Review Summary: A splendid and classic Japanese hip hop album that never truly ages.
In the mid-late 80's, hip hop in Japan was starting to swarm rapidly. Compared to the glittery, outgoing sound of Japanese pop-rock in those days, a majority of the youth of Japan were searching for something grittier and more rebellious. Some ended up in the punk scene (see bands like The Blue Hearts or The Stalin), while others ended up in the newly born Japanese hip hop scene. Rhymester were one of the first Japanese hip hop acts to form, coming together in 1989. After about four years after their formation, they released their debut album, "Ore ni Iwaserya", in 1993, which sold horribly. However, two years later, Rhymester released what is arguably their finest moment to date (their magnum opus if you will), "Egotopia", which took influences from various American hip hop acts (most notably the chilled 'east coast' styles of acts like A Tribe Called Quest and The Roots), and blended it together with the angsty Tokyo youth of that era. Combined, it created a sound that various acts would admire, and helped to launch the Japanese hip hop movement in the underground at full speed.
The album opens up with a two minute long intro, which focuses on a drifting guitar sample, and a wondrous bass line. The album then officially blows up with "20 Seiki~Kaike Kokoro", which consists of a sax sample, a pounding bass line, flying synthesizers and has the boys rapping over an impressive instrumental, which would make the aforementioned jazz-rap legends, ATCQ, smile with pride. A brilliant introduction track. "Akushumi Setsu" starts off with a fluttering sample, and then blasts off with a spacey and psychedelic breakdown, which has the boys of Rhymester rapping over a highly atmospheric sound. A nice bit of psychedelic-influenced rap. One of the bigger complaints, however, is that the track goes on a bit too long, especially since the beat, really, has nothing to work with after a while, and would've been better treated as a normal track (around 3.5-4 mins), but, instead, goes on for 5.5 minutes, which can get quite boring. However, the album's potential picks up from the slight pothole bits of "Akushimi Setsu", with "Shiranai Onna", which further pushes the atmospheric, laid back sound of the album to brilliant heights. The track focuses on a beaming bass line, with various astronautic effects thrown in for good measure. A terrific track, and a definite pickup from the repetitiveness of "Akushimi Setsu". "Kuchi Kara de Makase" then, slowly, comes on, and stretches on for almost 5.5 minutes once more, but actually has an addictive beat to it, which focuses on a unique robotic-funk sound. The various switch-ups in the track makes it an even more ambitious pickup, and shows the guys in Rhymester laying down the foundation for various Japanese hip hop acts to emulate. A tremendous retro Japanese hip hop epica, which, might acquire some patience, but once the listener is warmed up to the track, one can easily see the talent of the group glowing strongly in this one song.
"Shiranai Otoko" then comes on, with a great, swinging punch to it. Working as the couple track to "Shiranai Onna", the style of "Shiranai Otoko" is a LOT more mainstream friendly, and lowers the atmospheric levels, in order to raise the tremendous mainstream potential of the group (which would be exemplified almost a decade later). A nice, kicking track in the album, and is definitely a memorable track in the solid, slick album. The next track, "A***a no Show", then rebirths the atmospheric style of the album, but with a bit of the same kick in "Shiranai Otoko". This makes the track catchy on almost all levels, and another standout track. The self titled track is just a bizarre interlude, which features the guys in a high pitch talking about various things. Nothing to say, really. But then slowly emerges "The God/The Mad", the album's finest moment without a doubt. The track has a swingy style, equipped with a trippy sample, and has one of the Rhymester guys nearly chanting among the track's phenomenal skeletal layout. The raps within the track effectively bounce off the beat, which will make the listener subconsciously bob along with the track. A splendid track, and shows the potential of the group amplify to unseen heights, growing up compared to their previous "Ore ni Iwaserya" effort, which makes the emcees shine maturely and immensely. A marvelous track, to say the very least. "Kimi no Hitomi ni Utsuru Ore ni Kanpai" then comes on, which doesn't stack up to the level of "The God/The Mad", but doesn't fail either, as it warms the listener up with a charming, true throwback to the mid-90's stylings of East coast hip hop, with its coolness and chill style. "Return of Funky Grammer" features the Japanese hip hop legends Mellow Yellow and East End, and is fronted by a catchy, poppy-rap instrumental, and has the countless rappers doing their thing. Not much to say, but it is interesting to see the various legendary early Japanese hip hop veterans united on one track. Plus, with the catchy instrumental, it is guaranteed to have you rocking to at least one rapper's performance. Then comes the album's final track, "And You Don't Stop", which is pretty damn impressive. Reflecting back to the styling of "The God/The Mad", "And You Don't Stop" focuses on cozy samples, laid back rapping, with some psychedelic samplings thrown in every blue moon. A great track, and works as a great closer to such a groundbreaking Japanese hip hop album.
"Egotopia" by Rhymester is a revolutionary album in the Japanese hip hop circuit, in terms of its gritty style, spacey samples and bouncy rapping patterns. Even though it is pretty much guaranteed that the majority of Sputnik users will not understand Rhymester's lyrics, it is just their rhyming technique and the warm and cozy samplings of the tracks that makes the album so grand. It is a great Asian equivalent to the laid back East Coast rap movement, and, instrumentally speaking, various tracks could've been easily passed off to be used in an early Mobb Deep album, or, perhaps, an early Jeru the Damaja album. Whatever the comparisons may be, "Egotopia" by itself is a splendid album that suffers a bit from being overextended (lasting an hour long). But the album itself is a tremendous breakthrough in the Japanese hip hop scene, and is recommended for all questioners of the potential of Japanese hip hop. Let this album be the example.
