Brooklyn is the place. And the pride of people coming from there is rarely faked. That's where the group Mike Control is hailing from. And the two emcees Jonny Bro and Grey Ghost make sure that you pay close attention to their appearance, as the rumbling bass that opens "The Coming" will not only have your stereo system budge, it will also turn you around and face the spitting that's about to unfold, as the first highlight comes on with "Mics I Grab". A captivating combination of a low piano, a hand clapping drum, a little Timelords for good measure, a Das Efx sample and two comfortable emcees handing the mic back and forth while talking a whole lot of trash. This of course means that they are on some bragging and boasting tip, like "100,000 watts when I rocks / deliver head nods and body shots / always catch the rhyme when the beat drops / my vision 3D like cyclops" and "hit the clutch and go full gear when I steer trunk loads of rhyme and reasons / incriminate all emcee's that perform treason / I baffle comp with 88 styles that Ripley's ain't believing". With such a dope beat, courtesy of Mike "The Oscillator" and Mike Control, with seriously hitting lyrics, you can't even be tempted to give this any slack.

The siren on "Rhyme Killers" promises that things continue on the right track. But the beat is a little less animated, with the siren not giving enough of the gripping feel it probably was intended to create. And with this sounding somewhat slow, so are the flows sounding simple, simple in a Esoteric (of 7L & Esoteric fame) type fashion, with one of the emcees also seemingly having a similar voice. This just sounds like a not yet completely rounded out style. But on "Mindbending", when the beat again picks up some steam, things work better again. The voices sound a little awkwardly mixed, they having a live sound system fell to 'em. That gives the track a special charm, even though a amateurish charm might not really be what Mike Control were trying to create. But as this is completely about the mixing, that does not say anything about the dopeness of the cut. The piano allows this to be a sure concert jump around banger. The punchlines are aimed at in reach targets, even finding them at times.

Going through a familiar but still very dope sample, adding a tight drum and some computer hissing, "Rhyme For Rhyme" again gets us open. Going through the braggadocios topics again, but with a twist, like "I see evil people come lethal / I counter attack bomb to your back perspiration / drip laceration rip my skin out to win / I rub my eyes to keep 'em open hoping / for some rest the less stress off my chest / stimulate to my mind unwind / rest in peace to the blind / as I'm ripping this rhyme rage on my page / released from the cage feel the under-tow / as I get beneath below / I keep these heads banging for real / what the deal hardcore is how I feel / above I rise heard the cries spoken were the lies / see the hate through these eyes". We are also digging the strings, the guitar and nifty details on this too, as well as the chemistry between Bro and Ghost, that is definitely happening. Not as happening is "Purification Pt. 1" though. The beat is not really amazing, and the lyrics at times sound like a rhyme dictionary rendition. And the different length of the lines doesn't really help matters either. The beat gets better after a while though, it getting stripped down to a bare drum and a background bass.

However, the real disaster follows next in form of a very, very, very unnecessary guitar bashing track, called "Pyrotactics". Very uninspired, annoying and even too corny for people that enjoy early Beastie Boys Punk, this still is the only completely unbearable track on this EP. The track does switch into something more rap toward the end. But by then you will most likely have turned off the record anyways. What's unfair though, that this gives a wrong bad taste to the EP at the end. As there are a few really dope tracks on here, and the 'so-so' wouldn't have held the EP back like that. The spectrum of 'bullocks' to 'boooyeeee' is far to the left and the right. But in the end, that balances out and results in a solid record, that is very worth checking for the one side, and the other tracks can easily, and can, be ignored.