CRIMEAPPLE has built one of the more distinctive identities in the current underground by staying precisely where he is — Northern New Jersey, a Colombian-American perspective, and a delivery that toggles between a slow drawl and sudden bursts of acceleration that catch you between two thoughts. Beemer On Broadway takes that established identity and runs it through seven different production rooms, each giving him a different kind of floor to work on. Preservation's contribution on the opening "Blue Angel" sets a cinematic tone, his sampling approach building atmosphere around CRIMEAPPLE's layered wordplay. LOMAN's three tracks — including "Fireworks" — hit with the most kinetic energy, his drums leaving pocket and space that CRIMEAPPLE fills with the ease of someone who has internalized the producer's language. Comma Uno goes sparser and meaner, DJ Skizz settles into slow boom bap, Wino Willy and Cuffedgod round out the terrain. Features from Estee Nack, Jay Worthy, Seafood Sam, and Mir Nicolas add voices without competing for the center. Eleven tracks, 34 minutes, no wasted motion. The Manteca Music operation continues to function as its own self-contained world.
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