This music was about finishing Sterling fights a different way. Today, we just put our clothes on the wrong way, play hard like we surely say but they supposed pay. And top baws ban massa so hes no longer doubling as overseer. Pero quien sigue a tumbar la cana?! We slave and they up top learn to stave off truth better cause it’s still M.O.B. (Money Over Bitches). But the score that builds on that is often absent. Where are the assists to the Larry Johnson Nat Turner dribbler ready to rebound his dignity to crosscourt pass the parquet plantation and make their own league?! LJ, my brother, I don’t know but the scores exist for the revolution. Now across borders and over waters there are the UK Triple Darkness crew of countercultural lyricists that ignite with insight. Their newest member, Iron Braydz strips it all down, keeps the collected fam enlisted as soldiers in verse trenches and gives an EP of concentrated explosions.
Iron Braydz, an A-Alike of Triple Darkness clearly had to be made a member. As them he also has the gift of describing hell with arresting visual. Then add Braydz’ own focused techniques of extended breath control and amplified intensity as on “Dredd” firing by the first break, “The bullet left the chamber/ ricocheted and hit the stranger/ lying there in the fetal position/ like a baby up in a major/ said bye to life take her/ to the maker/ streets wake up the morning/ of a the mourning of a great player…” Lyrically, the features are heavy and he contends with them. As Organized Konfusion’s Prince Po is hitting peaks now, he matches Po versing, “Hieroglyph on embryonic paper transcripted DNA molecular structure progresses to the point…” but adheres clear to his theme of war thematics. With fellow TD brother Cyrus Malachi, he answers the detailed word choosing of Malachi with the ill proclamations (“Crush their very skull no need for weapons dead and gone triple darkness combining forces call us Voltron/ neutralize your solar voltages of high explosives leaving acres of destruction…”). While Sean P bombs bars telling the fake, “watch you say to the God/I ain’t a cop but you die for disobeying my laws,” Iron bounces back with a loud intensity giving that scolding on wax. Lyrically, the war is the key to the swardz and yet Braydz gives it a depth with power vocals, breath control with little pauses and using the short time on the EP to unleash the articulate savagery of lyrical fuck yous.
Beatwise, Iron Braydz himself sets the tone producing six of the nine tracks that are thud bass drum heavy (“Firey Red”), filled with chaotic melodic aids (the guitar loops and stabs on “Dredd”), heavy cymbal crash work (“Dredd,” “Rambo”) or the cryptic choir harmonizing through the bottomed out bass break of the title track. His chosen tracks from others as the wild off beat snare and beat breaks (“Dobermans”) of Agor, the perfectly timed snares, steady backdrop wails and 1,2,1,2 high hats of “Crowbar Head Toppers” by Ringz of Saturn or the flute inflecting and live drum resets on Daniel Taylor’s “Millenium,” are all pure bred textbook hardcore illness.
As part of one of the great crews of importance, sharing lyrics of relevance and fiery inspiration worldwide, Triple Darkness’ Iron Braydz is a war chief cutting heads off devils with no limitation and the deeper understanding is there the more you listen. These Sterling fights that we’re thrust into the ring for get us lumped up. We need training and soundtracks from MC war chiefs as Iron Braydz. With Verbal Swardz, we at least know the real brothers out in the UK are thriving in their own league.
Purchase the EP anthems HERE