Bones’ last album, PaidProgramming2 was released only just a little under 3 months ago, and now Bones is already back with yet another release. The hardest working artist in rap music, Bones’ newest project has a much shorter run-time than previous pieces, but is still stronger than ever.
GoodForNothing opens with one of Bones’ classic eerie style tracks that has started off so many projects before, but this time, “JustLikeTheOldMan” is a much shorter track only spanning 26 seconds before jumping right into the meat of the tape with the track “CutToTheChase.”
A frantic and entirely bass focused track that involves Bones shouting a chorus of “Motherfuck talking bitch, what the fuck you want.” In Bones previous fashion, he does not want to talk business or any plans with anyone outside of SESHHOLLOWWATERBOYZ. This has always been a relevant topic of the “TEENWITCH” as Bones tends to stay out of the spotlight and would rather stick to the shadows. GoodForNothing is the perfect example as most of the tracks on this release focus more on the relaxed side of Bones. A side that almost never takes the forefront of his releases.
Tracks like “UseYourInsideVoice” and even the following track “Sterilized” has a much bigger focus of attention on Bones’ singing. This, while in past releases has been popular through a chorus or even a few tracks breaking down the action, but GoodForNothing is almost strictly singing or a softer spoken style of rap. This only adds to the diversity that Bones delivers with each tape as Useless, Skinny, Garbage, and countless other releases had a bigger focus on Bones rapping and spitting more bars, this release is a totally different package.
That is not to say the change isn’t welcome, I prefer the constant mix up style as it does not ever back Bones into a corner. The audience that he has is so accepting of both styles and he is able to always adapt and continue to make new releases for the fans that will always support him. There are still rap tracks on GoodForNothing, and while I do not believe they are the strongest tracks Bones has released, they are still enjoyable and catchy.
The track “CoordinatesAcquired” is extremely catchy and the beat is still a creep and near-somber dance through this rattling hi-hat and low toned bass that Bones had made so popular. Bones’ verse is rather monotone and it feels almost like a lack of energy in the track, not that this is a terrible thing. The track feels very sleepy and the chorus “This is the part where you feel like nothing,” which then uses a synthetic voice to then rephrase “Nothing” was honestly interesting. It added this little quotable bar and allowed Bones to have more emphasis with his verse.
The following track “Owen” features a slower piano build up before launching into one of the harder hitting track of GoodForNothing. “Owen” features this powerful booming bass line that was almost reminiscing of the track “RestInPeace” which also involved a destructive bass. It feels like the entire track is being rattled by the instrumentation and while “Owen” is one of the shorter tracks only spanning 1:28, it is still the loudest and burliest of GoodForNothing.
“Roadkill” follows and is another show at the calmer side of Bones. The gentle piano and the more tranquil instrumentation that plays while Bones raps in such a way that it feels almost effortless, is once again outstanding. Bones delivers a great line about “If you don’t believe in me, hope you stay tuned to see. The cosmos working I’m the nothing that is everything.” Bones lets the peaceful instrumentation play out until falling into the next track which speeds GoodForNothing back up into where Bones thrives.
“MailTime” is a sinister sounding track where all the attention is on Bones verse. The beat provides a great background to what sounds like a horror-story of a track. This has been Bones style and he attacks the Bones imitators saying one of his best lines on GoodForNothing, “Everybody dressing up and doing all their best impressions, oh so many Bones imitations I’mma start a convention.” Once again Bones proves that he is the king of the underground rap-world, and with a style so unique it is impossible not to have imitators that just want to hop onto Bones style. With “MailTime,” Bones tells them to hop off and “Take your 2nd rank.”
Bones then leads GoodForNothing back into another track that uses his singing as the forefront, but casually launches into a total 180 where Bones raps in his slick monotone voice. The instrumental on this track is instead more focused on the synth and just as quickly as it begins, the track ends leaving “TheShadowOfTheThingsThatMayBe” to wrap up GoodForNothing.
TheShadowOfTheThingsThatMayBe” as the ending track was a fantastic finale to GoodForNothing as it keeps the current theme of a lighter sound where the tracks are not quite as crushing as past releases. GoodForNothing is overall a great project and while not as lengthy or as hard-hitting as Bones previous work, the singing tracks are the real star of the show here. This was a substantial meal to hold us over as Bones continues to work towards his next feature releases which will no doubt be incredibly soon.