Review: Run The Jewels – RTJ4

Hey everybody! I hope you all are well. This week has felt like a rap-heavy listening week for me, but I definitely do not regret it. I did not get around to listening to a large quantity of music this week, so sadly, no Rapid Review tonight. I hopefully can post one on Tuesday instead of a contemporary review. Anyway, here is the review:

One of hip-hop’s most dynamic duo’s Run the Jewels returns with their fourth studio album RTJ4 after a four-year hiatus. The duo consists of rapper and producer EI-P and rapper Killer Mike that, honestly, I have not heard any negative comments about. They consistently produce critically acclaimed albums, and, after my first lesson, I completely understand why. RTJ4 is a relentless 39 minutes of top-notch experimental rap that never fails to disappoint. EI-P has some of the most creative transitions and overall production I have heard on any rap record in a very long time. The duo sees themselves often labeled under genres like “alternative hip hop” or “conscious hip hop,” and I completely agree with the sentiment of such labels. They start the record off with an incredibly energetic and gutsy beat on yankee and the brave (ep. 4). There are some amazing repeating beat effects with some hasty electronic noises that are just tied together phenomenally with their incredible chemistry. Here’s the rest of my track-by-track analysis:

- ooh la la – Featuring a strangely catchy Greg Nice chorus, EI-P and Killer Mike kill their verses with extraordinary flows. “Steak tartare, oysters on the half-shell, sushi bar Life a bitch and the pussy fish, still fucked her raw.” Killer Mike also has some great bars about disrespecting the nonsensical idea of monarch rule.

- out of sight – EI-P and Killer Mike trade bars in the first verse, displaying their perfect chemistry. This beat is also subtly vintage with a very modern twist. I literally can not describe it, but their flows are amazing, and you must listen to it yourself. The 2 Chainz feature is also really good and well-fitting.

- holy calamafuck – Another mind-tingling beat backs some amazing bars and references like the Clockwork Orange shoutout in the first verse. The use of “Pyrotechnicrats” is also extremely clever, showing RTJ’s acknowledgment of their own technical skill and using it for meteoric execution.

- goonies vs. E.T. – I felt so stunned after this track; the transition in the middle of the song is amazing with the cheering crowd. There are some great lines in the final verse about race issues and accepting the role of a villain as a black man to use as motivation. “Stomped to the dirt of the Earth, we still will arise.”

- walking in the snow – The song is introduced with this horror video game sounding guitar; many of those elements are scattered in the beat of this song. EI-P has some fantastic lines like “All oppression's born of lies, I don't make the rules, I’m just one guy” and continues about standing up for fellow human beings. Police violence is touched on by Killer Mike with a flow switch up. “We be the heroes, the breakers of chains, and the busters of locks (Locks, locks) / You be them suckers supportin' them snitches that talk to the cops.” However, I do not feel like the addition of Gangsta Boo on this track is necessary.

- JU$T – “Look at all these slave masters (Ayy) posin' on yo' dollar (Get it, yeah)” is a great chorus. “And your country gettin' ran by a casino owner (Ooh) / Pedophiles sponsor all these fuckin' racist bastards (They do).” EI’s flow is phenomenal. The Pharell Williams Pre-Chorus is so catchy, and has such a great message??? This is actually a perfect rap song.

- never look back – A more introspective track where they talk about their pasts, and what they learned/their relationship with their parents. This song also has a unique futuristic, outer space sounding synthesizer beat.

- the ground below – There is a funny inclusion of the word “simp” in the track. The chorus is based on “Your love never meant much to me.”

- pulling the pin – EI’s echoey effect on his voice makes him sound like a preaching A$AP Rocky. Mavis Staples has an extremely passionate chorus about a grenade, relating to the title of the song. Killer Mike honestly bashed societal life in general, acknowledging his cynical outlook.

- a few words for the firing squad (radiation) – An absolutely outstanding final track with an exceptional saxophone solo improvising all the way through the song. EI starts by criticizing the ignorant upper class and the meaning of the word “smart.” There is an orchestral instrumental break after EI and Mike’s verses where the saxophone receives the spotlight; however, at the beginning of the saxophone’s solo, its shrieks sounded almost like a euphoric post-rock crescendo. There is also a delightful silence after the instrumental break; then, Matt Sweeney and A$AP Ferg contribute a groovy outro.

Frankly, all I can say is wow. Wow. I have not felt this feeling towards any rap album in a very long time, and to feel this way from a duo I have never listened to before is astonishing. I urge all rap fans to give this relatively short record a listen and explore my analysis on my website. I wanted to cry at the end from the extraordinarily great production, enlightening social commentary, and incredible lyricism on RTJ4. At this point in time in America, it is a perfect moment to release such an album with discussions about race issues and police brutality. Honestly, rappers have been shedding much light on these topics in the past, but now more than ever these lyrics and experiences can make a more lasting impact on listeners. Overall, this record was a holistic experience for me, yet I feel as if individual songs are extremely accessible. The beats, rap flows, and instrument use (orchestra and saxophone are sensational on the final track) are near perfect. I love RTJ4.

Favorite Tracks: JU$T & a few words for the firing squad (radiation)

Least Favorites: No such thing

Amazing Album: 9.4