“Since I died I’m dead weight, not dead like heaven’s gate…but I’m dead like I can’t feel a goddamn thing!” is a line you’ll hear on the track “Put Your Hands Up”, from the album “False Hope” by the artist DeadXDying. From the first confession to the 15 that follow it, this is a dark and honest work. Each word on the album is shaped by his orotund tone as he nosedives straight into affliction, demons, depression and other emotional struggles. His mood dictates the output regardless of how it may come across. When creating, DeadXDying is fully immersed in his work, crafting melancholy in a hallway of warped mirrors. He’s weak from his own pain, but strong enough to detail it with the kind of honesty that leaves listeners silent.
The album “False Hope” was born out of tragic events and the loss of loved ones, which left DeadXDying devastated and lonely. This resulted in him becoming detached, dispassionate and disconnected with the rest of the world – in essence “the feeling of being dead inside.”
Naturally, hopelessness followed suit, as he tore himself down, with the urgent need to release the emotions crushing him. This was made possible by the creation of “False Hope”, which serves as an escape valve. One of the most distinctive, striking elements of the album is how visceral it is.
DeadXDying is stepping up by letting his guard down, and allowing us beyond the walls of his tortured mind and soul. His unique blend of multiple-aesthetic hip-hop adds a buoyancy to his darkly astute lyrics, implicitly signaling a radical shift in the sensibilities of rap music whilst garnering critical acclaim in the process. The mark of a great musician lies in their ability to experiment thematically and sonically within the parameters of an established artistry. It is relieving then that “False Hope” does just that.
The opening title track, “False Hope”, kicks things off with an unnerving instrumentals topped off with rumbling bass, percussive kicks and shimmering guitars which lay the foundation for DeadXDying’s cutthroat vocals. The resonant guitars continue to drive “I Think I’m Hooked” and “I Don’t Wanna Be Here” and really jump to the fore prominently on “Bad Man”. Along the way, the rapper’s lyrical approach mutates into being more lethal and purposed.
This sets the tone for much of the concepts explored on the album which begins to take the shape of a lesson in brutal honesty. It’s impossible to argue that rappers like DeadXDying exist in a vacuum: the artist has both feet firmly planted in a tradition of rappers who are less concerned with braggadocio, and more concerned with emotional truths.
Moving through the sprawling “Put Your Hands Up”, the hazy groove of “Fortune Teller”, and then the slow burn grunge of “The Wrong Words (It Hurts)”, DeadXDying shows no fear of unravelling his topics.
“Rain”, “GG4” and “Feels Like Sabotage” from part of the record’s real highlights: they’re blistering, banging, disturbed, and yet utterly accessible. To say that we’ve now discovered that hip hop can be moving, visceral and intelligent would be wrong; but to claim that DeadXDying fearlessly and relentlessly pushes those elements towards extreme greatness is right on the money. And extreme, is exactly the word you need to describe, the bone-crushing sound of “Devil In My Backpack”.
“Lately”, “Spirits DXD” and “Crystal Lake” continues to document DeadXDying’s journey through purgatory towards the light, draped in soundscapes that shift in dynamic shapes, his lyrics decidedly outspoken.
DeadXDying’s style is voracious and unrelenting on the throbbing “8-3 at 12:22” and “Goodbye False Hope”. With his verbose delivery and outsider mentality DeadXDying is a perfect fit for challenging the conventional rap template. Standing out in the crowd is something that he can be applauded for. This album certainly rewards repeat listens.
Be sure to join the #deadGANG hit the official website and sign up for mailing list. This is a ride you won’t wanna miss, full of giveaways and non-stop drops, with a merch line also dropping December 21 (We the Dead & Dying).