Rxnde Akozta, bullet in the air


This is a record too fast. Randy said it, that after Outlet (2017) I did not think to get another one in five years. Those who know him know that he is the slowest cowboy in the west of the rhyme, and the most sensible. The one that looks from afar at the rest of the cowboys strutting. They run if it draws. Is a teacher. But this bullet did not hit any target. What kind of bowl (2018) is a flabby disk, so many weak lines, that God wants it not to be the slow sinking of Rxnde Akozta.

"The themes emerged from encounters with the consorts. We stayed to hesitate and they left. The album is a personal hesitation ", said Randy on his eighth album, counting the EPs. I understand that Randy is not the teenager of "I do not believe in women's cries / nor in women's tears", nor the disillusioned young man in Cuba of "even if I do not work for the State / I do not go snatching purses", but that both travel, both see, they have reconcentrado, have modified, even, the accent and the nickname to "eternal emigrant of rap". But from the beginning Randy returns again on Havana (QBA), tell us again that he was born in Maternidad Obrera, to describe Buena Vista, those beautiful presentations in La Burriguera. Nostalgia. He has done so much.

Then a trip begins, a somewhat Latin Americanist concept where he shares a microphone with a dozen rappers. "I did not think that this album would exist, to be able to gather so many people that I respect and love. They had to line up many planets to make it possible, "he said. So they parade Portavoz (Chile), Ray One (Venezuela), Pielroja (Colombia), Urbanse (Argentina), Foyone (Spain), Al2 and Mano Armada (Cuba), and Randy dispatches them probably unintentionally, the parties, they eat them : they are MCs well below him, including Al2 and his new flow tired, I do not care about anything. In each featuring Randy maintains his usual seriousness, the voice briosa, although he keeps repeating to us that sometimes he does not answer the messages because he walks with his son, who does not believe in any god, that his "lexicon destupe eardrums" and that he has felt discriminated against by migrant black.

There are glimpses of that old Randy: "Before rapping I entrust my grandfather / pa 'to lend me his balls and glasses", punchlines (end of stanza) surprising: "... those lives that are rented / cleanse the pupils / our rap comes from the bottom, bottom, like Nasty Killa"; but only in featurings where he had, by force, to be strong: Speaking clear with Akapellah, and Alligators & Horses with Lil Supa, Venezuelans, two of the best on the continent.

The sound is still ninth, feedbacks intentional, samplers sad, calm, aggressive, good boxes. The typical jazz of Marrom Fernández in Almost Blue (Marrom also provides the only melody on the album). Highlight the beauties of the jeweler, Drama Theme, Venezuelan producer, fashionable among the rappers venkos as at the time was Kaputo, in the two best tracks of the album: Speaking clear and Alligators & Horses. Randy also discovers Rodesens, producer underground Dominican who repeats several times on the album and with which, he said, will continue working.

Accustomed to the slow bullet hitting the target, What kind of bowl is the unnecessary compilation of featurings that could remain on others' discs. It's Randy tired, with that magic that is the same always.

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