as skits go, this one falls somewhere in the middle – it’s not awesome, or even completely necessary, but it’s perfectly enjoyable and does set up the album. While it’s not the most specific advice in the world, I can also imagine some random person telling an artist that. I’m sure it happens more than a lot of us realize. What’s even weirder, though, is that vague advice is kind of applicable here. Relic has certainly established himself over the past couple years as a hip hop artist who can rock some classic boom bap, harkening back to the East Coast style of the early ‘90s. What he and Fresh Kils have done with The 13th Floor, though, is just a little different. It’s a little bit slicker, and there’s more R&B to it. What’s happening is that we have an album that sounds like it could have come out in the late ‘90s. Don’t worry, though, I’m not talking about any Diddy shit. It’s still got a little bit of grit to it, but the production is a bit smoother and more polished, and the sung choruses by Relic will stick with you long after the album is over. There is still a lot of attention paid to the lyricism and the messages within the songs – there are a lot of rewind moments on the album. Think of albums like The Love Movement or Like Water For Chocolate for best comparison. The highest compliment I can give this album is that if you haven’t heard Relic before, you wouldn’t be phased in the slightest by listening to this album. You’d just assume that this was his style and that it fit him well. What I really like about The 13th Floor is that Relic and Kils have put together an album that feels like an old classic the first time you listen to it. It just sounds familiar, and the hooks are so natural and catchy without being cheesy, you can’t help but learn them and sing along. It’s an album that you could easily lose a lot of time to listening to it over and over again.
Relic didn’t make a huge jump with The 13th Floor, but it was another small step in an ever expanding catalogue that establishes himself as an artist in hip hop that people should be paying attention to. This is a thoughtful, smart, and soulful album, and it’s clear that he and Fresh Kils put a lot of time and energy into getting this to sound exactly the way it does.
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Title: Relic - The 13th Floor
Label: S/R
Year: 2015
Rating: 8/10 - Scratched Vinyl