Album Review: Epsilon Project – FREEloaders EP (2009)
Rating: 3 out of 5 Potholes
Don’t be fooled by the fact that Epsilon Project hails from experimental hip-hop heavy Oxnard, California. In reality, Epsilon Project’s latest EP has little to do with any of those Stones Throw sounds (although Oh No will be lending his production talents to their next project), and much more to do with high-octane, early 90s hip-hop.
FREEloaders EP is a (free) short assortment of eight tracks from the seven-man crew. Their sound here actually resembles another prolific west-coast act, Dilated Peoples. The beats are intricate and layered with various sounds, but above all, driven by banging drums that keep pulses pounding. Certain beats work better than others, especially when their DJ throws in his two cents with superb scratches and cuts. The opening track, “We Back”, hits hard with eardrum-busting bass and spitfire battle raps, while serving as a great way to re-introduce Epsilon Project. Ultimately, that is what this EP comes down to; it was made as a primer for their upcoming projects, which based on the production credits (Oh No, Kev Brown, DJ Vadim, and Seize Beats) seem to have some terrific material in store. So while the production here does flip some nice samples, and does manage to get your head nodding, just know that there are bigger and better joints in their future.
While the production here is nice, boasting no glaring missteps, the eight tracks lack that extra seasoning that makes you really jump out of your seat. It’s also no surprise that the lyrics follow a similar outline – solid overall, but nothing mind-blowing. The six emcees trade hooks, verses and words, and they do so very well. It’s important for emcees in groups to be able to play off of each other, and Epsilon Project has this down for the most part. With the exception of rapping about the state of and/or their love for hip-hop, the rhymes consist mostly of battle raps. And then there’s the misogynistic, sex-driven “That’s What You Need”.
All the while, the emcees attempt to add to Epsilon Project’s tough-guy posturing. But does all the bravado actually equate to something believable? It’s debatable. While their raps are technically and aesthetically sound, there is little value in the topical matter (more variation would be greatly welcomed), therefore Epsilon Project might sound nice claiming that they’re the best rappers, when they might actually be overrating themselves just a bit. On the whole, Epsilon Project has managed to mask their shortcomings very well, creating an EP that sounds like great hip-hop. But that’s the key: it just sounds like great hip-hop.
