Classifying, labeling, categorizing, stereotyping, pigeon-holing – it doesn’t matter which term you use, everyone loves to do it. So then where does Mars ILL get placed? They dwell below the Mason-Dixon Line but you can’t describe them as dirty south ish. They may have strong faith but saying they are on some DC Talk Christian rap won’t work either. So what do you call emcee ManChild and DJ Dust? Hip-hip. Pure and true.
Anyone familiar with the previous work of the duo – 2001’s “Raw Material,” 2002’s Ill Boogie EP “Blue Collar Sessions,” or the limited edition “Sound Methods” – knows that Dust and ManChild are skilled in the trade of that ol’ boom bap. Dust crafts raw beats and cuts them with precision while ManChild fills his ink cartridge with his soul and puts it to paper.
“Backbreakanomics” kicks off in a spectacular manor as the garish horns of “Breath Slow” boom out of your speakers and you chant along with the chorus. Things get rugged raw as Pigeon John and a show stealing Blueprint help ManChild lace Dust’s hard-hitting snares on “Planes and Trains.” Both “Afterlife” and “Black Box Artist” are some vintage Mars ILL shit that could’ve easily been on their debut. The former acts as a sequel to “My Life” from their “Sound Methods” album.
“Alpha Male” is ManChild at his best. After an eye-opening verse from the perspective of an abusive husband, he takes the role of KRS and plays teacher. He also shows impressive narrative abilities on “Inside Out” when he chronicles the life of a man behind bars. Dust channels DJ Muggs with his lingering keys and horrified shrieks. Unlike most artists who alienate themselves from their fans, “Next Door” paints a picture of equals.
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“Sunstep” is another great piece of music and ManChild shows he can double time with the best ATL has to offer. Continuing in the trend of touching honesty, “Lump Sum” pin points ManChild’s influences to prove the point that he is the sum of their parts. Another selection included from “Sound Methods” is “The Calm Before.” While the songs inspiration may be years old (9-11), its message is timeless and puts this song into ‘must listen’ category.
The album isn’t with its faults. “PSA #428” is a refreshingly honest homage (of sorts) to graffiti and breaking, but the beat just doesn’t connect. Like their debut, some fat could’ve been trimmed (“Piecemeal” for example) for the sake of brevity. Like I always say, better to leave the people wanting more at the end of the album.
All in all, Mars ILL has delivered another dope album complete with the proverbial breath of fresh air. Unfortunately, the most stagnant areas of hip-hop will likely never inhale this and will continue to feed on the pollution investing the airwaves. Buy, open, inhale, exhale…recognize.
