…We will rain receipts, purchase prices and buy payments to be in this competition. A circle of smugness attacked with unmatched vigor.
Damn, the cipher of these capitalists we return be a flush of flesh aired. In this world where cops rob and thieves cop, we need to listen to the talked text a legendary pimp funnels.
All the fiscals out of the contradictions and smiles in blasphemy as he juggles hypocrisies being the sprout of the bloody flower.
It’s because vengeance is just a fast, rebellious dominance, an uncle to the slow revolutionary perseverance.
Now then, let’s corner this rebel Roc, with camera volumes to max, to hear the beats in the act of revenge and see the smooth sermons serving justice. To be left blunted by the stylistic shield and slayed by a sword of arrogant defiance.
The great stylist of this Invisible Renaissance that be the 2010s, Roc Marciano, is one of the last MCs with frivolous focus, the amplifying of flossing that naturally is Hip Hop. In overt statements and fluid verse deed, Marciano dwells in the same content of the most bullshit rappers but leaves so many cues of cadence, hints of punchline highlights and intimations of insight that leave them all behind. At first, it seems that Rosebudd’s Revenge musically doesn’t have the sample strength of surprise (i.e. Krawczyk for “Death Parade”) or the wild rumble (i.e. the siren surrounds and horn stabs through drum slaps of Alchemist’s “Pistolier”) that Reloaded was filled with, an essential LP of this #InvisibleRenaissance decade. RR instead is an LP that rewards multiple listens exceptionally, eventually revealing the depth of struggle that is the core of his savage pursuits beside musical choices that entail samples just as powerful and well used.
Nowhere does that stand out more than on “Pray 4 Me” where the bed from Laina’s old poetry on Papa was sped and amplified amazingly letting Roc ponders the thoughts, ways and means that make such a life. A world of micro hypocrisies (“Crack tore the fam apart but it paid for my first apartment…”) that when macros are made sense of leave a brother working for something more (”I’m trying to scratch some horror off my karma list…”). Everything can be exploited because all we have are these exploits we loiter through. And there the rebel emerges knowing that them crackas gotta “give the Black man his science and gold/We let the devil inside our homes” (“Pig Knuckles”), a special English lesson where we c the knowledge, he then swings a culture that hammers the one to 36 to too many vultures with cleverness (“I’m not a racist, dipped Jesus face in white gold/(ugh) I know, I know/That’s not the Messiah’s nose, he had wide nostrils…”) on “Gunsense.”
Through it all the music here has been chided as badly equalized however I disagree that it is all badly mastered and certainly expertly produced with ultimate intentions achieved. I think Roc Marciano, especially his comrade KA, with a one supreme text of impeccable prose offered (“Marksmsen”), only become more difficult to produce. Their flows continue to dive deeper in spoken menace where you are fucking punished if you don’t listen better. And as a “Marksmen” turns the percussion kits to the background, the guitar riffs howl and wail and cause a violence that earns its criticism but captures the hell of words I fought to hear for. The worth of KA’s wordphotos and Roc’s extended band battle metaphor is a powerful chaos. The tracks often don’t surprise because the technique of a bassy piano key smash over a sparse drum as “Already,” the funky flute procession on “Burkina Faso,” the harmonizing groove of “Here I Am” or the evil strings of “History” are the illness we expect. We also expected chips 4,5 & 6 from Jordan as well. A stylist as Roc whose battle bars humiliate, who shows no remorse for the engaged hells that absolutely include the stove cooking, baked belittling and vialing of the Black woman, also display a blatant integrity for Hip Hop music’s root principle of #OriginalCreativity, preserving sampling and promoting the cleverness of the lyrical arts. He is a hypocrisy on the surface but the theme of Rosebudd’s Revenge is that a fighter in a ravaged world of the demoralized is only the surrounding savagery that propels him greater for it (“Let’s set the record straight, you date hoes on Section 8/My sexual mates, they own real estate/I’m everything you niggas aint…” – “Move Dope”).
I listen for the most profound, a tendency to expect the realest under the format of Boom and Bap that actually can extend to all things. And so the clichés of wallowing in savagery to build supremacy I’ve always written are a dangerous career. The drugs I’ve seen are on streets that package wax and MC’s of dynamic caliber. Illnesses of a coming wealth that turn their mics into pipes to plunder into smoke and mirrors. Roc Marciano, with such deeply sampled illness and a lyrical cleverness that’s quantum mechanics–all nonlocal to the sellouts–inspires with a dominance of environments we’re supposed to be killed in and jailed by. RR is Roc Marciano’s continuing theme to win the daily concrete crusades with the finances of finality (please enjoy verse two of the title track) and acknowledge the grand scheme of the bloodsuckers’ war all with MCing that appreciates with more listens over well mined and reworked music. Rosebudd’s Revenge, thus, is a blessing to any revolutionary, including this humble one, the spark of the stylistic rebel winning.
#LOVEandLOYALTY A #LoLife
The organization of these principles around a counterculture, an expressive arts of creation that uplifts the ideas and thoughts of an oppressed people, is why I’m an honored builder amongst legends, knighted by heroes of Medina (Rakim Supreme Shabazz Allah/Rudy Lo, Thirstin Howl the 3rd, Bonz Malone) to further create in my element as a Hip Hop Writer of #ArtOnArt & #ScienceOnMusic. So the world may find love that locks in with the action of loyalty though they may never find another writer with my kind of grammar…
Representing the pillars of: