Welcome to the Halloween party that never ends. Where the punch is doused with acid and blunt wraps are on the tie-dyed buffet table. Where fake blood enhances the molly and the bass is never gentle.

Flatbush Zombies creeped into 2012 with fang grills and the breakfast friendly “Thug Waffle.” Their mixtape, D.R.U.G.S. is, as of today, my favorite album of the year. It weaves in and out with 100s Ice Cold Perm. The duo of rappers Meechie Darko and Zombie Juice and the beat master genius Erick Arc Elliot have crafted perfection with the Zombies first full-length. Psychedelia all around, they toss around lines like “Kaleidoscope eyes, watch as I dematerialize” like it’s normal for hip-hop.

While most rappers rarely stray from the flash and glamour of money, cars, clothes (maybe I should bite my tongue, this being 2012 and all), Flatbush Zombies discuss reincarnation, evolution, enlightenment, while still shouting, “Never trust a ho, never love a ho,” while still smoking with Bible papers. Zombie Juice with the blonde hair and Rick Ross beard flies through his high-pitched verses while Meechie Darko barks and growls and squeaks in your ears, possibly the greatest contrast of the year, reminiscent of that Pharcyde shit.

While they spit whirlwinds of clever lines and choruses that would scare grandma, Erick Arc Elliott is responsible for crafting some of the greatest beats of the year. His production on D.R.U.G.S. never strays from loud and mildly haunted, no tracks slowing down to take a break, because no smoke breaks are necessary when you’re constantly smoking. Dude flips graveyard howls, Gil-Scott Heron’s “Me and the Devil,” and even samples a Tyler Durden quote.

“In the land beyond living, all things are possible. It’s insane to think this really all started from a molecule, now I’m fuckin’ unstoppable.” Keep your ears out for what comes next with these Brooklyn personalities. Two months ago, they came out with the five minute “The Hangover,” a nice taste of things to come. It’s no wonder the Tan Boys, the Zombies, and the A$AP Mob are running NYC. That New New York.

Check the unreal video for Bodega Bamz‘s epic “THRILLA” where the Flatbush boys clean up murder scenes and party with Scream faces. See if your headphones can handle it.

Welcome to the initial episode of Neonpajamas for Breakfast, a weekly morning column discussing hip-hop, pop, film, television, and an unhealthy buffet of mental rambles. Enjoy.

What did you have for breakfast this morning? Coffee and an apple? Something gluten free? Last night’s pizza? Beerios? This week, I have a nice English breakfast to throw at you, so dump the Beerios, put on a gold watch, and let’s get after it.

I’d like to kick this column off with the discography of The Streets. Mike Skinner, the brain behind the five releases, had a vision from the beginning. With the opening song on the debut Original Pirate Material, he tells his new audience, “…a figure emerges from the wastage / Eyes transfixed with a piercing gaze / One hand clutching his sword raised to the sky / They wonder how, they wonder why.” Not necessarily a Gucci Mane flow.

On his first album, we hear elements of classical music and crack house drum kicks, split personalities telling us their side of the story. Despite being released in 2002, it is easily comparable to Kendrick’s newest good kid, m.A.A.d city. Drug deals, bad influences, schitzo shit. The five album history takes us from the slums of London to cold bus stops to shiny dark cars to waterfall getaways to elegant living. Not quite rags to riches, but the rise of something wonderful. In between the opening scene and the final credits, we get a flawless “hip-hopera” (is that a thing?) with 2004′s A Grand Don’t Come For Free, which details the story of a man who loses a thousand dollars on the first track, his trials and tribulations (ecstasy, drunk fights, diners), and how he finds the money in the end. Remember Dizzee Rascal?

By the fifth and final album, released in 2011, we still hear Mike Skinner, we are still listening to The Streets, but a different man and a different artist has emerged. A new direction of music, his final effort being almost all electronic with much more singing. But, the flow is overwhelming. Still introspective, still funny, still dark, as if the geezer planned it all along.