ALBUM REVIEW: IKARUS RISING

                                               pictured (left to right): D. Lanham, Ronesh

REVIEW : IKARUS RISING

HERE'S THE BEST WAY TO DESCRIBE THE PAIRING OF OF EMCEE D. LANHAM AND PRODUCER RONESH: IMAGINE KYRIE  AND IVERSON IN THE SAME BACKCOURT. NOT A SPORTS FAN? OKAY, IMAGINE SAITAMA AND GOKU ON THE SAME SIDE. NOT A NERD? UMMMM, IMAGINE WEARING BLACK AND BLUE FOAMPOSITES WITH A BLACK FITTED POLO T-SHIRT. . . .

. . .i explained that perfect, right? No? How about this: Some people are "cheat codes". With respect to their work ethic, some people/things/institutions have built-in advantages over their contemporaries. An "it" factor that makes them a little bit better. Thats the best way to describe Georgia emcee/vocalist Darias Lanham and Cali based producer Ronesh. Lyrically, D. Lanham is a monster. If you need proof, watch him effortlessly run through Jay-z instrumentals on "Hov Dedication (Don't Count the Bars)"--------> https://soundcloud.com/ohini-jonez/hov-dedication-dont-count-the-bars
Ronesh is a producer that can seemingly do everything. From 90's boom-bap to layered jazz instrumentals, Ronesh can do it all. He's the type that you go to the studio with a make a song from scratch. If you want to see his versatility on display, check out his "Beats for Sale" beat tape----------->https://soundcloud.com/roneshsofresh/sets/beats-for-sale


The two collaborate on an excellent album that displays their uncanny synergy. The aptly titled Ikarus Rising is one part skill display, one part technical marvel. The 5-song project plays like a collaboration between to two people that have been working together for years. Artists that know exactly what they expect from each other. Its almost as if the emcee produced beats for himself or the producer wrote rhymes to his own tracks. Every song is thematic, but each in a different way.

The intro, "Super Freak" is a bar fest accompanied by Ronesh' sparse snares and jazzy horns. The beat gives the southern emcee plenty of space to show the world how easily he can spit consecutive haymakers. The piano-driven "Rapture" sounds like it's straight from a smoky 1950's Jazz club as D. Lanham waxes poetic over a track that makes its' presence known without ever getting in the rappers way.

Things get more dramatic as both emcee and producer intensify on haunting "Rise Infinite". As the chorus proclaims "Heaven can wait, Hell rushes brothers", the song is sonically and lyrically the polar opposite of the the first two tracks. On "Self Reflection" the tandem tackle a classic trope of self-versus-self as D. Lanhams' optimistic side attempts to reason with his pessimistic side. The juxtaposition of harps, horns, xylophone (?), snares, and samples are a perfect backdrop for a person deep in conversation with themselves. 

The outro, "Letter to the Infinite Self", is a bar fest like the intro, but its a content display as opposed to a lyrical display. "Whats your frequency? Did you let them turn it down?", the emcee asks over Ronesh' lush production. He provides a track that sounds light and heavy at the same time, which is prominently displayed as Lanham stops rhyming mid way and allows the track to play for the final minute and a half.

Overall, this is just an excellent piece of artwork. Its lyrical, insightful, and creative. The production is diverse, yet still cohesive. While I'm still not totally on the bandwagon of super-short projects, this (along with Roc Marci's Behold a Dark Horse) felt like a complete album to me. I walked away from it wanting to hear it again. If youre tapped in to same type of hip-hop that I listen to, I highly recommend you give this album a spin.

You can stream the project here and also find more of Roneshs' work: https://ronesh.bandcamp.com/album/ikarus-rising

You find out more about what D. Lanham up to, check here: https://ko-fi.com/darias


-Shaz