Ysimonis is a hip-hop artist from Miami who recently released his debut album “Regular N*gg#”. The album is reviewed track-by-track below and can be streamed from this page via Bandcamp or purchased on iTunes.
‘P*ssay’ opens Ysimonis’ album “Regular N*gg#” with a spoken introduction over a clean guitar intro. The beat then kicks in, as do basic, elementary lyrics. These are repetitive, many of them not rhyming with their preceding line. The backing track is awesome, and the instrumentation is well thought-out. The chorus was the only memorable part of this track; lyrically, while Ysimonis’ vocal tone is good, his rhymes are non-existent at certain points and much of the lyrics and story line make little to no sense. ‘She Got Me’ begins in a more ambient manner, and a good beat and blaring synth parts showcase the impressive level of production on this backing track. The lyrics are again very juvenile and very immature without even taking into account the fact that they are extremely explicit as well. Again, some of the lyrical phrases don’t even make sense and the lyrics chosen and performed are so basic it’s astounding. The story lines are easy to follow (how could they not be with this level of lyricism?); I wish the lyrics had been edited in pre-production to something that was more intelligent as the supporting instrumentation is outstanding and these tracks could’ve been made into something truly impressive with the right amount of work. ‘I Can’t’ begins with piano, the introduction conversational in nature and enhanced by repeated use of the title (this being the chorus, which wasn’t too bad) sung by backing vocals. As we’ve seen (or heard, for that matter) many of the rhymes don’t work within Ysimonis’ creative compositions. The rhythm was good (thankfully) and the verses featured echo’d vocals. This track did contain the most developed story line so far which was a positive note on all accounts. ‘Head’ follows and was certainly more aggressive and hard-hitting. This, in all honesty, was the best track on the album. The chorus is apologetic and honest and the backing instrumentation is huge. This track featured much better rhymes, and Ysimonis does a much better job at creating a story line that makes sense and follows some sort of progression here. While this track was still explicitly sexual (as many of the tracks are) it also mentioned and discussed other topics like generalized stereotypes that are accepted to this day in certain cultures and lifestyles.
‘Flash Dem T*tties’ was hilariously comical, featuring a call and response between the lead vocal and an echo’d vocal. Each of the backing tracks are strong and the production is commendable on the majority of these tracks. Ysimonis spends his time on this track asking questions and making commands; again, some of the lines make absolutely no sense when taken in context with the rest of the track. ‘Donald Duck’ features another hard-hitting, great backing track (especially the synths and the guitar parts) and a strong chorus (production-wise). Much of the lyrical content has already been said before so not much can be said to this regard. Fortunately, this track (and much of the album, as mentioned before) was produced really well and the instrumentation was on point. ‘Mind Ya Bizness’, another harder track with great instrumentation and an interesting vibe, was semi-intelligent lyrically at points, only to revert back to its basic ways soon enough. Abstract video game references were present here as well; the metaphors in this song and throughout the album were certainly nothing like those that are thrown around in the mainstream or underground rap and hip-hop genres. The vibe was good on this track (which happened to be the shortest on the album) thanks again to fantastic instrumentals. ‘True -N- False’ has a haunting introduction and an outstanding beat; a chorus again opens the track, a track which features a laundry list of things that he believes are “true”. The second verse changes things up, reversing the subject matter to list things that Ysimonis believes are “false”.
The introduction to ‘Money’ initially featured staccato synth parts only to add flowing synth parts overtop the instrumental. Ysimonis shows his true colors and interests here by proclaiming “I do it for the money”; he certainly has a different, uniquely interesting viewpoint on a number of topics, money being just one of them. Guest performances are showcased in both the second and third verses, the third feature being the better performance of the three. All of it is so comical in all seriousness; the rhyme schemes and rhymes themselves are completely random throughout this track and throughout the album, with no purpose, rhyme or reason (pun intended), and the ending for this track was totally random, coming out of nowhere with nothing to conclude the song’s idea or vision. ‘Slippin’ closes the album, diverting to a new sound; even though each of the tracks sound different, this one sounded most unlike the others and had the most basic instrumental backing track, which certainly wasn’t up to par with the previous tracks. This track was negative and stereotypical in subject matter and was poorly done overall, again ending with no warning. In conclusion, this album was fantastically repetitive and offered little musical or lyrical value (aside from the standout instrumentals that completely carried the weight of the album); much of it was tough to listen to honestly as the album sounded comical and comedic on a regular basis (in a way that worked to the artist’s detriment). To me, this album was so far away from making sense and from musical completion; the songs that are done well are done well (to a certain extent and level), and the songs that aren’t closely resembled a train wreck. There was very little intelligence or outside-the-box thinking (lyrically) throughout the album. Really, it’s not even the subject matter, it’s the way that the subject matter is prepared, described, and performed for the consumption of listeners; mainstream rap deals with and discusses similar subject matter, yet their presentation of it is vastly different and much more refined. Then take into account intellectual rhyming, witty wordplay, and professionally-delivered and mixed vocals, and you begin to see the differences between “Regular N*gg#” and anything you’d find on the shelves of stores or on the radio. The release of this album is more-or-less a head-scratcher; hours of work must have gone into the completion of this project, yet a large amount of hours are still required to put forth any type of real, lasting value for listeners or consumers. I can understand a more laid-back, easy-going vibe (as showcased here) but only if combined with the addition of competent qualities found in the work of proficient artists. While ‘Money’ and ‘Head’ played to these strengths well, the other eight tracks left much to be desired. Enjoy our interview with Ysimonis below.
What can you tell readers about your background? What inspired your name, and what led you to begin writing lyrics?
“I’m such a “lazy” guy. I feel like I am just a regular dude that does not carry that typical “hardness” aura that is so prevalent in hip-hop.”
Can you give us a behind the scenes take on what led to the filming of your music video for ‘Donald Duck’?
“We live in a feminist society and I feel like the males of this society are “suckers” constantly losing the game to women. Today’s males makes it so easy and then they have the nerves to brag about their gains when their gains are only due to monetary stature.”
What inspired the writing and recording of your album “Regular N*gg#”?
“I always wanted to do my own album.”
What does 2014 hold in store for Ysimonis?
“Hopefully I gain enough sales to do another video. (I don’t) have any performance dates lined up at the moment.”