The DMV area has seen a substantial boom in their music industry since the late 1970s with punk and hardcore, which has now shifted into the mecca of hip-hop and production power. Essentially a factory of sound, D.C.’s own WIFIGAWD joins the ranks of the menacing producer from Tennessee, Hi-C to blitz through the city streets in a 14-track, 40-minute project that brings more pain than friendship.
Off the jump, WIFIGAWD is a prolific artist who can manipulate the sound to fit his Fubu fitted where he cares more about energy and storytelling. Hi-C can fit this model as his past production credits include Atomoskhan, TRiPPJONES, and a whole lotta WIFIGAWD previously. From the trenches to the riches, from the rags to the bags, Underworld Order (Volume 1) is essential to any Soundcloud based playlist where 808s are raging. The work of Hi-C to bring this entire production to life becomes more necessary as it flexes WIFIGAWD’s lyrical ability to form hooks and bridges where knives cannot reach.
On the track “Imma Spend It,” the production is almost melancholy as a ghostly, the nearly apparitional WIFI is the narrator to the relaxing piece. He never raises his voice in an angered tone and instead opts to describes through the tracks hook “Imma spend it…caught me slidin’ in that foreign coup.” On another track, “Understand,” the entire mix changes drastically and instead pushes the 808s into a more aggressive pattern that nestles WIFIGAWD under this protective blanket. Nearly every piece on Underworld Order (Volume 1) is progressive to the point that continues to push both artists to the edge. Whether weighing on their musical talent, adapting to their creative edge, or seeing how the two can work together juggin’ through the pain, hell freezes over the DMV area for just one night.
Ultimately ready for anything through this team-up, Hi-C and WIFIGAWD move to create an informative deeper grasp into the underground rap scene. Whether bombarding the competition or switching to describe a personal depiction, Underworld Order (Volume 1) illustrates just how perfectly the relationship between producer and rhymer can be.