R.A.P. Ferreira is a 28 year old MC/producer from Kenosha, Wisconsin who’s been making music for a little over a decade now. However, I personally have had him on my radar since his 2015 sophomore effort So the Flies Don’t Come. His last album Purple Moonlight Pagesthat came out almost a year ago at this point was not only his most reflective work yet, but one of my favorites of 2020 too. Fast forward to New Year’s Day, we’re already being treated with a follow-up.
After the psychedelic boom bap “Battle Report” intro, the first song “The Cough Bomber’s Return” talks about being the last of a dying breed over a meditative boom bap beat whereas the next track “Yamships, Flaxseed” with s.al sees the 2 talking about “pain coming in dreams” over a soulful instrumental with a piano-transition during the 2nd half. The song “Diogenes on the Auction Block” talks about riding on when he was alone over a minimalist beat while the track “Redguard Snipers” with SB the Moor finds the 2 talking about people complaining about new verbs & sounds over an instrumental that starts with a upbeat vibe, but then transitions into something more deadpan in it’s final moments.
The song “Sips of Ripple Wine (No Stemware)” talks about having to level up over a funky beat with an acoustic switch-up while the track “Skrenth” talks about what it is to be a poet over an instrumental with some keys & bass guitar. The song “Bobby Digital’s Little Wings” talks about his father having a panic attack 2 weeks after he was born over a piano-inflicted boom bap beat while the track “Listening” talks about how he’s doing good in the end over jazzy instrumental.
The song “High Rise in Newark” talks about spirits clinging to theoretical lives over an abstract beat while the penultimate track “Rejoice” speaks for itself lyrically over a wavy instrumental. The album finishes off with “Abomunist Manifesto”, where R.A.P. Ferreira tackles abomunism as a whole over a bass guitar & an acoustic guitar.
Even though I didn’t think we’d get another album from him this quickly, I really enjoy it for what it is. I think it serves as a fantastic tribute to Bob Kaufman as his cryptic lyricism is always captivating & jazz-flavored production is once again well incorporated.