NARUBI SELAH – THE ARCHITECT: SACRED GEOMETRY Review

By SUNEZ

NARUBI SELAH – THE ARCHITECT: SACRED GEOMETRY Review

The wonder of feminine wiles are beyond the simplicity of fleshy exposure.   Voluptuousity in motion as they walk their hills, mountains and valleys.  Their standing sway as perfumes of flowers and pheromones mix and roll into the air luxuriously.  They are also known for the lovely hold of words. When this Earth exists with a mic in her hand you have the explosiveness of the break draped with the excitement of elegantly refined verse. Narubi Selah is one of these emerging talents, filled of these yin wiles, that is harnessed for a distinct purpose.  This purpose results in building a strong sophomore album.

The Architect: Sacred Geometry follows up her 2010 debut, I Am Living Math with a similar 9 song attack albeit extended by five quick skits.  Unlike her debut, there is no overemphasis on live tracks of thick neo-Soul basslines and sung hooks.  There is far more diversity here letting the samples, most relatively familiar but not looped and chopped dry, to catapult the rhyme.  The production is well done but only becomes dynamic when the highlighted instrument, Narubi, verses.

Her femininity is a great draw as a lyricist with a very subtle tenderness to her weak MC destruction and socio-cultural commentary. However, the real depth of Narubi is her incredible technical skill on the mic.  Her articulation is near perfect even on tracks with surprise loops, hooks and track changes (i.e. “Six O’Clock”).  When they merge, you have a fury in delivery that allows her to delicately pause on punchlines with an aural wink  (“you listen to Minaj?…Word?” – “Hookless II;” “What got you amped up? Instagram’s rockin’ for you?” – “Get Dis Work”).  Listen carefully here and you will be listening to an MC that rides her vowel sounds fluidly and emphasizes punctuation on nearly every consonant.  The production work is not a digital promoter of her abilities either as she achieved it easily orating the two long verses “Hookless II” in one fell swoop during her recent performance at the Nation of God and Earth 2013 Show And Prove annual event.  This clarity is the result of a powerful voice that loses no femininity and a breath control that allows her to extend her ideas into mini-essays on wax.

Articulation mixed with definitive and diverse content make for clear messages and themes prevailing throughout Architect.  There is the sincere love track to Hip Hop with vivid flashback detail on “I Died,” (“I used to bump you hard/knock until the tape popped/pop lock in the park/until it got dark/wrote every verse and then rehearsed it like I was the author/spit sweet lunch table beats, something awful ..” and the interwoven stories that highlight her socio-cultural awareness on “Characters,” and “Six O’Clock.

The commentaries are led by the incredibly layered and clever verse on  “What Am I Doing Here?” (“Often, way too many youngsters in their coffins/martians disrespect your women and eat your portions/marching, translated coward and you cautious/orphans rocked by the elite like they adornments/nauseous, way too many overrated corpses…”) and “Gun Law” or the spiritual supremacy in slaying the mystery god illusion on “True and Living.”  Then there are the lyrical showcases from dynamic lead single “Hookless II,”Get Dis Work” and the break pounding “Slaughter” (“Pardon self if my tongue is a bit to handle/I only speak in geometric forms in sharp angles/run with nappy headed scientists in silk mantles/forty five on that square and beat it leather bangles/tailored dresses freshly pedicured in thong sandals/guerillas on that front line in case they wanna tangle…speak only when spoken to and watch out who you quoting to/earthquaking your foundation cause most of you are portable/cheap admission, affordable/but we be them immortables/God alliance/high science/choose to be adorable/build with me I’ll show you what that pestilent and mortar do/or we could drop them molatovs on you like Khalid [Muhammad] did on Donahue/giving birth to demi-gods cuz that’s what Black Madonnas do…”).

Knowledge the verses above.  They are filled with rhyme schemes from layering with reuse (rhyming the start word of the next bar with the rhyming word of the last bar), constant internal rhyming and completely consistent syllable syncopation.  All together it sounds like everything is rhyming making the flow completely smooth and with her voice it approaches a melodic resonance.  The great flaw of the album then becomes the brevity of its only 9 songs.  Yet it is a flaw only exposed when one realizes all that she has shared clearly hints at what else she may have shared.

Narubi Selah is an MC who is still working and learning to make albums that completely reflect her talents and skills.  With all the MC tools from the immense natural technical gifts, the developed insight and depth of subject variety and a natural charisma, Narubi Selah has the potential to make complete classic Long Players.  With Architect: Sacred Geometry she has elevated from her strong debut with a brief LP of exceptional work.

http://narubiselah.com/

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