Sadistik & Kid Called Computer – The Art of Dying
Self-released: 2010
Some of music’s finest art has originated from intense self-loathing and tremendous pain. Who can forget Nirvana — the iconic, autobiographical grunge band led by tragic hero Kurt Cobain, whose indulgence arguably drove him to the suicide he committed. Then there’s Motown legend Marvin Gaye, whose formerly clean-cut, suit-and-tie image eventually gave way to his personal acrimony, and upbeat love songs dissolved into sullen musings about divorce, war and inferiority. The Art Of Dying, a new project from Sadistik & Kid Called Computer, lives within the same vein as the aforementioned icons, even if it fails to resonate loudly. In this era of shortened attention spans, the artists have crafted an efficient, theatrical project that serves a purpose, even if it’s much too moody to spin consistently.
The Art Of Dying is seemingly one of those recordings that might not stick, not because it’s without highlights, but because it resides in such a shadowed corner. Sonically, it immediately captivates with the thorough “Wake Up Dead”, punctuated by an extended introduction and lyrics about life’s struggles. The aggressive “Bed of Flowers”, which tells the tune of a gunman who eventually kills himself, does well as a story and funeral progression, although it’s too lengthy and drags the album into greater depression. On the funky “Black Rose”, Sadistik rhymes methodically about a love gone wrong, and entices a woman to find peace within herself. The album’s mood doesn’t pick up until its last track, “Ghost In The Machine”, but not because Sadistik changes his tune. Rather, guest vocalist Louise Fraser’s lighthearted whisper carries listeners to a content place — similar to death — when things are uncertain, but they’re somehow okay.
Overall, The Art Of Dying is a decent offering from an introspective emcee and should be respected for its concepts and candor. Unfortunately for Sadistik, the 34-minute recording doesn’t shake the ground, and might alienate listeners with its overly dark subjects. Musically, Kid Called Computer paints an intricate canvas, but Sadistik’s colors are a little too somber for the easel.
2.5 out of 5
