From the AR-15 of Soundcloud artists and waves of copycats, biters, looters, robbers, and unapologetic clones; Comethazine comes raging in a new whip, middle fingers up. He ignores the trend of following flows of other artists, and creates a stronger approach to the already unapologetic push toward an energetic blast. Almost as if the slugs from a Mossberg 500 hit your chest, BAWSKEE 2 is a packed and condensed punch for 17-minutes of full force assaults.
The first 808 that hits is an introduction to the formality of Comethazine. Often using ad-libs that involve screaming and intimidation, BAWSKEE 2 carries on the tradition of being as abrasive and hurtful as possible. The experience feels authentic however and is more of a mosh-pit that evolves into a twisted, but easy-to-follow progression. As Comethazine jumps into the belly of the beast, he is almost untouched and unfazed on the first track “ONMYGRANNYKIDS”, describing “This an XD with the extra clip, she suckin’ this dick, give me extra lip. No matter how big a young nigga get, I’ll never be soft like these industry jits.” Through the continuation of BAWSKEE which released in August of 2018, Comethazine has never seen much of a slow-down. His sound might not be groundbreaking, but the complexion within his voice is recognizable and the performance sets him apart in a crowded sea of underlying factors.
Moving from the opening track to “I BE DAMNED” which is more upbeat, featuring the likeness of “Big Man Tyrone” who was iconic for his vocal work and ability to just about five American Dollars. As Tyrone explains in the chorus “This nigga Comethazine keeps the strap on him, Do not run up on that nigga. He will shoot your ass, he will shoot a nigga down” which realistically is a perfect description for how Comethazine conducts himself within the rap ring. He tombstones, suplexes, and powerbombs the production on BAWSKEE 2, delivering but ultimately leaving the listener begging for more after the incredibly short run-time.
Comethazine never claims to be the Mozart of the trap, but “HIPPOPOTAMUS” might be the closest that he can get. The production here is a trill of piano bounces and finger-taps which then translates into an 808 attacking directly overhead. As he then moves into chorus and hook, Comethazine is simple, but effective. “My pockets fat, hippopotamus. I ball, bitch I never miss. Shootin’ you here or shooters gun him if he talking shit” almost perfecting the way that a verse-chorus would run. Instead of creating eight bars or 16 bars then a repeated hook; Comethazine trims the flab, creating a four bar hook that repeats twice and a single verse often.
BAWSKEE 2 will never be nominated for a Grammy Award, a depressing thought but ultimately understood. At times, Comethazine is a progressive, speeding racer that has little to lose. As he commands the microphone and works to assimilate his own ideas into a saturated collective, hip-hop could never be the same after Comethazine touched an 808 drum pad.