Based on what the genre has become, I’ve been mostly disappointed with post-1995 hip hop, so the genre began falling on deaf ears for me. What’s reopened my eyes and ears to the music are those who continue to try and push the art, without sacrificing the foundations. Cue Vinnie Paz, an MC who reclaims the title to actually mean Mic Controller.
Paz is no newbie to hip-hop. His domination began in the criminally underrated group Jedi Mind Tricks. From there, Paz went on to release solo albums, collaborations with Ill Bill, as well as the multifaceted Army Of The Pharaohs collective. Almost a year to the day he dropped God Of The Serengeti, Paz returns with his new EP Carry On Tradition, an album featuring Paz and a slew of up-and-comers. Paz is far too harsh a critic, so when he brings somebody into an EP like this, it is best to stand up and take notice.
Carry On Tradition begins with a solo cut. Paz is a wordsmith with an inherent ability to connect words and phrases together effortlessly. “God Bless” is a music bed of old school rules. A raw beat, a thumping base line, and a weird sample that brings it altogether. This is a punk rock joint where Paz spits pure venom.
The first new artists featured on Tradition are Jarren Benton and Lawrence Arnell. The two join Paz on “The Devil’s Ransom.” Opening with a face-slapping drum roll, “The Devil’s Ransom” drops a kick drum/bass line combo that will punch right through your chest. Benton raps with a crazed, high pitched voice that sounds like his blood type is Red Bull and Speed. Arnell’s deeper tones are in charge of the chorus, which invites all those who want to battle to prepare for a war.
“No More Games” rides a bass line thick enough to sink a battleship, and boasts appearances by Chris Rivers and Spit Gemz. Rivers’ style is unique – he spits words so fast that they always seem on the precipice of collapse, but they always lock together perfectly. He rhymes much the same way Stewart Copeland drums, landing on the off-beat and accenting odd sections of his rhymes. I also have to tip my hat for Rivers using a Galactus reference. Spit Gemz is laid back, almost sleepy, which is nice counter to Rivers’ thousand-mile-an-hour delivery. Instead of pushing his flow, Spit Gemz connects everything with a smoother drawl.
“Bleed For Me” brings in Zilla, Sino, and Blacastan. This is the most cluttered track on the album, which may have been by design. The beat is packed against the bass, and all the rappers involved spit right next to each other. Combined with the mid-tempo vibe, “Bleed For Me” is like the audio version of a packed van brimming with weed smoke. It’s claustrophobic, with so much going on your head begins to swim. Stylistically, the rhymers all slaughter with their verses, but I just wish the song had been a little less cluttered overall.
Lawrence Arnell returns on “In The Middle Of Nowhere” alongside Slaine and Rite Hook. This track has a more modern vibe, centered around a seriously catchy piano line with a sing-along chorus. Slaine’s delivery is rugged, but his voice is easy, a dichotomy that works in his favor. Rite Hook also rhymes on a harsher style, which allows “In The Middle Of Nowhere” to stake out a darker territory than the other tracks. “Innermost Hate” is just Paz and G Mo Skee, who shines incredibly bright here. His rhymes are both twisted and personal. It’s clear this guy has a bright future.
I’ve left the other two Paz solo tracks until now because they are shining examples of how good Paz is. Few rappers step outside the expected persona, but Paz prides himself on it. “Envy The Dead” is the first of two very personal tracks. With singing provided by Scott Stallone, Paz weaves the tale of childhood betrayal from somebody he considered a father figure. The story, delivered with Paz’s flair for phrasing, is powerful and heartbreaking.
The absolute showstopper on Tradition is the track “Is Happiness Just A Word.” A collaboration between indie pop vocalist Yes Alexander and Paz, this tune explores the psychological problems Paz suffers from. As always, Paz’s rhymes are incredibly complex and passionate, but that’s not what hits home. Paz is as honest here as any artist can be. Opening up his brain and bleeding his poisons into the music, Paz creates a song that is relatable to anyone who has ever suffered depression, no matter the reason. While Paz’s multiple deliveries through all the tracks are wonderful, this song shows just how important he is to the future of hip hop.
For those who are worried about hip hop as an art form, Carry On Tradition lets us know that the future is in capable hands. Paz and his crew will deliver the genre from the business sharks and talentless hacks that control it.
On this, I am sure.
