Bloodshot Mama


    The easiest comparison to make to Bizzart’s music, and the one that is the least flattering, is to Anticon — most notably to Clouddead, the pioneering hip-hop group that essentially created a new subsection of the genre. Bizzart’s work is similarly (if not equally) abstract, and production from Alkalyne and Accident is almost consistently interesting, albeit five years after it may have seemed on the vanguard. But the big weak link here is Bizzart’s voice, which is brittle and weak, never approaching the strength an emcee needs to carry a whole record. Guest appearances from Awol One and Yarah Bravo (on the excellent “Shark Skin Humans” — why isn’t she famous yet?) only prove that this interesting layered production would have thrived under better supervision. In fact, it’s rare that a record seems like it could have benefited this much from eliminating (at least vocally) its main artist.


    The record, Bizzart’s second, is stronger than his debut, and much stronger than his live show, which, when he toured with Blackalicious, comprised himself, a DAT, and a lot of bored Quannum fans. But ultimately this artist has to hit his quality maximum at some point, considering the level of his natural talents. Hip-hop is often derided as the genre any who can write lyrics and make a hook can be a part of. But cadence and tones are extremely important, and ultimately Bizzart comes off as high-pitched and grating. It’s too bad, because a beat is a terrible thing to waste.



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