Friends And Nervous Breakdowns
label: Super Rap

production: Chris Bittner, Danny Illchuck

guests: Danny Illchuck, Kwame.
year of release: 2005
1.
Intro
2.
Conspiracy Theories w/ out Mel Gibson
3.
My War, Your Problem
4.
Ordinary Joe (WCH)
5.
Girl, Your Baby's Worm Food
6.
Blueprint
7.
In A City With No Name
8.
God Bless Pepsi
9.
Fuck You And Your Filthy A&R Dept.
10.
Joshua, They're Laughing At You
11. Super Friends feat. Danny Illchuck
12. How To Be A…
13. The Sitcom Really Really Isn't All That Real
14. Methods N Test Tubes
15. Kill Your Rapper
  In A City With No Name
Weerd Science is actually someone else and he's a drummer in a band but that's not really of much relevance right here and now. Of much more interest is the circumstance that you can read (if you want or may) 'weerd' both as 'weird' and 'word.' Actually the one mainly with a bad - say German - accent. Upon listening to the record though, the whole 'word' option cannot really be upheld, as this record is definitely much more along the routes of 'weird.' It even takes the 'weird' so ad absurdum - think Necro but less brash - that it can get a little shocking for shock value's sake (listen to "Girl, Your Baby's Worm Food"). What's makes it kinda bad. Even worse though is that you still like it, and sometimes particularly for exactly it's cheap thrill.
Sure, comparisons are a sucker, but Weerd definitely takes a page out the book of characters like Eminem (or better Slim Shady), of previously mentioned Necro, but much more in an intelligent Ill Bill kind of way, and there's probably some Bushwick Bill at his most paranoid and a little first album Gravediggaz thrown in for good measure. Heck, a couple of years ago this would have been called Horrorcore and in an article Weerd would be named amongst the Flatlinerz and such.
What all already describes the vast amount of lyrics on here. And this territory is not yet as well explored, as it may seem. And thus there are still stories to tell and rhymes to spit. And Weerd thankfully does this in a talented tongue, flowing with ease over the beats, often off beat - sometimes more and sometimes less - but never out of breath. He takes his surface into consideration and is able to adapt to the bumps and rough gravel like pavement. And so a battle oriented "My War, Your Problem" sounds well, rises for the hook and despite the - soon to be discussed - keyboard heavy beats, this is definitely proper. Furthermore there's the current rappers dissing and lightspeed flowed "Fuck You And Your Filthy A&R Dept.", there's some advice for the terrorist in training on "How To Be A…," and finally a confusing outro-like "Kill Your Rapper."
As said, the beats are rather keyboard heavy and the samples are mainly spoken word somethings that are used to add an extra message and add to the story at hand. But when the beats are good, they create a dramatic soundscape like on "My War, Your Problem." They are done with a love for the detail on "Ordinary Joe (WCH)" and just kinda cool on "How To Be A…" and "God Bless Pepsi." But they can also be rather boring and lacking charm like on the previously mentioned "Girl, Your Baby's Worm Food" or simply reminiscent too much of beats that were here before like on "In A City With No Name" or plainly bad like on "Methods N Test Tubes," "The Sitcom Really Really Isn't All That Real" and "Fuck You And Your Filthy A&R Dept.", even though that last song at a show will be a killer.
Surely the biggest downfall is the stupidly shocking content and the way this borrows a lot from other people. There are Cee-Lo type hooks, Eminem type flows and beats and little details from all the previously mentioned artists. And thus in recap: there's generally unimpressive beats and the 18+ rhetoric and at the same time all kinda fits together to create an album you don't want to enjoy, but apparently can like for all the wrong reasons.
review: tadah
   
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