KEI-SHON-SON Is Back With: “I Cant Call It”
A while back we reviewed, rapper KEI-SHON-SON, front man of the collective Hiphop project, “Tha SleepWalkers” with his “Sub-Conscience” mixtape. KEI-SHON-SON started out at the tender age of 15, when he then purchased a small Yamaha keyboard and a 4-track Tascam tape recorder, and started to create some of his first beats. KEI-SHON-SON who has [...]
A while back we reviewed, rapper KEI-SHON-SON, front man of the collective Hiphop project, “Tha SleepWalkers” with his “Sub-Conscience” mixtape.
KEI-SHON-SON started out at the tender age of 15, when he then purchased a small Yamaha keyboard and a 4-track Tascam tape recorder, and started to create some of his first beats.
KEI-SHON-SON who has now been rapping for over 10 years on the underground scene, where he has built his large “World Wide” following, has finally released the album “I Cant Call It”.
This is the Fourth installment of the “I Cant Call It” series, about the every day grind connected to work related issues and the personal difficulties and joys that he faces dealing with them. The message KEI-SHON-SON is basically trying to get across is:”I am not in-charge, I simply just work here.”
This ultimate installment of the “I Cant Call It” series sees KEI-SHON-SON collaborate with Northern Lights, Jehfree Beats, Hannibal King and Suhnraw, as they tend their production talents on various tracks.
The seven-track album is sharp, sweet and short. No track gets to last up until the 3 minute mark. KEI-SHON-SON tears right in from track one, – with “In Over My Head,” produced by Northern Lights – shooting his rhymes straight to bulls-eye, track by track.
No long-winded sermons or puff pastry poetry. From “Me Now,” produced by Jehfree Beats to the final track “Woke,” produced by Suhnraw, KEI-SHON-SON flows at breakneck speed with the technical precision of a seasoned veteran, and his austere, inspired lyrics suggest the experience of a weathered, world-weary survivor.
He possesses a unique combination of street readiness, musical sensibility and strong songwriting ability. As is evident on “Goes Down,” produced by Hannibal King. But what makes him such a compelling artist is simply the sheer emotive quality of his retro, almost oldschool musical backdrops, apon which he tailors his rap so effectively.
The manner in which KEI-SHON-SON attacks his tracks makes the lyrics that much more intense. There are few if any indie MCs who drop lines like those that are as ruthless in their delivery as the “World Wide” man.
No need to hustle, sell crack, or carry weapons to appreciate KEI-SHON-SON; he evokes all the pain, power, and emotion of the human day to day struggle. Of trying to survive in a world still radically based on inequity.
KEI-SHON-SON’s brooding, explorative character is a product of his environment, and the result is his chillingly somber reality rap. Stories so desperately true, that every now and then he can’t help but look to God for inspiration.