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Deacon The Villain [REVIEW] Niggaz With Latitude -

It’s a French website, here’s a rough translation:

Certainly, members of CunninLynguists are strong this year. After the long awaited opus Kno, Death Is Silent, it’s the turn of Deacon The Villain to demonstrate its expertise in the company of false unknown Sheisty Khrist they had heard about the song “Gun” Dirty Acres (2007). Decked out in dark glasses and Jheri curls in the NWA, the two thieves mythical ape crew of Compton in a series of short clips stuffed with humorous shots when they present themselves as the NWL: Niggaz With Latitude. All but a program that is not what we believe.

“They are Possibly The Most swagless Individuals In The history of rap ...”

Beyond the strictly satirical, Deacon and Sheisty Khrist depict complex individualities, slightly disturbed illustrated with clever metaphors like Sheisty on “Million Miles High”: ” Some niggas Burn With Envy I call ‘em Sherman Hemsley / THEY learn That I’ma Sherman Tank With The Germans in me . “Developed by Kno, this piece is a disturbing character served by a loop and an agonizing tortured chorus:” Sitting on my rooftop, I’m a million miles high, I hear strange Voices calling, I hear strange people crying . “

Fully produced by Deacon (except as mentioned above and “American Greed” produced by Kokayi) NWL nonetheless an album extremely careful as the point of view of writing as production. With this project, Deacon proves once again, who knows a beatmaker relevant breathe real coherence to the project. Introduced by the tension hovering “Call Of The Night” album release energy stripper whose riffs are cut through the air in a manner so graceful irreversible (“statellite”, “Brave New World” feat. Natti ). With the exception of “Rip The Guts” and its break-vitamin reflecting on the rest, all betray an immoderate taste for psychedelic atmospheres and brief guitar chords whose subtlety sprinkled listening. The two MCs are camping their characters without pay in buffoonery, provided by fluid flow and confident.

Broadly, this album looks like we have two distinct facets. While the first part reveals a hazy atmosphere diluted in broth abrasive (“Chevrolet Doors”, “Luther”), the second is cool darkness heralds the sweet melancholy of “Black Dog”. The result is that most formidable When arrive to us “Nobody Speaks” and his sepulchral organ whose intensity marries beautifully crystalline voice inflections diaphanous. The acme of both dark and terribly penetrating, is a more conventional relays in the presence of “Ascension” before tackling the other highlight of this album that is the piece of fence. Won again with psychedelic reminiscences, “Final Call” enters into a passionate conclusion of six minutes in amplitude with progressive expansion seems to raise revenue from the scene of the 1960 German plan. By repeating the opening theme, NWL ends on a transcendent fusion.

Surprising to share its resources and personality, the duo Deacon The Villain / Sheisty Khrist, pulled out the big games. Where one might expect an album based solely on the facetious nature of the concept, NWL exceeds the strict observance humorous to do something surprising and deeply sophisticated

Sounds like a pretty damn good review but I don’t read french translated english very well.

Hopefully this album gets the recognition it deserves

Deacon The Villain said:...the two thieves mythical ape crew of Compton…


aerichk said:

Deacon The Villain said:...the two thieves mythical ape crew of Compton…


What the article meant was that they “imitate the mythical crew of Compton”. I don’t know if there’s a similar expression in english but in french you can say that you “ape” someone, kind of like “Monkey See Monkey Do”.

I read the original article (I didn’t really read the english translation x| To read long paragraphs in English exhausts me :p) and it was really positive indeed.

I’m really looking forward receiving this album in my mailbox. Very Happy