Rxnde Akozta, bullet in the air

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AM

This is too hasty an abum. Randy said it, that after Outlet (2017) he 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 he draws. He's a master. But this bullet did not hit any target. Qué bolá asere (2018) is a flabby disk, so many weak lines, that God wants it not to be the slow sinking of Rxnde Akozta.

"The songs emerged from encounters with the mates. We hanged out and they came. The album is a personal hang out", said Randy about 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 so much travel, so much seeing, have refocused, have modified, even, the accent and the nickname to "eternal emigrant of rap". But from the beginning Randy returns again on Havana (Q.B.A), tell us again that he was born in Maternidad Obrera, to describe Buena Vista, those beautiful presentations in La Madriguera. Nostalgia. He has done it 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. Many planets had to aline to make it possible", he said. Thus parade Portavoz (Chile), Ray One (Venezuela), Pielroja (Colombia), Urbanse (Argentina), Foyone (Spain), Al2 and Mano Armada (Cuba), and Randy dispatches them probably unintentionally, he breaks them, eats them : they are MCs way below him, including Al2 and his new flow tired, "I don't care about anything" like. In each featuring Randy maintains his usual seriousness, the lively voice, although he keeps repeating to us that sometimes he does not answer the messages because he's with his son, that he does not believe in any god, that his "lexicon unclogs eardrums" and that he has felt discriminated against for being black migrant.

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

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

Accustomed to the slow bullet hitting the target, Qué bolá asere is the unnecessary compilation of featurings that could remain on others' albums. It's Randy tired, with that magic that is always the same.

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