DawgGoneDavis’ new EP I’m Here for Thee

In the first few seconds of DawgGoneDavis’ new EP I’m Here for Thee, the stampede of the album’s namesake track careens through our stereo speakers with a fierce brutality that is both unforgiving and yet infectiously decadent. The Kansas City rapper slices through the flutes, synths, horns and every other textured element of the instrumentation with humorous lyrics that touch on the divine but reject politicization or damning metaphorical diatribes. The grooves run into each other violently, but the action is only just beginning as we descend into the guts of the extended play and the six songs it has to offer.

URL: http://dawggonedavis.com/about/

“Groovin at the Louvre” slithers out of the ashes of the first track and blankets us in a smothering synth sway that chokes up on the verses but leaves enough room for DGD to spew her lyrical rhymes. It’s a bit understated next to the deceptively simple “Anthem Pandemonium,” which roars load once it reaches its anticlimactic chorus. DawgGoneDavis is very patient with these beats, letting them crater us with their muscular basslines before ever inserting her amusing verses in between the bursts of energy. It isn’t until we get into “Forever Music” that she really starts to explore the depth of her vocal, which is much more impressive than she’s been given credit for in the past.

The retrospection of “Forever Music” creates a nice, pseudo-punkish relief from the blunt prose we find in the first three tracks, but it doesn’t slow down the momentum that makes “Butt on Fiya” work as well as it does. This song, which by now most of us who follow left-field rap have already come to know and love, is poignantly tucked between the lumbering beats of “Forever Music” and the anthemic “Middle Age Woman – Hip-Hop Style,” which is arguably DGD’s ultimate biographical theme song. Its percussion is easily the most pronounced on the entire record, but like the rest of the content here, it doesn’t overshadow the real star of the show – the sidesplittingly funny lyricism of Davis’ self-deprecating suburban street poetry.

I’m Here for Thee concludes with the blistering “Middle Age Woman – Hip-Hop Style,” which as previously mentioned acts as her swansong and a greeting card to a rap industry that has traded its self-aware identity for cheap commercial schemes and uninspired theatrics. It isn’t the most intrepidly composed song on the whole of the record, but it certainly does summarize the style that DGD has come to call her own. That said, trying to keep a straight face during this track’s highbrow humor is even more challenging than resisting the urge to play this EP on repeat is.

REVERBNATION: https://www.reverbnation.com/dawggonedavis

DawgGoneDavis continues to dazzle us with her comedy for the ages in I’m Here for Thee, but perhaps more importantly she elevates her instrumental game and lyrical attack to a state of surrealism that is startlingly efficient and provocative in each one of the songs she shares with us here. I’ve been following this rising star for a minute now, and although she leads a successful career in the nine-to-five white collar IT world, she’s got just as much to be proud of as an artist. This is another stepping stone in her journey, and quite possibly the most affectionate and fascinating one we’ve heard thus far.

Mark Druery

The music of Dawg’ Gone Davis has been heard all over the world due to the radio plugging services offered by Musik Radio Promotions. Learn more – HTTPS://musikandfilm.com


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