AFOIE, or A Form of Inner Escapism, is that album that Philly-to-ATL emcee and musician O’hene Savant has been building to in the recent days and weeks. The EP, which follows his compilation mix album Savant Syndrome (released yesterday and also available on his Bandcamp page), has all new verses and production, nothing but those raw honest O. Savant lyrics over his firm, cool and soulful music. Sit back, relax with the sounds, and come out a better individual after listening.
Tag: new music
Not one week after releasing his joint album with producers A June & J Beat (Dreams of Autumn Kismet), Mario Farrow, also known as the emcee SkyBlew, dropped his twenty-second, I repeat, twenty-second quality album of genuine wholesome rhyme verses over blissful music on June 17, 2018. Painting ‘Til She Dials (or PTSD) as it’s titled, came five days after Dreams but the breadth of the project reveals what must have taken weeks if not months or perhaps years of inspiration, hard work and care.
As one of SkyBlew’s official “solo” albums, production on it comes from a variety of music-makers including Sleeping Awake and Mag.Lo as well as his past collaborators SublimeCloud and Scottie Royal. Prepare your earbuds to transmit fine jazz, cool pop and comfy conscious messages straight to your brain’s pleasure centers and take a chill break from the heat this summer by Painting ‘Til She Dials.
Godsend emcee SkyBlew returns in his twenty-first album of amazing material in just eight years of releasing projects, this time in collaboration with producers A June & J Beat. This meld of talented artistry called Dreams of Autumn Kismet combines positivity, love and the wisdom of new-age young adulthood from SkyBlew with cool soulful music from A June & J Beat. Not only that, clever wordplay of metaphors and more from Mr. Paint The Sky-y-y-y Blew himself then allow these dreams to cruise to blissful perfection easily. A fresh partnership and a fresh album of gorgeous jazz rap for 2018 and beyond, the sweet Dreams of Autumn Kismet are guaranteed to linger on in the memory long after they have passed.
Though he released three collaborations (Rapz ‘N’ Beatz with producer DLP, Funk Out The Bag with producer Abdul Mack, and Throughout Time with rapper Drastiko) since The Big Seven of 2016, K-Rino of South Park Coalition returns to solo album majesty with Mightier Than The Sword. True to form, K shares incredible wisdom in brilliant rhyme schemes all delivered flawlessly. Traditional beats and terrific song design and concepts bolster the load. Pure substance all throughout from an evolved emcee. With over thirty albums to his name, the majority of which are perfect or nearly perfect, K-Rino is still going very strong.
The musician and emcee who brought you classic albums such as Inner City Soul, Nina Simone By …, Os The Great & Powerful and Pisces returns with his fifteenth and sixteenth LPs, respectively named B/aQ Majik 1 and B/aQ Majik 2. O’hene Savant (Kawann Shockley) last released an album in 2016 with ALOC, or A Lack Of Convention, but this most recent output is proof of his hard work since that time. True to its title, B/aQ Majik is a reappraisal of black culture and there’s no devaluing it in O’hene’s mind, yet in addition to his love for Africa and the African diaspora, he’s got plenty more intelligence and compassion that know no ethnic boundaries, and he gives strength to all marginalized groups whether racial, economic or other. All of which is delivered via brilliant wordplay, stories, innovative production including jazz, funk, easy listening, Afro-beat and dance, plus fine guest performances from Teephlow, AJ Nelson, Che Che Da Lyricist, Honey B, E Snipe, Sheda B and Lo. Celebrate these two stellar issues from top five hip-hop artist of his time, O’hene Savant.
“Chloraseptic” causes the first major symptom of Interscope-slash-Eminem-made toxicity by way of gratuitous, inappropriate sexuality and the next comes in the raunchiness of “Remind Me.” The macabre Eminem comes back full force in “Framed,” in the form of a guilty man making a weak plea of innocence on wax. The next three songs continue to unabatedly supply bitter spitting at misperceived enemies (“Nowhere Fast”), objectification of women (“Heat”) and then extreme misogyny (“Offended”). Right before he tries to explain himself in the last two tracks, Eminem admits in such a way that he is literally out of his mind via “In Your Head.”
When all is said and done, all the big name singers, Eminem’s famous wordplay virtuosity and even Rick Rubin’s classic pop-rock resurrections (if you’re into his slightly cheesy style of it) together can’t make up for Eminem’s awful rap persona ruining the vast majority of the project. Once again, his sharp rhyme mechanics have been employed to twist and confuse the minds of listeners. If Eminem continues his relationship with Interscope Records (subsidiary of Universal Music Group, subsidiary of Vivendi SA) or another major label and especially if he continues to pump out filth, his credibility as an integral artist is hereby gone. (1 out of 5 stars)