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[DISCUSSION] Big Ghost Ltd - Carpe Noctem (One Year Later)

https://gourmetdeluxxx.bandcamp.com/album/big-ghost-ltd-carpe-noctem


from RYM:

Rome Streetz & Eeste Nack light up this dusty 'n gloomy hardcore record.

After many interesting projects including an album with Hall n Nash (Griselda Ghost), an album with Crimeapple (Aguardiente) and an album with 38 Spesh (A Bullet for Every Heathen), Big Ghost LTD debuts solo with an album-producer by gathering several underground rappers with whom he collaborated in precedence to make hardcore posse tracks halfway between the vintage Wu-Tang and the dusty modernity created by Griselda: Big Ghost realizes a dark jazzy lo-fi production, while most of this streetcore album is dominated by the bars of Eeste Nack (6), Recognize Ali (7), Asun Eastwood (6), Mooch & Rigz (6) and Rome Streetz (6), however, with a few excerpts, the performers sound similar to each other in an almost indistinguishable way and without exceeding themselves particularly above these dark vibes, with their verses braggadocio coke / drug rap reported in vogue by the Buffalo trio.

Given the particular constitution of this album, which should remind you of the first D.I.T.C. or the Killa Beez, it's right to probe the major posse tracks: the most noteworthy performances come from the cuts "Gladiator School", "Clyde Frazier Minks" and "Bricks in the Futon". The eighth track is the longest of Big Ghost's debut: light and rhythmic jazzy beat, dark and tense, Lukey Cage's intro (and outro), then nine MCs arrive. The first rappers seem to deliver adequately well, rough, syncopated, but sharp, in particular Recognize Ali and Ty Farris provide pretty smooth verses, then Rome Streetz arrives and takes the cut overbearingly tearing it with an excellent attack and a rough and lethal velvet delivery. When Mooch finishes his verse in the wake of that of Rome and, not by chance, is one of his most smoothness despite maintaining his rough style, for the others there's nothing more to do (well Eeste Nack in the end). "Clyde Frazier Minks" sees, surprisingly, the excellent proof of what should have been an underdog of the album and instead has carved out a predominant part: as in the previous group cuts, the first MCs pull out regular verses, then to half of this tight and dystopian jazzy rhythm comes the tear, and is the work of Asun Eastwood; he offers his usual rough and aggressive delivery, energetic, more fit with the rhythm compared to the excellent Rome Streetz (dope even here) and Rigz, in one of his best deliveries, effortlessly, clearly, well even Mooch with a easy-going style. The last noteworthy posse is the last track, in which Rome Streetz offers another talented performance: tense, light and lively jazzy rhythm with bass riff, Asun Eastwood opens the games, Mooch seems to go better than everyone with a more energetic and smoothness style than usual, but Rome closes the album with a deeply flowing, rough, hardcore and lethal delivery, confirming himself as one of the two best MCs here, alongside Estee Nack, the star of the first part of the album. Recognize Ali is the most present rapper on the album, but his style is a little cumbersome even if helped by the good production of Big Ghost.

Highlights: "Murder at the Opera", "Goon Etiquette", "Fake My Death", "Gladiator School", "Clyde Frazier Minks",

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