By SUNEZ [ #SkillastratorLO #PowerWrite ]
Sad at the Unknown legend.
After the rays come the fears, nature clear and yet the work never so near.
There’s few brave enough to choose themselves as brand new beings,
seems all is for only one and every ones gotta do for all of them.
So for the womb of life to be dear, Almighty gotta reproduce on through those rivers, lakes and mountains of that lovely rear.
So Sun is right alike Sunez write, crumbled rocks refine the rush more
Captured thoughts define the GOATs’ lore
Confused start to fight, others wonder at re-seen sights
Calculated equations from the voice, lyricism and even Soul core
The music beyond charting notes and jingles we abhor
These’ll all be arrears due us, reparate this justice they repress
Out of tears to address those who oppress
Sad at unknown waters but creators live in them
One Nubian can even swim one to eighteen times with will few can tell of
Sadat the unknown arrives at creation known everytime.
Poems on play build on songs with words that fall out of fists
ArtOnArt by Sunez Allah
Sadat X, an MC of immeasurable Soul, possibly the most distinct voice in Hip Hop it doesn’t resonate merely out of his core timbre. It is a timbre that has a gruffness to it that blends into the crackles of the sample, New York concrete capsules on wax. Still, it reaches classical proportions with its fluctuations and inflections that very few can even do. It is a sincerity that rises when his soul collides with his understanding, an insight that has always spotlighted rights we lost wrongly. Hip Hop is a music heralded because it speaks for us Black and Brown but Sadat X has furthered it for over a half century speaking directly to us, as one of us. If the works of Guru (Remembered In Perfection to the God) are a textbook of integrity then Sadat X’s catalog is a daily journal of a Black Brother working on it. And succeeding honorably.
These many trials in verses hit one of its peaks on this 11th work, Agua. The power of this LP is that Sadat X’s conversational tone never allows itself to drone itself into mere rhyming dialogue. The subject matter is distinct and varied and the production inflects exciting melodic overloads and fluctuates in tempo matching Sadat X’s energy and tone every time. Que flujo de agua? Now here’s how all this water flows…
The embrace of issues of relevance as opposed to the quest for their relevance makes Agua another breakbeat reflection of Sadat’s sincerity. From “Maybe It’s Me,” to “Nobody” ageism and the generation gap, Sadat admits his stances honestly with possible ignorance of the worth of today’s way but also with logical critiques (“Maybe I’m lost/but now everybody’s a boss in their living room…”). This honesty has keeps blending breakfully with his descriptive gift for first person one line portraits of the everyman conflicts, contradictions and compassion (“My daughter live so far away imagine if I was there providing structure through her day/imagine the things I can say/but since I ain’t there she gon do it her way” – “Imagine”). They build through a stream of consciousness, understanding on any and all things as it arrives as on “Same Shit, Different Day” (what I erect for the future, Yo! He sound like future…got a million hits but don’t do no type of shows/I wonder if he knows about the passion/the heartfelt/to make the heart melt…the man said his name is Ali but they still call him Cassius”) or Black fist focused standing on his square on a brilliant last verse for “Cut and Dry” (“If King James can rearrange it and document it/yall should take anything with my name printed/I ain’t offended …now I don’t know my tribe but I walk in this wilderness of gentrified, rehabilitated/the hood is invaded!”). This understanding is never preachy because it’s in counters of logic as the entire “We Strive” does (“Strive to help our brothers but rejoice in his fall…”) or in such charismatic dives of inflection or a controlled chaos of fluctuating vocal pitches the Soul emphasizes and overpowers lazy dismissals.
There is a hype in Sadat’s tone, the kind when real life scripts into studio time as “Taken” where Will Tell’s thudding drums hit like a thumping heartbeat that rolls as a fluttering heart. There are also a flip of a slowed, near spoken word, flow as Sadat gives the origins of the tale in the chorus and the quest to really build a relationship with this Queen he met on that train he swore was lookin even though she replied she was taken. DITC’s Diamond D gives an incredible bed of energy for “Head Shot” that speaks, flutes rippling through, up tempo drums setting a foundation pace, bongo back beats in the distance rumbling and even the expert isolation for an acapella start to the verse. The perfect isolation highlighting Sadat’s L’s he reps with more than just the illest Polo. The ultimate Lo Life that sees the lowest life as squandered loyalty with no love.
LPs are almost always capsules of a time and the beat selection varied and well-arranged is a difficult accomplishment. When done it reflects the diversity of the MC’s mind through the recording process as with Agua. The tough guitar riff with wild chimes all around on Ide’s “The Return of the Dottie X,” The tambourine snare, high hat tapping that makes a thickness cloud on UG’s “Same Shit, Different Day,” the bass plucks and classic break on Da Beatminerz’ “The Bass Player,” Will Tell’s distorting dense bassline that bleeds through the snares on “Tommy is My Boy” or the sweet conga rhythms, flutes and hums of hymns that propel Will Tell’s “Imagine” make for music with all the elements its excellent arranging reveals.
Whether you knowledge his intentions of honor on “The Bass Player” or see the homage of his stylistic genius by another legend, Thirstin Howl the 3rd on “Industry Outcasts,” Sadat X is a builder of the highest regard, so subtle you learn unnoticed, so creative his stylistic attributes overshadows his technical mastery and talent for simplifying understanding. In the long continuing career of the God, Agua will be one of the defining discs.