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Coming straight outta Newark, New Jersey, the dynamic duo of El Da Sensei and Tame aka Artifacts remain without a shadow of a doubt one of the most under rated rap groups to emerge during the 1990s.

Carrying on in the great Jersey bred rap tradition started off by the likes of Naughty By Nature, Redman and Lords of the Underground, the duo's music was a heavily concocted molotov cocktail with references to graffiti bombing, weed smoking and umtempo b-boy lyricism. Backed up with a mosaic of high quality beats, the Artifacts would unleash their refined lyrical onslaught across the duration of two full length albums and a clutch of quality 12 inch singles.

Their first album Between a Rock and a Hard Place released in 1994 on Big Beat/Atlantic Records featured some wicked production by T-RAY, BuckWild and Redman. Plus it spawned the magnificent singles Wrong Side of the Tracks, C'mon Wit Da Git Down and Dynamite Soul.

The quality of the aforementioned tracks was very high in their original mixes, however, DITC stalwart and producer extraordinaire BuckWild would turn up the heat a notch or two, with his dazzling remix of C'mon Wit Da Git Down which also featured a show stealing guest appearance by the one and only Busta Rhymes. Whilst Busta Rhymes hyperactive flow and delivery was a major treat for rap fans to tuck into, the high point of the remix was definitely the signature BuckWild drum beat and the manner in which he broke down the original version and rebuilt it again into what was virtually a brand new song.

If you thought that was good, then you hadn't heard nothing until BuckWild unleashed the aptly titled lip service remix version of Dynamite Soul, and whilst the original version was a hip-hop track of the highest calibre with it's speaker cone shattering bassline, the remix version was a different kind of beast altogether.

The track also featured a guest appearance by Virginia's own lyrical firebrand (Mad) Skillz and the Dynamite Soul remix was a textbook lesson on how to spit tight punch lines with Skillz, El Da Sensei and Tame One all coming correct on their respected verses. Definitely, one for the notorious crate diggers and a shining example of why BuckWild was a hugely in demand producer and remixer throughout the 1990s.

Artifacts would return in 1997 with their sophomore album That's Them (Big Beat/Atlantic Records) that was spearheaded by the single The Ultimate, which became an instant favourite amongst the underground hip-hop faithful. Whilst The Ultimate first emerged on the High School High soundtrack the single release featured a marvellous remix by Showbiz, which was a more darker and moodier affair than Baby Paul's original interpretation of the song.

As for the album itself, whilst featuring a more matured performance by our two chief protagonists than displayed on their debut long player, the rap world largely ignored El Da Sensei and Tame One's second full length outing. Despite the fact that it featured top drawer production by the likes of Showbiz, Shawn J Period, Mr Walt, Baby Paul, VIC (Groove Merchantz) and Lord Finesse, it would seem that the hip-hop barometer was swinging more in favour for that party tinged bling bling rap that was so abundant during that particular era.

As a direct result of this, the album dropped off the radar soon after it's release. A special mention should be given to the Shawn J Period produced track Art of Facts which is quality through and thorough, also the Lord Finesse produced opus Collaboration of Mics is pretty special too. With Lord Finesse, the Artifacts and Brand Nubian's Lord Jamar sparring on a mic in an unorthodox fashion with no set pattern as to who will bust a rhyme next! Overall, a very under rated album and diamond in the rough, seek it out if you haven't done so already.

Soon after the release of That's Them, Artifacts would release one further single on Rawkus Records under the guise of The Brick City Kids further to which the group would disband and go their own separate ways. Both El Da Sensei and Tame One remain active on the hip-hop scene to this very day, with Tame One rolling with the Eastern Conference All-stars, he has also released his solo album recently tentatively titled When Rappers Attack which features production by the likes of J-Zone and RJD2.

El Da Sensei, the diligent workman that he is, has continued to reinforce his rep as a sage of the underground scene by touring heavily worldwide and recording a catalogue of tracks which has seen his collaborating with the likes of Diamond D, PaceWon, BuckWild, DJ Hi-Tek, Organised Konfusion and so forth.

He currently resides on the Seven Heads Entertainment label on which he released his Relax, Relate, Release album in the later half of 2002. If one could point out an individual who eats, drinks and sleeps the core disciplines of hip-hop then El Da Sensei would definitely be a chief suspect that you could mark out from the rest of the crowd.

Overall, Artifacts will always be remembered as the underground kings who never received their rightful props back in the day, and whilst looking back in hindsight many heads now recognise their effort towards the cause of hip-hop, certain folk will always label the group as the neglected underground hip-hop child. Rest assured though, the last thing El Da Sensei and Tame One want is your sympathies, instead recognise and realise the Artifacts for who they were i.e. a versatile extension of the DITC crew and the golden boys of the New Jersey based rap scene!