On his fourth solo album in five years, Esham begins to lose relevance in the rap game coinciding with his renunciation of Satanism as the cornerstone of his records: this is his latest album to deal with the subject, and it's mainly a horrorcore CD with violent themes and music that tends to recall the production of his previous albums.
Lyrically, he doesn't excel over simplistic rhythms composed of very poor drums and weak samples, reciting the lyrics with an uninspired, weak, slow, cumbersome style. At his best, Esham manages to create a dirty, dark and raw sound, but at the same time, he's without energy, without desire: his voice is killed by the drum machine sometimes and, after dealing with death and murder for more than an hour, he seems to find life in the title track, the last choice of the LP, where he performs hardcore on hardcore rhythm.
Furthermore, synths distorted to the point of annoyance have no real musical function other than to do a kind of greeting to the dear West Coast. The album is released by his Reel Life (later reissue by Warlock Records): Esham has never had much market outside the local Detroit scene, so he doesn't achieve significant commercial results. The record is made up of many short songs, going beyond 66 minutes of listening, in any case, fans will find many appreciable extracts.
Rating: 6/10.
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