Album Review: The Antiheroes – this is freeDUMB

            Easily one of the most talented and fresh-sounding duos in the world of rap, The Antiheroes’ (Sha Prince and Flex) debut LP, this is freeDUMB, is both musically a great contribution to hip hop and a powerful criticism of modern society and culture. Throughout the album, the two MCs not only point out the obscenities that they perceive around them, both in regards to the hip hop scene and the world at large, but they also poignantly express their own internal dialogues and struggles they face as artists and human beings. Most importantly, Flex and Sha are lyrically able to accomplish their thematic goals without sounding corny or repetitive. Each track on this album sounds like its own distinct single and evokes different emotions in the listener, despite producer MMac producing 8 of the 17 tracks (a testament to the beat-maker’s versatility and creativity). this is freeDUMB is an album not only for those who love high quality hip hop music, but even moreso for those who love and appreciate strong lyricism that touches on deep concepts and complex issues.

            The album opens with an eloquent and heartfelt verse by Flex over a lovely synthetic organ-laden beat by MMac and sharp cuts by DJ Docta. Flex, through bar-filled flows and with an ear-pleasing, mid-high frequency arioso tone, raps about his frustrations in facing obstacles to success as an artist. What rings through loud and clear though is not cynicism in Flex’s verse, but rather a passionate commitment to succeed (and with these kinds of lyrics, it’d be a damn shame if he doesn’t): “I’m so committed to living within an image of doing whatever’s fitting/ for me to be in position to give ‘em what they were missing.” Flex also speaks on a value that both he and Sha seem to hold dear to their art when he spits: “honestly is my honesty necessary to blow?/ is selling your soul the recipe? I was hoping it’s no.” It’s clear from listening to this is freeDUMB a few times that The Antiheroes are not willing to compromise their content or dumb-down their self-expressions in order to make music that may be more commercially viable or marketable to the masses. That’s not to say that this is freeDUMB isn’t commercially viable; if anything one of the reasons the quality of their work is so strong is that these artists don’t settle for less than raw authenticity in their music. On the same title track, Sha Prince (bringing a sharp delivery, and on-point intricate flows to the table) reflects on his own self-doubts and personal life choices, which he worries may contain an opportunity cost that doesn’t add up in his favour: “life – I never rush it/ I’m rolling with my punches/ maybe I slow it too much and now I’m running lunges” and “being a rap-star isn’t in my best interest.” Undoubtedly, Sha echoes the same hunger and passion in his verse as Flex does, firing off intense and ferocious flows: “in a verse, on a record, some may say he talk reckless/ but never give a damn, since a kid my mind rebellious/ and I eat these rappers’ lunch, dinner, breakfast on a tracklist/ only spitting two years, word almost perfected.” For a rapper only spitting for two years, Sha Prince displays a lot more talent and skill than many who have been in the game for a decade.

            Jon Dubbs supplies a rock-symphonic instrumental on the second track, Become Alive, complete with guitar riffs and violin melodies on the chorus. Flex and Sha articulate their internal conflicts on this track perhaps better than any other on the album. Sha Prince in particular, never a stranger to expressing brutally honest and at times even extreme thoughts on wax, goes in on his conflicting desires for wealth and material success in contradiction to staying true to his own values and principles: “living lavish was never my goal/ ‘till my hunger rose, belly ache, winter froze/ lights dim, looking at my situation inside impatient eyes/ temptation is now my best friend/ worst enemy, lord seek the remedy/ lead me on the right path before my body doesn’t breathe.” Sha’s erratic flows on this track excellently compliment the frantic nature of the opposing thoughts being vented on this track.

Circus Clowns (track #3), another engrossing production by MMac with DJ Docta cuts, is a poetically infused track in which The Antiheroes attack the rap scene which they perceive as becoming little more than a “circus of clowns.” Sha and Flex stake their claim as MCs to be reckoned with on this track and confidently announce their goal to elevate the standards of what is deemed to be acceptable, quality rap music (also check the remix on the album’s final track).

Fly (track #5) is an inspirational track with captivating samples by producer Jay Emess about finding motivation and self-empowerment by being grateful and focusing on living out dreams in order to elevate over current circumstances.

            There’s a slew of talented features on the album. Soulful songstress Tamsynn Lee blesses track #4, Masquerade, (as well as track #9, All Alone) which is a song that digs below the surface to reveal the underlying causes of unfortunate life circumstances that have become all too commonplace in the world. Prolific Durham Region rapper Daxflow makes an appearance on Everyday (track #6, produced by Beatwyze, DJ Docta again on the cuts) on which he vents his anger about his abusive, selfish, irresponsible absentee father, while Sha Prince speaks on the painful experiences of his past that he kept inside and Flex reveals that expressing himself via writing and rapping has been vital to his existence: “what’s living if I’m within a prison built up inside?/ if it wasn’t written, I’d never find a will to survive.” Everyday is an especially insightful track as each of the lyricists describe in their own way (whether explicitly or otherwise) how hip hop, via writing and rapping (i.e. being emcees), has given them the ability to stay sane and live productive, meaningful lives despite the trying circumstances they faced growing up. The Rebels (Listen Up) (track #7) is one of the heaviest hitting bangers on the album, thanks in part to the banging beat produced by up-and-coming Toronto producer RichKidd. This track is definitely an attention grabber (evident in the title of the track), with high-impact lyrics, punchy deliveries from both Sha and Flex, and complete with a feature from the always entertaining D-Sisive: “fuck you, your momma and your cousin too/ your momma’s gay husband’s uncle’s brother, and his cousin too” (yes D…you got our attention...).

Singer Emerson Brooks (recently signed to Atlantic Records) provides a unique hook on Where to Begin (track #12), a song about relationship troubles and past relationships. Kenny Cee, another skilled vocalist, sings the chorus on Given Up On Me (track #13), a track produced by Khz with a sample that sounds eerily similar to Zepplin’s Stairway to Heaven. Flex and Sha Prince complement each other very elegantly on this track, with Flex delivering a calmer, more melodic verse with reflective and well contextualized lyrics about his past, whereas Sha raps with a much harsher tone and abrasive cadences, which match the animated and harsh content on his retrospective verse. Gospel-style R&B singer Mike Devine compliments track #16, Morning, with his passionate and ambient voice. The beat on this track, produced by Graffic, is probably the calmest and most laid-back beat on the album, which evidently doesn’t suit The Antiheroes style very well, unfortunately – both Sha and Flex sound a bit harsh over this track, which could have benefited either by them toning down their deliveries a bit or by a smoother vocal mixing by the engineer.

The Antiheroes give a vividly dispelling treatment to the dirty underbelly of the “Hollywood lifestyle” of entertainment on Hollywood (track #10), produced by triple-threat artist Relic. One of my personal favourites on the entire album (which is hard to say, given how dope the entire project is) is the track OJ Gloves (track #11). There’s something very serious and polished about Sha’s tone and delivery on this track, showing that even when he simplifies his flows he can still spit hard and impress with the best of them. Flex also comes correct and on point on OJ Gloves, at times with flows reminiscent of Big Pun (with a clearer voice and less laboured reathing). Lyrically, both emcees prove how bright they can shine in this song (albeit each in their own way), Sha with his clever vulgarity, “laughing, like my first name Freddy dude/ last name Kruger but filthier than a prostitute/ not on my level – never reach my altitude/ finger hurt from skipping your tracks like they was interludes,” and Flex with his intellectual superiority, “I take it some of you followers swallow what you were fed/ you wallow within your own – I’m stepping over your head.” Track #15, Of the Night, is definitely a hidden gem on this album, with The Antiheroes coming raw with flows that remind the listener of classic Planet Asia verses and lyrics that evoke the feelings of dark alleyways and late nights with shady characters in the wrong part of town. MMac again supplies an excellently produced instrumental for this song that evokes memories of Pharaohe Monch’s Internal Affairs album.

There’s an overarching sound on this is freeDUMB that can best be described as a romantic requiem in response to a dead and pure form of hip hop that has been lost over the years. In a broader context, there seems to be an undertone in the MCs words expressing a nostalgic eulogy to naïve dreams, desires, and values that, while not being abandoned, have had to be tempered and adapted to certain harsh realities they now face. Flex and Sha Prince are, for the most part, a very complementary pair of artists throughout the project. Flex endows The Antiheroes’ sound with a sense of stability in terms of rhyme pattern, flow structure, and smooth delivery while Sha Prince contributes unpredictability with intricate flows, harsher tones, and a gritty feel to his verses. After listening to each artists’ lyrical content, particularly their respective interludes (Flex on track #8 and Sha Prince on track #13), it seems that despite both of them coming from difficult childhood upbringings, Flex is a bit more at peace with his past that Sha is. The difference in the places on their life journeys between the two artists, while the divide doesn’t seem to be too big, makes for an interesting dichotomy throughout the project. It’s hard to fault either MC for anything; both of the rappers are technically almost perfect with their flows and their styles are well defined. To be nitpicky (and I am stretching for constructive criticisms here), Flex’s voice and presence on the tracks can at times sound a bit monotonous from song to song (despite switching up his flows and rhyme structures). Sha Prince, on the other hand, can occasionally go a bit far with the complexity of his flow structure, which can sometimes obstruct the vibe of the track. Most listeners may not put this album on repeat and listen to all the minute details and technical elements in the music, however I encourage them do so – if they are lovers of hip hop, they will be hard-pressed to find anything to give this album flack for. The Antiheroes have set the bar very high for themselves on their debut LP, and I hope that the world starts to take notice of the immense talent that is embedded on the wax (or plastic or digital encoding) of this is freeDUMB.

Album Review: Adam Bomb – Wasted Talent

            Up until recently, Toronto hip hop MC Adam Bomb (aka “The Legend”) was known mostly for his work in collaboration with the group Empire. His contributions of hard-hitting punch-lines, witty lyricism, and raw delivery have garnered him a reputable name for himself, standing out even among his talented peers. With what seems to be a break-off from his involvement with Empire and joining the ranks of the newly form T-Dot super-group Freedom Writers, it’s no wonder that Bomb touches on his career struggles and transitions in outlook and focus on his solo album, Wasted Talent.

            The Legend sets the tone of this album – heavy, deep, and self-reflective – with the first track (and my personal favourite on the entire record), Wouldn’t Understand. Touching on his views of stardom, staying true to his craft, and ultimately the fallout with Empire, Adam Bomb elegantly paints a picture of the mental landscape in which he finds himself. The second verse of this track particularly stands out as it reveals the reasoning behind his recent career choices: “This one-man route’s new to me/ wasn’t planned out yet it panned out beautifully/ hold up – before fans shout mutiny/ and ask about the band, ask the band about unity.” It seems from these lines that while Bomb didn’t want to separate from the group, he found it hard to find agreement in career choices from his peers. He confirms his reluctance and reasons for leaving as he spits: “hate to see the day when an ‘A’ substitutes an ‘E’ on the jewellery/ but I refuse to keep waiting patient ‘till dudes agree.” Adam Bomb is clearly hungry and ambitious to pursue his career as an artist and push himself musically, and it seems he feels he wasn’t getting the same kind of dedication from the rest of the rest of the Empire crew. In the last verse, the artist reveals the underlying motivation and the need he has to push himself forward in life, as he writes: “The problem is depression/ the solution is constant positive progression.” Adam Bomb is an artist with an internal hunger and need to achieve and push his music out into the world, and it’s clear from the way he’s spitting on Wasted Talent that he’s ready to take on the world.

            Cue to track #3, the title track of the album, where Bomb ferociously spits one of his first tracks released under the Freedom Writers banner, laced over intense percussions and samples supplied by Big Sproxx. While always one to inject a healthy dose of socially-conscious lyrics amidst his rugged and raw content, Legend has definitely taken his new affiliation seriously, delivering some intelligent and harsh criticism of the powers that be in capitalist society: “Unless you into serving they need/ I suggest you second-guess every word that you read/ they ain’t concerned if you bleed, they ain’t concerned if you breathe/ they’re only concerned tryna feed their own personal greed/ and the succeed…” He also explains his rationale behind remaining an independent artist and not signing to a label (as they are part of the same corrupt system that he’s criticizing): “I stay independent and get paid independent/ ‘cause if I’m broke, ain’t nobody walking away with a check.” Bomb absolutely murders this track, and if anybody needed evidence that The Legend hasn’t lost his touch – this track is it (video below):

            Wasted Talent is a not a conceptually limited album, touching on a variety of topics that Adam Bomb gives a proper treatment to. On track #4, Not Me, the MC puts a final nail in the coffin of those trying to portray the façade of being “gangsters and killers” in their music despite having no street credibility. He dispels the illusions of young lust feigning as love in track #6, Running Scared, addressing the issue of pregnancies out of wedlock and taking runaway fathers down a notch with his insightful anecdotes. Let Me Down Easy (track #5), a song about the complications of relationships and the heartaches of breakups, has some banging production provided by Phat Tony. Hearing Bomb switch up from his regular delivery over a smooth rhythmic beat to a rough, accusational tone over a busy, trumpet-filled instrumental, and back again, makes for a very entertaining listen. Adam Bomb sums his cynical view on relationships well when he spits: “you only get left tryna treat a chick right.”

            There’s no shortage of features and collaborations on this album (tracks #7, #8, #10, #11, and #13). It’s nice to see that Bomb still chose to include his Empire crew on the album, with Tekman on track #7, The Balance, and more crew members on track #10, Silly Rabbits (the second track on the album criticising the “tricks” that women can play on men in relationships). Freedom Writers features definitely stand out on the album as well. Track #8, No More, is a homage to Biggie Smalls with dope production supplied by Rich Kidd, a well-crafted verse by Freedom Writers member Tona, and a great attack on rappers not holding their own weight in the game. Wake Up (track #13), featuring Freedom Writers members Frankie Payne and Theo3 and produced by Big Sproxx, is another socially-conscious track, and is a great teaser for upcoming FW projects, leaving the listener wanting to hear more. Anyone who works somewhat of a dead-end job or simply is working just to pay the bills and is looking for an uplifting track and some motivation should put track #12, My People, on repeat (shout-outs to Big Sproxx for the lovely production). Video:

            As the title of the album suggests, Adam Bomb likely wasn’t thinking too highly of himself at the time he put out Wasted Talent. The album cover shows The Legend passed out/leaning on a toilet drunk with a bottle in his hand, and he touches on his struggles with alcohol addiction a couple times throughout the album. While seeming to be down on himself and having a cynical and morose attitude throughout the record, there is also a tone of determination and a bit of a paradigm shift occurring in the artists’ psyche. On Black Limoz (track #11, complete with hypnotic vocals by Monique), Bomb talks about the various factors in his life that he thinks are keeping him down (lack of money, too much drinking, women, lack of professional appreciation for his music, family issues, etc.). It’s clear that he’s hard on himself and reached a point of being fed up with the state of his life as he spits: “I guess I’m not the man I’m supposed to be/ man, I’m supposed to be THE MAN!” Bomb even goes as far as expressing thoughts of being ready to die in the second verse. Even within this track, however, the shift in Bomb’s perspective from downtrodden to focused and determined is evident, as he starts off saying he’s “giving up” and flips the script after the second verse, recalling all the people he knows who refuse to give up living despite their own struggles. The artist seems to find some much needed inspiration in the strength of the people in his life, and as a result finds the strength in himself to keep on going: “I guess it ain’t as bad as it seems/ and I ain’t ready for these black limousines/ please – I’m not giving up.”

            There’s no doubt that Adam Bomb is an all-around powerhouse of an MC. His vocal presence on tracks is booming and his voice is distinct. His flows are on point and his delivery is powerful. He’s lyrically witty, with both socially conscious insights and punch-lines and wordplay that rank him with some of the best on the mic. After listening to Wasted Talent several times, I really started rooting for the artist – he’s got an honest charisma, despite his sometimes blatant negativity, that makes the listener want him to win. If anything is lacking on this album, it’s perhaps a bit more of an explanation on the artist’s part as to how he can overcome the struggle’s and adversity he’s facing, which would give the listener a bit of hope as well. Adam Bomb is clearly intelligent and keen enough to see the problems in the world around him and express them eloquently on wax. It’s my hope that The Legend can begin to articulate his perspective on the solutions to the problems he perceives in the world around him and in his own life on future releases. Keep on moving Bomb – we’re glad you’re not giving up.