This is the fourth studio LP produced by New York emcee/producer Bishop Nehru. Starting abandoning several beat videotapes before the solid first mixtape Nehruvia appears, his profile only started to increase in 2014, by signing the record of mass attraction and forming the duo Nehruviandoom, along with the late MF Doom, and together with the same fall, released an effort to have been neglected for self-destiny. Bishy will leave a massive appeal in a few years to drop 2 full-length elevators and I ignore his ideas, both of which see it as the best shit he has ever done. He will also give up on 7 EPs and 5 mixed bands, two of which are Kult Life: From Pain to Painting. He found solace in the shadows in November and returned 4 months later with or never.
The synth-driven trap played a role on the “back” and caught me off guard, although I quickly appreciated the subject of his still having his own thoughts and warnings, if you compete with the grain, the “Cash Rules” experimented a lot on “Cash Drilling” with a sample drilling of “Cream (Cash Rules Rules Rules Rules Rules Rules Rules Rules Rules Rules Rules Rules), a noble Wu-tang Clan clan the everyone else was talking about his behavior because he was talking about his behavior.
“Chocolate Pain” flips the virus tay Zonday hit “Chocolate Rain” to mock people who think they will fall off and the “unable to obtain” sample “doesn’t get far,” a game made by Ye or Nazis made by Ye or formerly known as Kanye West to talk about trying to get his stuff. “Face to Descent” offers more of a quirky trap atmosphere, promising that if you keep fucking with him before “figuring it out” you’ll be ignored, and about 808 people talk about finding peace.
From there, “Forward!” brought the effect of the sample drill, with the back sampled with the iconic Pharrell single “Frontin”, featuring Jay-Z so that he could keep his blood with the chicks who wanted to move forward on him, which was him trapped in “glory” and talking about trying to be noble. “Henny Black” feels even more angry about his life as he imagines, “How much?” is a great Valentine’s Day-themed trap single.
I don’t think “Nothing to be lost” switches it to a summer ode with a heavy sample of its sound stuck to the script, while “OOTC” focuses on trying to make more paper and mastering his ideas at the same time. “Stuck in the Dark” is now closed, or never talked about using cloudy trap jumps and everyone doesn’t expect he’ll get it to his own, and he continues to raise the bar with versatility.
Bishy Chulo has always stood out with his range, and if you think you will get a thriving bap production that is mostly solace in the shadows, you may be disappointed. He gave the sample drill a shot, respecting the songs I grew up with because we were the same age and left it in the trap realm with tips of cloud rap and anger to significantly reduce the scope.
Score: 8/10
