In this era of hyped-up, over-produced hip-hop and its corresponding untalented torch bearers, it's refreshing to hear (and see) an artist who's still selling the music and not the bling-sportin', chick-bangin' gangsta persona. Chicago's Pugslee Atomz forgoes the superfluous imagery and gets right down to what he knows best: tales of wall tagging, undercover cops and escaping dangerous street situations.

One of the founders of Chicago's Nacrobats crew and a well-known graffiti artist, Atomz has made quite a name for himself in the Windy City's hip-hop underground. While remaining fiercely independent, he has chiseled together an album full of booming beats, intelligent rhymes and clever wordplay -- and it's just as good as many major-label money pots.

Atomz sounds like a cagier Masta Ace. He's cynical and callous, but he still has a sprightly step to his rhymes. You'll also detect an overt affection for East Coast rap: Atomz delivers his verses with an up-front, headfirst attitude. And while his raps are the album's centerpiece, guest producer Polyphonic the Verbose adds considerable depth to many tracks, further enhancing the listening experience.

At the forefront of it all, though, is the rapping. Pugslee has a good voice and a capable delivery; it's been honed over the course of several solo and joint releases. Numerous tracks reveal his fascination with street art. In particular, "CIA" and "Vandal Squad" place Atomz in downtown tunnels and on barren streets, shaking up spray paint cans and coloring any available concrete or metal surface. As expected, deep bass and rhythm-conscious beats set the foundation for Atomz's wordy raps about his nightly graffiti outings. There's also a heavy reliance on horns and synthesized woodwinds, adding an unusual dimension to the music. "CIA" incorporates a soulful trumpet, while "Escape" lays out a heavy marching band horn riff and drills it into your head.

Catch a few seconds of "Sun Tzu"'s smooth beats and tinkling synth and you'll be pumping your hands in the air as you sing along. "Griffin" is equally infectious, but packs a harder-edged vibe; its jeep-shakin' bass, R&B-inspired female sample and poignantly delivered chorus make it a most delectable listen indeed. And all the while, Atomz smoothly delivers his amusing tales and well-crafted verses, bringing to mind bigger-named Chi-town rappers like Diverse and Common. There's plenty of intelligent and articulate writing here; Atomz wisely avoids hare-brained topics like shootin' up rival gang members or pontification on thug-headed misogyny.

While Pugs has an abundance of verbal skill and poise, it's Polyphonic the Verbose's exceptional production skills that take Playing With Matches to the next level. Several of the mixes add elements that aren't common in rap, including jazzy horn breaks and psychedelic flute loops. Polyphonic's skillful work gives the music a wholly different dynamic, gently pushing at hip-hop's boundaries while allowing the genre to retain a recognizable shape. "Spanish Brown" sounds like a slick hip-hop fairy tale, due largely to the mixture of organic vocal elements and digital and analog musical sources that populate the backing track. It's a spicy track, with hints of soul and jazz that play off of Atomz's sing-song vocals.

A few complaints can be leveled against Playing With Matches. Due to the participation of several different producers, recording levels vary from track to track, to the point where it almost sounds as if the CD wasn't mastered completely. While it's pretty easy to pick out the Polyphonic-touched tracks, some of the other tunes fall victim to muddy production. Fortunately, it's not enough to leave a black mark on the CD's overall scorecard.

Pugs certainly has a lot to say, and while saying (or singing) too much can sometimes lead to overkill, he pretty much gets the balance right on Playing With Matches. There's plenty to get excited about here -- and if you're looking for the real alternative to rap's watered-down, same-old-same-old, it's a great place to start.