Music Review: Entermission

By C.E. Moore

GENRE: HIP-HOP/RAP
LABEL: REACH RECORDS
RELEASE DATE: DECEMBER 26, 2009
RATING 4 OUT OF 5

“The Christian, by identity, is a missionary. We don’t just do missions. That’s the most important thing we have to understand. Missions is not a trip you go on. Mission is who you are. And that call of God for His people to go into the world, based on the Great Commission, is His call and His command to mission.” With these words from Pastor Eric Mason of Epiphany Fellowship, DJ Official kicks off his debut album Entermission. The statement sets the tone and message for the entire project—a project bursting at the seams with proven emcees and rock-solid lyrical content.

“Show Off” kicks off the project and has been on the airwaves for the better part of a month already. I won’t say much about it, as the bloggers have pretty much had their say at this point on this one. Maybe it shouldn’t have been the lead single, but I think it’s much better than people have given it credit for. Flame’s portion is particularly good: “I got the world on my heart homie/All seven continents/I move smooth with all heaven’s confidence/Book me a flight, rent me a car whatever/ I’ll take feet and meet you tomorrow/Right in your project, right in your village/With the power of God and life in my spirit…”

Next, Tedashii steps into the booth to deliver “Use Me.” He beasts it and takes no credit. Delivering his lyrics in that Luda-esque baritone that fans have come to love from the emcee, T-Dot drops a thematic thing of beauty. Following the idea of “showing off” the works of God, he asks to be caught up in that movement. Here, for the discerning listener, you will begin to see the contours of Official’s project…as if he wants to show the process of beginning, maintaining, and finishing the mission strong.

“Streets of NY” and “Streets of Philadelphia” serve as complimentary pieces, featuring J.A.Z. and Magellan and Mac the Doulos, Young Joshua, Ackdavis, and R-Swift, respectively. J.A.Z. and Magellan brings NY/East Coast sensibilities to the beat—that beat rivaling anything you’ve heard from Jay-Z or Dre, with its piano line and haunting and ever-building strings. Rapping “We up in Harlem, Harlem. Apollo, stardom/Home of the concrete jungle no gardens/Some of us are old school/Most of us modern/NY’s grimy, I beg your pardon/Everywhere that Jesus is you could call it holy ground/Tennessee, Arkansas, Mississippi, Chi-town/Getcha getcha life right/Back back on track/Before you need a coffin and a hearse, black Cadillac…” The emcees on the latter track clearly feature that Philly style with it’s staccato boom-bap, recalling the work of Beanie Siegel and the best cyphers of Cross Movement.

“Get Busy” drips with that mandatory Trip Lee swagger and it works well as a “foot-to-pavement” introduction to the listener to the work of the Gospel. The deep bass drum beats, high hat, and clapping work well on this slower piece.

Newcomer H.G.A. partners with Tedashii for “Go.” I tried to find out some info on H.G.A., but the Internet is virtually silent on them other than a few videos I was able to dig up. But, if the guys at Reach Records have taken notice and partnered with them on a track, you can bet we’re going to hear from them in the near future. As for the track itself, H.G.A. spits fast over a fast, club-inspired track. Tedashii joins the fray and goes nuts, effortlessly vacillating between fast and slow. It’ll take a couple good listens to catch everything that is said and the weight of the message communicated.

“Not My Own” features Stephen the Levite, Phanatik, and Evangel. This translates into that underground sound we’ve come to expect from the likes of Lampmode and recent CMR releases from R-Swift, Phanatik, Everyday Process, and Tonic.

I never really paid attention to how well island sounds and British rap styling’s complement one another. Until I listened Dillavou, Jahaziel, Gems, and Benjah pair up on “Love Fallen.” It may not appeal to everyone, because it is the most diverse track on the album stylistically, but it is worth a listen.

“Chaos” is the best track on the album. Now, I know this is opinion, but seriously, if you disagree with me on this, you’re wrong. From the beats to Sho Baraka’s storytelling lyricism, this track has everything a track should have. DJ Official’s production on this one is flawless. Sho’s view of the chaotic nature of our world and the anemic or misguided response of some churches is bleak and rightfully so. Presenting the situation “as is” is a proper method of being prophetic. And that is what this track is—prophetic.

“Chisel Me” has a great militaristic beat and has been in rotation for some time. A part of missions that tends to go unnoticed is the chiseling process that needs to take place prior to missions work and that needs to continue in order for the missionary to stay faithful to the call. This’L, Json, K-Drama, and Tedashii is likely one of the best collaborations you will ever see in holy hip-hop.

The 116 Clique (Lecrae, Sho Baraka, Tedashii, and Trip Lee) hit the booth for “On My 116.” Serving as a reminder that the entire purpose for their albums, concerts, and globe-trotting is to continue the mission of telling people about the Good News of Jesus Christ. Not the best track on the album, but the “I’m on my Imago Dei” hook is pretty tight. Not to mention, Sho Baraka’s presence on this album continues to show that he is one of the most underestimated emcees in the game right now. His delivery and content goes places that traditional theological rap doesn’t often go.

God’s Servant serves up “Missio Dei” (Sending of God) that talks about how Christians are called to exist in this world as missionaries, juxtaposing this belief beside the Incarnation of Christ. It should remind listeners of old school Cross Movement.

R&B crooners J.R. and Cam make appearances on the album in the form of “Nothing Without You” and “Forward Me,” respectively. Both help slow things down a bit, giving listeners a breather before Official takes them careening around the corner again.

The album closes out with a remix of “Eyes Open” off of Trip Lee’s 20/20 album. J.R. is gone. Sho Baraka is in. Surprise surprise. Again…pay attention to Sho Baraka.

Official even includes “Something For My breakers,” which is a nice touch, both to the culture and the history of that genre.

A difficulty, if I may.

Some may call into question the notion that there is a split between party rap and theological rap. I have spoken with certain artists who claim that “this split is fabricated by the fans.” However, one need only look at the differing line-ups between the deejays like DJ Morph and DJ Official to see that a split definitely exists. Morph’s album features a veritable who’s who of Christian party and crossover rappers—Frontlynaz,  Applejaxx, G-Notes, Braille, Mahogany Jones, and others—while Official’s album features the clear-cut evolution of 116—Trip Lee, Sho Baraka, Tedahsii, Lecrae, Flame, Stephen the Levite, This’L. Now, I’m aware that both projects feature one or two rappers from “the other camp” (i.e. Sho Baraka appears on INTERNATIONAL, while Ackdavis and R-Swift appear on Entermission), but even those artists seemed to change up their style a bit for the projects in question. Of course, I don’t think there’s anything wrong with this split, per se. People are called differently and called to reach different types. Just like a Midwest rapper may more easily reach a person from the Midwest, a party rapper or theological rapper may more easily reach someone who is predisposed to one or the other particular outlook. When it comes to the idea of the mixtape though, I would like to see a bit more diversity. This is what DJ Maj complained about in a recent interview with Rapzilla. Christian rap is already a marginalized genre within a marginalized genre that will continue to award the likes of TobyMac with the “Best Gospel Rock/Rap” Grammy until the hard workers in the field set aside their differences and realize we’re on mission together.

According to Dalton Higgins, “Hip hop encompasses four distinct elements: deejaying (the manipulation of pre-recorded music), breakdancing (dance), rapping/emceeing (vocalizing), and graffiti (visual art).”[1] Classically, within the genre, the deejay is the behind-the-scenes player in the equation. On occasion, they serve as the hype man, getting the crowd on their feet or keeping them otherwise happy between set pieces or emcees. As a general rule, though, deejays are heard and not seen. With the release of Entermission, DJ Official may very well threaten that notion, propelling the deejay into the limelight. What DJ Morph’s INTERNATIONAL was for the Christian party rap/socially-conscious mixtape, DJ Official’s Entermission may be for the theological rap mixtape. If he keeps putting out projects like this, he will very quickly become recognized as the Timbaland of the Christian scene. That would be something cool to see, especially if his beats manage to have the same crossover appeal. Maybe a collaboration between Trip Lee and Jimmy Needham? J’Son and Leeland? This’L and Jeremy Camp? Lacey Moseley and Lecrae? Who knows?

Buy it. Spin it. Love it. DJ Official is the real deal.