“Child of the city that I was born in, as we move forward we cut losses. See through the smiles that they enforcing, busy tryna see my fortune,” describes Medhane on the curtain pulling track “MedTypeBeat!.” The production is reminiscent of Taxi Driver where the sound just seems lost under the weight of the detrimental setting, playing a parallel to the lost temperament of Medhane. It is almost this coming of age story out of the thin air, appealing to the apparitions and lost tales of New York. Each story is entirely unique, but relatable and for some strange reason keeps this replayable factor behind the record.
Ba Suba, Ak Jamm proves to be not just a substantial story to be told but shows these stone pillars where the rhymes and production rely on each other. They can stand entirely on their own, but when paired act as monuments to reflection. On the Tony Seltzer and Laron produced piece “AiteDen,” Medhane uses more up-beat instrumentals as he glances over the waters of growth. He describes, “On looking for a map for the mission, stuck inside the real world. Think it ain’t nothing to feel, ain’t nothing to steal,” as the rattling hi-hats string along to the frantic chirps and beeps that accompany Medhane.
Never has a storyteller been compelling in such a short time, capturing the early dusk hours of sleepless nights in a big city. He steps out from this shadowed frame, illustrating a new dawn and hope for requiem to the paths that the past took. This is an island capturing that starts with Medhane and a few instrumentals that eventually leads to an entire city hurting under the same tune.