James “J57” Heinz has released his 3rd studio album (EP) titled Sonic Boom Bap. It’s a free, surprise release via his FiveSe7en Music imprint. This is a self-produced project, except for one song; “My Resolution” which was produced by Portland producer, LuvJonez, who Heinz has worked with a number of times in the past.
In his liner-notes, Heinz stated that the intro track “DrumGod” was intended for the next Blame One & J57 album, but when it didn’t make the cut, he jumped on the chance to use it for his solo material. “DrumGod” touches on the constant change in Heinz’s life; from “back stabbers” to people getting mad at him for not being a “texter.” This is one of the most personal songs on the project and really tells the listener a lot about him. He even sprinkles in the fact that he’s been building with the Rhymesayers CEO / front-man of Atmosphere, Slug. Heinz really shows that he deserves the title “DrumGod” with his funky display of intricate drum programming throughout the track.
“My Resolution” is one of the those songs that when it comes on during shuffle-mode, I’m not going to go to the next track. It has a lot of replay value and one hell of a catchy chorus. The beat, produced by LuvJonez, is as anthemic as it can be. New-comer, Thom Seveer, starts his verse with “They’re like, Who the fuck is Thom Seveer?” which, if the listener is privy to the “I’m the J57” LP, then they will know of Mr. Seveer. I read that this song was the first song Heinz recorded with his new, unique vocal style.
“Same Old Jimmy” really lets the listener in on some back-story on J57, that they may not have gotten from his wikipedia page or an old Brown Bag All Stars interview. He starts the song out over a beat he said he made in 2006 while it seamlessly transforms in to a sparse beatboxed second beat where he laments about his past days working at Fat Beats.
“Top Floor” is another highlight of the EP. A song created from scratch with Rhymesayer emcee, Toki Wright. Toki has been putting out quality music for a very long time since the days of cutting his teeth in Minneapolis at a young age. Wright, now a 2-time Emmy Award Winner, and Heinz mesh in almost a Run the Jewels-esque fashion. Two different styles and voices that blend well together over the modern yet throwback, jazzy production layed out by Heinz and Big Cats. Heinz introduces his new (soon to be signature) rapid flow, while Wright plays it cool in a unique manner.
It’s been a while since Exile and J57 have linked up, I was hoping for more music from the two. This time, Heinz gives us a full-on posse cut with majority of the Dirty Science team. Long-time collaborator, Blame One, steals the show as the song as the song is whisked away into jazz-land via Sly5thAve’s soulful yet jazzy sax playing throughout the song. Heinz has mentioned how much he admires David Axelrod in many interviews over the years, so this song title comes as no surprise.
“ForeverEndeavour” this one stands out as a larger sounding record, one that Heinz is known to produce for others, yet seldomly raps on himself. It’s refreshing. It makes sense. I want to hear more of it. Speaking on the fact that he’s from Long Island originally and how you could ask anyone that he’s known his whole life and they’ll tell you that he hasn’t changed. Really uplifting and triumphant song.
This entire album is chock full of honesty. The most honest moments come soaring in during “Sometimes.” Heinz reveals insecurities and inner-thoughts that almost no one would share with another person, yet he easily speaks about them over a floating string soundscape. That takes guts. Well executed, too.
At last, the title track. This one keeps going back and forth with a few others, for the title of my favorite track on the album. From the haunting backdrop to the triple time flow, this song gets the award for best rapping and for largest beat. Hence, Sonic Boom Bap.