Fourth solo album in three years for Esham, one of the most committed teens in hip-hop at the time. The production is based on the usual skeletal lo-fi sound, while still cheap and raw, it's better than his previous records, which had an amateur sound.
Over these raw beats, he adds funky, jazzy, g-funk, rock, metal, soul, female melodic samples that infect the musical choices, combining them with slow and pounding drums, in order to recreate a dirty and wicked boom bap soundscape. Lyrically, Esham deals with disturbing topics such as devil, murder, madness, and similar and neighboring themes, there's a lot of lovin' ultra-violence very khorosho, misogyny and a few carefree braggadocio moments, overflowing uncontrolled in redundancy due to the continuous attempt to slip one shock line after another.
He returns with an energy he has lacked since his debut, the Detroit MC shows up with erratic, sometimes slow or urgent, hardcore rapping: his delivery style is jagged and confused, sometimes aided by his own production which allows him to make several excellent lacerating tracks, but most of the time he makes mediocre pieces and ends up releasing several unnecessary sexual extracts.
The record is solid, hardcore and with several consistent traits, but the excessive length with 23 songs, although most of it is short, and 73 minutes of listening swells it to the point of excluding it from the classic status it should deservedly have: it's his omnia work, probably, close to be his best effort, personal, self-produced and self-published, the album boasts only his group Natas ("Game of Death") and the Natas' rapper Mastamind ("Headhunter") as guests of the tape, and it's a crazy horrorcore product that has deserved the cult album status among that subgenre fanatics, listening to which is essential. Not recommended for weak guts and for those who go to church every day.
Highlights: "No Singing / Misery", "Game of Death", "KKKill the Fetus", "666", "Helter Skkkellter".
Rating: 7.8/10.
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