Hello again, Ladies and Gentlemen!

My name is Ash, and today we are going to look at an example of how a stable sequence of albums has turned out to be much more effective today compared with periodic releases with attempts to shift genres and styles. Of course, when it comes to the albums of this guy, there is not much new that can be said except for some small details in the lyrics, which this time became a little noticeable than others. But this is not the main point here.

Bones – a rapper, whose music we discussed more than once, and I stopped listening (and review respectively) his new releases only because they came out well too often, and practically did not differ from each other. It was always some kind of creepy-blurry beat and vocals of the maestro himself with a text about hustle-sesh and aggression towards the new-school rap scene. Why then did I even pay attention to the latest release OFFLINE? Well, at least because the 2020 started very poorly, and after a mediocrity from $uicideboy$, which I didn’t want to include again, I still had a hope that Bones’s stability would sound so enjoyable. And, what do you know, it actually happened.

As usual, this is another episode from the series of “everyday-life” of the maestro, where he simply shares his reactions explicitly and clearly. The lyrics of the tracks have the same foundation of a message like “I am elite – you are not”, “I am the most original underground rapper – everyone steals from me”, without forgetting, of course, about the afterlife and smoke-weed-everyday theme. That is – exactly the same as before. With only just a couple of small new inclusions.

Firstly, it wasn’t really often that I could hear the lyrics about relationships from Bones, in which he would admit his guilt for all his personally-relative mess-ups. Naturally, it was wrapped in the afterlife-theme, as a result some of the lyrics were somewhat like this: “I was your grave in which you buried yourself.” In parallel with this, the theme of hard-work and obsession with his own creativity is clearly visible in some tracks. So, for example, in the track FatherTime, he says that he “was not given anything or presented”, but he achieved everything on his own. Plus, in this work we see how he describes his every day as “failed” if he does not compose something. In any case, for me, these small inclusions turned out to be enough to distinguish it from other other releases, despite the fact that 80% of the text remained unchanged, both in rhythm and in content.

Musically, the album evoked associations of rather sad and relaxed albums such as some traditional PaidProgramming (both the first and second), where almost all beats are based on either a clean guitar sound playing a couple of chords or notes along the strings, or a vocal sample, full of effects. The first reaction from the initial tracks was that the beats lay somewhere next to Shiloh Dynasty, Lil Peep or nothing.nowhere. Moreover, there was no sense of being secondary and duplication of any of these guys. Naturally, the rhythm and drums ranged from old-school-boom-bap structures to the nu-school booming of the bass and hi-hat crackling, which again is not a super-new for Bones. But for some reason, his familiarity and recognition made a much better impression on me than even its predecessor IFeelLikeDirt, where practically no freshness was felt.

Vocally here, the maestro again gives exactly what we expect from him + adequately performed chants for autotune. I really had a deja vu with the latest $uisideBoy$ album, and their autotune singing. It seems to be very similar, melancholy and melodrama, but for some reason Bones sounded much more organically to me and in the context of the right mood + the vocal lines themselves were better written in comparison. I won’t even mention about Bones’s old-school rapping, as well as his trademarked “What? What? Sesh”, because it has already become his business card, which you no longer even notice. Juicy J and Ralph Castelli fitted well in the respective tracks, each sounded as expected and in context (not so difficult after all). As a result, it turned out that this whole thing was heard with interest, entertainment, groove and a change of state from vigor to relaxed melancholy.

Therefore, for me this work is 3.5 out of 5. Yes, the same thing as before. Yes, a minimum of some freshness and experiments. But right now, when competitors either remain silent or give out dubious things, it worked for me with a bang. Bones has long been a kind of musical fast-food, in which you know what you want, and you get exactly what you want. Naturally, this does not always work (and has not worked very well for me over the past couple of years), but for 2020 – my thanks already for a pleasant listening experience.

(Thanks for reading till the end! Leave a comment about your opinion and about what should I talk about next. Or tell me what you thought on Twitter.
Plus, I stream on Twitch on Fridays, so you can ask me anything live if you catch me there. And now, that’s it for today, thank you once again and I’ll see you in the next one! Goodbye!)

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