Two hooded figures walk leisurely through downtown Calgary's East Side as the snow begins to accumulate on their shoulders and the last C-train of the night clatters by behind them. After ducking in and out of alleys and circling streets peppered with abandoned houses and empty lots, they finally find what they are looking for; a woman, a prostitute, hopefully the album cover that Lexington and Whatevski have been searching for night after night throughout winter of 2008. She stands at a bus stop wearing an oversized leather jacket and pink track pants, hands stuffed in her pockets, she sways to keep the blood moving on one of the coldest nights of the year. As the two men approach, Lexington pulls his hood back and asks, "hey, would you be down to do a photo with us? We're art students and we're doing this project," he explains, "it's about music and entertainment, it's satire. And you would be amazing in it." She grins and starts to laugh as Whatevski passes her the cardboard sign he's been holding that reads ‘Customer Appreciation Day' and then takes a hundred dollar bill out of an envelope and hands it to her. Though this photograph never made the final cut for their B-side release of Customer Appreciation Day on Hand'Solo Records (the one they did use is much more shocking), it is incidents like these that show Lexington and Whatevski are more than just rappers. Besides releasing four cult-classic albums since 2003 and doing countless shows and tours with artists like Swollen Members, RA the Rugged Man, and Cadence Weapon, they possess utter determination in other aspects of music production as well- album art, photographs, and video production are all part of their daily routine - and with all of these elements, they are hell-bent on shaking up the world with their remarkable ability to make art with horrible taste, but make it taste amazing. Lexington and Whatevski have all of the attributes that are essential in top quality artists. They have unrestrained creativity, complex flows and narratives, an unforgettable live show, and a unique character and attitude that grabs the listener, forcing them into a cartoon world painted with the satire of Robert Crumb and the excess of a 1970s B-Movie. Through their ironic, tongue-in-cheek tone, the duo openly defies all conventional views of hip hop and pushes the boundaries of content in any genre. "Fireworks in a Lightning Storm" for example, is a song off of Preggers Can't Be Choosers (Lex and Evski's latest full length album) that takes the classic party track to a whole new level. As opposed to the glitz and glamour, VIPs and expensive liqueurs associated with mainstream hip hop, Lexington and Whatevski play the lovable idiots that are too drunk to party and too rude to be welcome in any club. It is this backwards sensibility and sound that Lexington and Whatevski have instilled as a hip hop staple in the prairie region of Canada, and it is sure to spread. These are two very talented individuals that have a lot of fun with rap music and a ton of potential to spare. "I think it's inevitable that people see what our music looks like before they hear what it sounds like," says Lexington, "for us, it's just as important to captivate our audience visually as it is through the songs. Videos are the best, we're going to do a lot more of those." This is good news; the self-directed, self-produced, and self-financed music videos that Lexington and Whatevski make are just as innovative and entertaining as their music. The best part about Lex n' Evski is their ability to work with a zero budget, but still come out with a product that is equally, if not more captivating than anything a government grant can buy. Tranquility, rage, hilarity, despair - these are the life experiences that fill Lexington and Whatevski's Preggers Can't Be Choosers, where the bottom line is to say something fresh and to never say the same thing twice. Urbnet.com Review: "With titles like “An Hour of Horror,” “Lesbian Vampire Slayer” and “Bride of Frankenstein,” the latter being the controversial first single already censored by YouTube, there can be no doubt that Preggers Can’t Be Choosers contains a heavy dose of b-movie horrorcore that is once again presented in the Calgary duo’s over the top, tongue in cheek style. Think Kool Keith’s Dr Dooom or Jedi Mind Tricks if Vinnie Paz lightened up – a lot! Having already excised the “dead weight” for their gritty, underground pre-release of b-sides, the proper follow-up to their Over It debut ends up with Lexington and Whatevski’s experimental melding of their dirty, black humour to a commercial formula. Amongst the expected dark synth beats are female-sung hooks, sped-up soul samples and even auto-tune singing, as well as love ballads (“My Girlfriend is Odd” and “Lesbian Vampire Slayer”), club jams (“Fireworks in a Lightening Storm” and “Bird Bath”) and unintentional frat party anthems (second single “Shotgun a Beer” and probably the ridiculing irony of “Captain of the Football Team”). There are even a couple of Wu-type bangers with “Lexington’s Brain” and instrumental “An Hour of Horror.” The sound quality of this album is high, the music is the duo’s most accessible so far, and the flows and concepts are unique and interesting, but the dirty sex raps, a reliance on profanities, and a continued flirtation with horrorcore will likely keep Preggers an underground gem." [Thomas Quinlan]