• Breaking News

    Saturday, September 16, 2017

    Review: Washington DZ by FMB DZ #Detroit

    Midway through the opening track “Hard To Kill” you’ll likely panic because it sounds like FMB DZ is out of breath. Are you about to hear him pass out on the track? Have no fear. This sense of morbid anticipation becomes a trademark of the listening experience of the album because DZ’s delivery reeks with excitement – he’s anxious to get his message out. Going into the album, if you don’t know much about the Detroit rapper, you’ll learn plenty enough to decide whether you like him or not. Judging by the project’s content, I’m pretty sure you will. By making use of some surprising instrumentation and keeping things short and sweet, DZ manages to gift a package that appetizes just enough to make the world eagerly anticipate another project.

    DZ’s delivery could best be described as the perfect mix of guttural and smooth. It helps that he delivers at such a brisk pace because it covers up a lack of lyrical depth that other reviewers would knock off points for. I understand that not all rap music has to be an exercise in deciphering lyrics on Genius, so I find DZ’s content to be perfectly fine. He’s in the business of lifestyle and scenario raps, not verbal hieroglyphics. When he comes in at the beginning of any track, he comes prepared to kill: and that he does. His entrance on “Can’t Hang” plays off of the synths in the background nicely, almost as if he’s sneaking onto the microphone. The best comparison that can be derived would be Yung Gleesh, if Glessh put effort into his extremely casual raps. Of the two, DZ definitely has a leg up.

    “Can’t Hang” is a noticeable stand out because of its relatively short length and complexity. Although the tracklist, in terms of song length, follows the pattern set on this song, the production quality varies. The simplistic production on “The Run” makes it sounds more like noise than the backhand support for DZ’s fierce, yet relaxed delivery. Elsewhere, on “Turn Around,” a similar production style is used – almost to the same, somewhat messy effect. But in both instances, DZ’s bars come through to save the day. On the latter track, DZ raps “I don’t give a fuck about your big homie/Big Bully on me, can’t no nigga out here pick on me” invoking the feelings of paranoia, acceptance, and bravado he projects onto listeners.

    Aside from these two tracks, the production is surprisingly good. The prominent feature of snare drums on each track cuts across his vocals in a loud, brash statement that probably wouldn’t work for other rappers. Here, it acts as a metronome that DZ constantly refocuses and reshapes his verses around. Maybe the effect is unintentional, but it makes each listen very interesting because you can hear where he’s reformatting things. There’s also some serious piano play here, and a surprising saxophone appearance on “Voices” that sounds nothing short of beautiful. Producers on the project put in some serious work to lace DZ with their best work.

    At 14 tracks, the project feels just right. DZ wrapped things up on a speedy note but left fans anticipating more. In an age where artists care more about streams – so they stuff releases with 20+ tracks – someone who realizes the value in creating a tightly put together package is very appreciated. Once the ending rolls around, you’ll be prepared to give it another spin – and you won’t feel exhausted.

    By keeping it concise, DZ has created a project that’s both a joy to listen to and easily replayable. Questionable production on a couple of tracks isn’t enough to take away from interesting experimentation and DZ’s unique delivery. This should be the project that brings him to the forefront of both Detroit and mainstream rap success.



    from 4sho Magazine Want Music Promotion less than $5? Click Here

    No comments:

    Post a Comment