arson, dj qwerk
anonymous twist, llamonte
4. Life, Rhythm
|5. Bless The Mic feat.
|6. Beats, Rhymes &
|7. Crazy, Insane
|9. Here We Go Again
|10. Enter Into The
|11. My Perspective
|12. Off The Wall feat.
|13. The MAD Krew Anthem
|14. Underground Vibe
|15. Let It Flow feat.
You a new cat? Well,
you gotta introduce yourself. Why not use the "Intro"
for that? Talk about your purpose in this game, talk
about what your approach, your angle is, and what we
can expect from the rest of the album. Take one of your
self produced beats, that works with the sampled horn
section, and put shake hands words to the mix, and get
it out to the people. 'Hey, here I am. And I don't have
to remain in the corner, remain silent. Nope. It's me'.
Another horn is helping
out on "Everybody",
but the track is aight, although the bass in the back
is adding little, and although the topic of the track
is worth being talked about, the chorus seems separated
from the rest. And while Arson is not weak on the mic,
there's little charisma, little that would have us remember
his styling, flow, delivery, voice. But that's very
harsh to say, as it's not that bad. But the beat for
bad. The synthetic horn something, plus all the other
annoying affects, make this a skip track. On the rhyme
tip, Arson goes head to toe with battling rhymes, and
again, the content is better than the wrapping. Arson
gets props for not hiding what he is, and his confidence
is not leaving, when he goes "skinny young kid with
blonde hair, that's what I rep". Unlike others that
like to hide behind some possible dark skin affiliation,
this is honest and as such almost rare in hip hop. And
again, the tight content is keeping us listening, while
the beat, as well as the restrained delivery is not
grasping us as much as the meaning.
Luckily enough, "Bless
The Mic" is a dope track. Period. The beat
is phat. It being approached with an aesthetic understanding,
it is taken beyond the ultimately necessary boom and
bap. While the voice alteration is a little annoying,
it fits well with the complete feel of the track, and
D-Mo is not only living up to Arson's quality behind
the mic, he also complements his fellow rhymer's style.
"Beats, Rhymes & Forces"
is done in a style that we heard on other people's projects
before, without being able to pin point it down where.
Curiously enough, the piano wouldn't have been necessary,
as this time around the bareness and minimalist ways
actually worked well. While statements of his music
being "a glimpse in the future of hip hop" is well settled
in hip hop's tradition of bragging, it gets more and
more annoying, actually having to deal with such claims,
the artist knows he can't uphold.
But again, we are criticizing
more than we should. And more than Arson deserves. A
rookie needs feedback to grow. And this should be understood
as such. That's why the edges in the flow on "Crazy,
Insane" also have to be mentioned, while
there shouldn't be too many words said about another
okay, but not more, beat. On "Elevate",
the enigmatic DJ Qwerk shows up to provide the Arson
with one of his always dope beat offerings. As the album
was moving along different vibes before, getting this
new flavor does not interrupt the album rudely. The
chorus does sound like the one done on "Everybody" though.
Next up is "Here We Go Again",
another track that sounds like something we heard before,
and on this track we realize that Arson does not lack
flow, but that his voice is holding him back.
Things start to repeat
themselves on "Enter Into The
New", but "My Perspective"
is more appealing with a good effortless delivery and
a seemingly fun to do beat. D-Mo then returns on "Off
The Wall" to do some more spitting. The beat
to "The MAD Krew Anthem"
is again laced with horns, that do work, although the
first impression is being confused by them. And Arson
is still holding his ground with strong lyrics, so it's
just a mishap that the beats and his voice can't compliment
him. He then teams up with Anonymous Twist, who lends
his scratching hands to "Underground
Vibe", another strong track, that confirm
that Arson got skills, on the mic and behind the boards.
Skills that slightly glance through on "Let
It Flow", a track that features Llamonte.
And on "Let
It Flow" Arson says, that he was born in
1984. So he's still a young buck. And if he's honing
his skills, practices and does not hesitate to listen
to other people's thoughts, he will use the upcoming
years, collecting experiences and notches in the hip
hop world. After all this kid still has enough time
to grow. That's why it wouldn't be fair to call this
an average album, although it actually is. It much rather
should be called a stepping stone on the path of possible