No More Heroes review on This is Book's Music
“How much more can be done in hip-hop?” may be a question that people may ask themselves on a regular basis, but that’s only because their scope of what hip-hop should sound like is limited. What I hear on Delorean’s No More Heroes is what it states in the spoken intro, and that is the thing that’s been missing all these years. You may not be able to describe it, but once you hear it, it unfolds to reveal something so incredible that you have to let the world know about it.
The first track tells the story of how we have lived in a world with such greatness. But now it feels as if that greatness is gone and everyone is running around with chickens without heads. Essentially they reveal that this world has the album title. Then “Chapter 7″ begins and the beat sounds like impending doom. You realize this is hip-hop, but it sounds ugly, images are distorted, and then the blurriness becomes clear: this ain’t Kansas, and we’re not even near a damn rainbow.
5th Ave is the MC who begins by analyzing the scene in his lyrics, and while the music still sounds like there’s no hope, he basically says there has to be some optimism for survival. “My Most Favorite MC” gets into the ego of things, and while you still hear haunting choruses in the background, there’s still a tendency to headnot. “Look Alice” then begins and 5th Ave starts talking about how deep the rabbit hole goes, revisiting Alice In Wonderland and showing how non-related stories of our past can be given an effective hip-hop twist. Then things take a complete 180 with “Needy Girl” and he’s creating a love song towards those ladies who just can’t get enough. Things could get too comfortable, but with the help of Dahlak, C Plus and DJ Flow, it’s time to pop the truck and unload the funk and allow the vibes to flow through in “Chillin’” as they show pride to the city of Sacramento.
Jon Reyes knows what he’s doing behind the boards, keeping to what moves him from the past, but bringing in his own qualities in the beats and productions he ends up with. There’s a confidence in these tracks that bring to mind Chad Hugo and The Automator, with just a rawness that basically says “these are some funky bass beats, I’m going to move you, just let yourself go.” The dark tones of these songs help shape these songs, but when he turns around (as if it was the musical equivalent of seeing a hot lady in the club and your whole vibe is interrupted) and delivers something new, it doesn’t sound forced. It’s just right. It’s a Cali vibe, a Northern Cali vibe, but even without getting too territorial, it’s just damn good hip-hop, with lines you’ll want to remember, with beats that’ll make you go Goodwill hunting.
