Sixth episode of the "Hitler Wears Hermes" series by Buffalo artist Westside Gunn. The music is provided by Sadhugold, Daringer, The Alchemist, Marco Polo, JR Swiftz, Free Mind, Evidence and DJ Muggs. The guests are Keisha Plum, Benny the Butcher, AA Rashid, Flee Lord, Nick Grant and Lil Eto.
AA Rashid opens the tape on a dark and dystopian, almost silenthillian, deeply bleak jazzy boom bap provided by Sadhu Gold, with a sample from "Mill Walley" by Lampront's Group, then The Alchemist realizes an ethereal production with a dark jazzy boom bap of anthology, a truly masterpiece: Benny with a flow dope and a smooth delivery on this cut, WSG continues with a fluid, smooth and slow delivery, on a rhythm where you can't go wrong, great track, close to the classic status. "Versace Will Never Be The Same Again" sees Daringer's first rhythm: the light guitar riffs return to this bleak jazzy rhythm, sample from Archie Whitewater's "Seacoast", excellent beat, Gunn slow, decisive, somber delivery, nice vibes + final skit. The next tune is a great pearl of the tape that starts the best moment of the whole project: jazzy boom bap well done by Sadhu Gold with soulful sample looped in the background, the Griselda rapper delivers immediately flowing and a little faster than usual, with a clean, clear flow. "Ready Made" has the privilege of having a verse by Keisha Plum with her soulful voice flowing on the dark and splendid jazzy rhythm chosen by Marco Polo, while WSG delivers slow and smoothness.
A tense and dystopian boom bap follows, a new creation of Sadhu Gold, on which the rapper delivers dark, slow and tense, a nice joint with a very gloomy bridge towards the middle of the track. Benny the Butcher comes to liven up the central part of the tape with a couple of practically flawless cuts. The first is a Westside Gunn freestyle on a tense and dark, severe, slightly jazzy rhythm provided by JR Swiftz; the beat is a little gem and seems to be light, with a sample from Gary Burton's "Las Vegas Tango" (previously used by Common, Black Moon, Cypress Hill, Mobb Deep and among all Big Pun with his "Tres Leches"), first verse to Gunn that delivers smoothly, a little faster than usual but not too fast because the beat is midtempo and requires little speed; second verse to Benny who rips the beat with a smooth and fast flow, shows that with a faster delivery the beat works equally, if not better. The second cut is "Niggas in Puerto Rico": dystopian boom bap dystopian very well performed by the Alchemist; first verse to Gunn with an adequate delivery, then the beat changes after a short skit.
Beat jazzy darker than the previous one, equally splendid, inside Benny to deliver a verse with strength and determination, then Flee Lord to complete the games, good flow, but delivery that appears overall inferior to the Griselda performers; on the third part of this long joint, almost six minutes, the rhythm changes again under the barrage of the most powerful adlib that Westside has dropped so far: boom bap jazzy tense, light, downtempo, subliminal jazzy piano, high level beat, he don't even need deliver here, iconic ish. Skit, then Daringer returns to deliver the rhythm of "Amherst Station 2": boom bap jazzy soulful, made cheerful by the sample from 7th Wonder's "Ain't Nothing Gonna Break Us Up" looped in the background, Gunn offers a direct verse over this funkastic beat. A skit follows, then jazzy soulful beat, Flygod delivers two crazy verses. It's a rhythm that crosses between 9th Wonder and DJ Premier, phenomenal, the Buffalo MC shows a good flow facilitated by the production, the background loop is insistent, irreducible, but it's never too heavy or intrusive; Nick Grant closes the song with a good flowing second verse. The next cut features Evidence above a splendid midtempo production made by the same guest, sweet sample from Skywalk's "First Snow", excellent flow from Gunn here too. Lil Eto has the task of opening the last tune of the tape, "John Bena": DJ Muggs creates a nice boom bap jazzy downtempo, dystopian, fantastic and a bit disturbing with guitar licks, Westside completes the work.
This effort is published in the wake and to relaunch the release of "Supreme Blientele": it has excellent production, adequate rapping and a very strong central part — from "Niagara Cafe" to "Niggas in Puerto Rico" — before a slight drop in quality in the finish. Recommended to fans.
Highlights: "Gigis", "Niagara Cafe", "Ready Made", "B.I.G. Luther Freestyle", "Niggas in Puerto Rico".
Rating: 8/10.
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