We here at SwurvRadio are not afraid to play hard ball with hard-to-learn rap acts that seem to do the same things over and over again but we’re also honest about where they’re going wrong and how they need to shape up because there’s always something substantial about them that leads us to review their projects in the first place. And being the benevolent sort we are, we only want to tell them and their fans the truth to see them think and hopefully grow. Why butter them up and mislead them, even if only to save face? Again and still, we must also bring up the positives in their features so before we begin to stall, let us start.
Known Unknowns by Billy Woods (Backwoodz Studioz)
The best album of the week, Known Unknowns by NYC rapper Billy Woods, is the typical product one would expect from the alternative underground one from the East Coast and despite not blowing us away with flash, controversy or a bang in the production, all of Woods’ wordplay, clever metaphors and concepts, and interesting assorted music (mainly by producer Blockhead) give K.U. a leg up in the ratings. Smart, left-field art rap is put to use for political and social commentary, making subjects of police at a rap show, the people of porn, rapper rankings and surveillance among several other topics.
The production is lowkey yet quite marvelous for an artistic variety of beats, mixed flavors of music and new sample sources – Nirvana, a few others. Known Unknowns is a geek’s cup of tea though. Instead of all the nerdy scatterbrained thought processes, free-styling and random poetry slams and such, Woods might desire to give his messages – and he has many – directly, to the point and undressed for more effective results, but if you’re looking to spend a good chunk of time to really study lyrics, knock yourself out with this album for sure. (3 out of 5 stars)
Take It Back by Showbiz & A.G. (DITC Records)
As another new offering from the recently reborn DITC Studios set up by none other than NYC’s beloved Diggin’ In The Crates crew, Take It Back is also the latest LP from fine Golden Age duo Showbiz & AG. There hasn’t been a great deal of evolution in AG’s rapping, which still to this day promotes the basic essentials of emceeing, un-rushed, careful, and even though it’s honestly a delight to hear boombap of the smooth agreeable type from Showbiz’ pro hand, Take It Back truly and staunchly takes it back to the heyday of the group. It’s a time capsule, not really a step up.
In the first half, some gangster notes (believe it or not) dissolve later in and open up to friendlier topics of love, traveling and the world, with nice little stories and light wisdom scattered throughout. At the end of the day however, the album is nothing innovative or cutting edge for fans, just some pretty solid rapping from two legends looking to get back in the game after a five or so year hiatus, though they likely won’t get the same places they sat in in the late ‘80s and early to mid ‘90s. (2 out of 5 stars)
The Uncanny Adventures of Watson & Holmes by Blacastan & Stu Bangas (Brick Records)
Seasoned Hartford, CT emcee Blacastan has done it again with producer Stu Bangas, releasing his second collaboration LP with the beatmaker, The Uncanny Adventures of Watson & Holmes, the sequel to their Watson & Holmes album from 2014. Blacastan is no doubt an accomplished rapper and member of Army of the Pharaohs and the Demigodz, with a sizable catalogue of solid releases, but despite that and despite the fierce upright wordplay in the bars topping Stu Bangas’ brutal boombap, there are obvious problems with this Uncanny set, and this is WITH Blacastan playing the rap version of the detective Holmes in one bright concept moment within the mix.
The LP is very little besides weak gangster rap, smothering murder raps and immature barbaric sex rhymes, all in the backpack style of vocalism of course. The lyrics never leave behind those rough coarse textures giving us no deep mission, meaning or message at any point to learn from. Stu and Blacastan both have considerable histories in the music and TUAWH is a decent lesson in intricate advanced rhyme composition but it’s dragging its heels in the past in failing to move forward with greater, useful subject matter. (1 out of 5 stars)