This is a brand new record and the fifth album by emcee Grafh from Queens, New York. He came to prominence over twenty years ago with his debut mixtape The Bang Out and went on to release seven more mixtapes, followed by his first full-length album Autografh, and a few years later he has released a total of 10 mixtapes and an EP. Second offering “Stop Calling Art Content” was produced entirely by the late DJ Shay and released via Benny the Butcher’s own MNRK Music Group imprint Black Soprano Family Records, and his TCF Music Group debut “Art of Words” would become his most popular material to date, explaining from “God’s Timing” that sometimes money costs too much.
“Word Up Son” represents his hometown, with a trumpet instrumental produced by 38 Spesh to set up shop, while “Squeeze 1st” features Benny the Butcher and finds the pair discussing questions after initially firing over Mike & Keys’ creepy boom beats. “Outside,” starring Mitchy Slick and Styles P, brings the trio together so they can let everyone know they’re still on the streets, and into “Documented,” everything about him is being recorded.
Tech N9ne appears on “Suicide,” explaining that crossing any of them will result in the death of those who stab him in the back, while “Better with Time,” starring Bun B, creates a dark trap vibe that subtly talks about progressing with age. “Big League,” featuring Joyner Lucas, was one of the singles derided as a fusion of rock and trap, with Graf being the better lyricist of the two until “Brick by Brick” continued to decently talk about the gangster lifestyle.
“Rollin’,” a collaboration between Don Paul and Dope Gang Porter, experiments with a more intense sound, encouraging listeners to look to him and his group now, while “Twin” incorporates a sped-up soul sample that makes the lyrical aspect more romantic. “Lil Vybe” is another single where I’m not swooning as the sensual themes continue over a cloudy beat, while “Some Wounds Never Heal” ends with a drumless outro and we’re hit with a wrenching introspection.
The last 3 albums we’ve received from Grafh in almost 5 years have been the most significant material of his entire 20 year career, and that alone raises my expectations for what can sometimes be too high a monetary cost. However, now that it’s finally released after some delays over the past few months, I’m a little torn by it, although it definitely has more highs than lows. He did his own thing on the mic as did many of the guests, but some of the production struck me as the second half feeling weaker than the first.
Rating: 6/10
