|
|
| After an amusing subversion of a 'South Park' soundbite, the first lyric Bekay drops on this album - an explicit (and quite disturbing) reference to how much oral sex he receives - quickly establishes him as a rapper who's as sharp-witted as he is foul-mouthed. Oh, he's also white.
|
| Does this remind you of anyone? |
| It's a comparison that Bekay acknowledges and forcefully dismisses, presumably because of its potential to brand him as a second-rate copycat. And, while there are some clear similarities between the two artists, to pigeon-hole him in that way would be unfair and largely untrue. |
| As well as illustrating Bekay's sarcastic tongue and predilection for explicit language, "Intro / The Future Of Hip Hop" serves as a fine introduction to someone who has some undeniable ability on the mic. While his choice
of words throughout a lot of the album ensures that his pseudonym 'the lyrical horror flick' is a well deserved one, it's his verbal dexterity that ends up characterising him much more than his use of expletives. Talent doesn't always make for wholly enjoyable songs or albums, but it does demand both
appreciation and respect. |
| There's a fair amount of obnoxious, 'I'm-the-fucking-man' posturing to be found throughout the tracks on "Hungry, Broke And Determined", but Bekay's finest moments are almost certainly when he expresses the sincerity with which he approaches his rap career. "The
Tribute (Part 2)", with a track that pieces together loops of classic Hip Hop productions, is Bekay's ode to his chosen art; he references different artists, albums and songs that have inspired him and reverts to being a simple, excited fan. "Sorry"
and "Hip Hop Is Killin Me" further illustrate Bekay's great love of this particular musical genre, and his ambition to succeed in it. The verses of "Sorry" are built around apologies
for all the bad things he's done, while the chorus asserts that he doesn't regret any of them if they've made him who he is today. In a different vein, "Hip Hop Is Killin Me" discusses Bekay's sorrow at what he sees as the corruption of Hip
Hop, and his unwillingness to stop trying to make it as a rapper. His apparent passion for the music and the culture make it clear why he so vehemently disregards suggestions that he's just 'lifting' someone else's style. |
| "Alphabet Assassination", "Back Wordz" and the "Columbine" narrative display Bekay's ability to twin thought-out concepts with lyrical twistings; even though none of them would necessarily
be among the album's best tracks, they do well to prove that the man has more strings to his bow than a love of Hip Hop and a battle-rap stance. |
| As far as the music on the album goes, it ultimately ends up taking second place to Bekay's delivery and ranges from successful to utterly skippable. At the successful end of the spectrum, "Intro / The Future Of Hip Hop"
features a nice track which switches up two or three times throughout its duration, and "Sorry" features bare, very emotive production which perfectly suits the lyrics that flow above it. On the skippable side of things, "How U Make
A Hit" and "Shake Ya Azz?" are the two most grating tracks, although that's attributable in part to the structure of the songs, so isn't entirely the fault of the respective producers. |
| So, what have we learnt? Bekay is white, sarcastic and explicit. He disrespects women, at times glorifies violence, and often crosses over into the realm of bad taste. He's also a talented rapper. And, while the combination of these characteristics might arguably conjure up the image
of someone who's quite considerably better known than Bekay, he's his own man. This album may not be a masterwork from start to finish, but it's an admirable first offering from someone who's hungry, broke and very clearly determined. We'll have to wait and see where he goes from here. |
| review: cornerstone |
|
