Welcome to the wild AIDS infested, crack ladened city of New York, the year is something like 1986. We're in the midst of Ronald Reagan's second term as the President of the United States and though the economy at large seems to be in great shape, inner city neighborhoods have become even more dangerous. At the same time, the art scene has become more and more receptive to unique forms of expression with street artists and artists who adopted the style of street art garnering great attention from the art world. It is in this setting that we are introduced to Mickey MauSe, a former social graffiti artist turned neo-expressionist, a new artist that is coming into contact with some of the greats of the Neo-expressionist movement and the pop art movement (particularly Warhol). Within this frame, rapper Mickey Factz steps out of the norm and critiques the idea of being a hip hop artist in this day and age, by comparing it to being an artist in the late 80's. The major question is: unknown. As the album art suggests, there are many questions, but there aren't enough words to shape them.
The actual structure of the story is split between four 7 min Memoirs, each presented as audio recordings on a tape recorder, which detail Mickey MauSe's personal stories about living in New York, creating art in NY and why he feels the need to do so. One in particular, # II features an interview with late pop artist Andy Warhol who Mickey MauSe had the opportunity to interview prior to his death (in the story). Between these memoirs we are given music, and since this is a hip hop musing blog, that's where we really want to travel.
There are absolutely no doubts here. Mickey Factz can rap. The
09 Freshman definitely shows it here, spiting in occasional double time, shifting flows and painting masterful images of who Mickey MauSe is and why he's important and relevant to today. The beauty here is the lack of modernity. Nothing in the LP has traces to the present day or even anything post 1987. All metaphors, similes, and allusions are contained in the era (or are based on real world physical observations). Powerful lyrics come from strong imagery, like in "Union Square" as Factz says "My father taught me that buying a house is procedure/And beds are a privilege when a couch cushions cheaper/Sleeping on the floor isn’t a doubtful procedure/When your dreams are the reality of doubt to receivers"
With bold statements, artful presentation and great lyrics and delivery. Mickey Factz again shows why to be a successful artist, it isn't necessary to flood the market with material. Although not perfect, the concept of Mickey MauSe is powerful enough to warrant many listens and too powerful to warrant the picking apart of the actual music, which is very new age and electronica based (which draws even more parallels to the concept). The undeniable standout has to be the final song on the LP "The Arts (Avant Garde)" which features the beat from Nas' phenomenal "New York State of Mind Pt. 2". As the close-out and most relevant expression of Factz' ideas on modern music and hip hop, it goes to sum up Mickey's exploration of different styles of instrumental production by reminding although MauSe (Factz) may be in a gallery (signed to Battery, a subsidiary of Jive) he still represents his roots in the art of the streets.
Lyrics 9/10 Beats 7/10 Originality 10/10
Overall 9/10
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