OK. There's this guy who says things and does things about... things. The things.
Second studio album for Jose Armando, the first name of the Dominican spitter King Blow who seems to have made his way after a couple of mixtapes as a bandcamp rapper. Here, he offers random words over broken and disordered rhythms almost as much as his choice of words which he decides to place in this project of twenty-two — mainly short — songs. The album is experimental, unfortunately experimental does not mean that you have to suck and perform without desire! But that's what happens in this effort.
His idea is not bad, but the execution is: there are sci-fi beats, trap, dark ones, almost all distorted and mistreated for no valid reason and in the second part some become difficult to deal with. There are also some ethereal rhythms ("The Town of Nag Hammadi...", "Demiurge"), but it's easily ruined by a badly spoken and poorly sung delivery in autotune in a song that should be a tribute to the late Juice WRLD.
Some of the best results, if possible, are achieved with the songs "Street Love", "Arroz Campo" and the title track that closes the disc. The first one features a simple, jazzy minimal boom bap with some light EDM / dance you can't go wrong on, how can you go wrong here? The musical carpet is perfect. And instead this dude goes wrong. I don't know how. But he's wrong. This is not a good cut, spoken delivery, he puts down random words, effortlessly, unwillingly.
"Arroz Campo" has a slow and simple beat and a light-hearted delivery. It's the closest thing to a normal track within the album: inside there are four guys that I have never heard of and the first one immediately turns off the enthusiasm, he has less desire than King Blow, he seems to be speaking words before to commit suicide or something, isn't good and at that point I don't even care to listen to the performance of others.
Finally, the title track: double intro, yeh, then decent boom bap in what has the appearance of the only hip-hop cut of the project. Elementary (Watson) delivery of Yoaki, easily predictable on midtempo rhythm with skinny drum machine, but always better than that one spitted throughout the rest of the album by King Blow, who doesn't care about the beat for the whole hour and the overall result it's forgettable.
Rating: 4.5/10.
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