Radamiz embodies the soul of a hungry New York artist on ‘Writeous’ (Album Review)


New York native and Mogul Club member Radamiz finally released his Writeous after nearly four years of hinting at it’s release.  It’s potential was shown since the beginning of it’s announcement, and friends and fans couldn’t be more excited to hear what he has had in store for us.

Writeous embodies the soul of a hungry New York artist and places his audience directly into Radamiz’s head as he ascends in the music industry through trials and tribulations.  Radamiz effortlessly shows his desire to project his art to mass populations at one time and potentially save one’s life, or drive another artist equally as ambitious as himself to greater heights.

The idea of maintaining a modest mindstate and staying “righteous” throughout the pathway to triumph blankets itself over the project and helps broaden a greater theme.

An audio clip of Lauryn Hill speaking opens the album and places me in the perfect spot.  You can be “right” but knowing whether or not you are “righteous” is much more vital.  I can you tell you now that the project is soul food for thought.  If you are a fan of Erykah Badu, Jay Electronica, Kendrick Lamar, Lauryn Hill, Common, and so on you will enjoy this thoroughly.

The main theme seems to perfectly tie in with almost every attribute in this album. Some of the production uses soul and jazz samples to accentuate Radamiz’s passion.  Moving vocals are either pushed forward as a main sample loop or placed strategically in a chorus or an outro – whatever the case may be Radamiz makes sure that every ounce of emotion placed into this album is shown.

Radamiz’s use of figurative, detailed language and sound devices are essential to feeling the weight of what he is throwing in your face. From lines containing more impressive, strategic word play and sound device to much more subtle lines like “I can’t till I’m in Milan with my Mulan,” each and every literary strategy used emphasizes a much bigger picture.  Some tracks revolve almost completely around the use of competitive bars and quick-witted word play mixed in with the rich samples and basslines. “1 CROWN” does not fall short in doing so, as well as “Maintaining,” but unfortunately, others do.

In some cases on this album Radamiz appears to be filling in empty space. I’m presented with this issue pretty early on the album with the song “poweR.” It introduced itself as a very enthralling track with the same rich and beautiful essence as the two previous tracks, but the song lacked towards the end. Although H. Illa (aka History) did a very astonishing job on the production, he came short further on.

The second part of the instrumental takes a much more pugnacious turn and we hear a fairly well concocted verse by History.  The correlation was seen but not well delivered.  Of course the theme was about “power” (pretty obvious from the title) but the drop when the instrumental switches seemed rather trite and a failed attempt to reinforce of the same lyrical impact of “1 CROWN” or “Ali’s My Big Brother.”

Sadly, this was also displayed on one of my absolute favorite singles.  “New York Don’t Love Me” was released 2 years prior to Writeous and I fell in love with it’s brief but broad statement.  The album contains an extended version of the song and in all honesty I couldn’t be more disappointed.  I sensed, Radamiz, yet again stretching out a track that should have not been stretched out.  Once again, the Outro of the album has almost 2 minutes of a sample (that I tried finding but had no luck) that does tie in well with the album’s overall theme but overpowers the rest of the song.

Radamiz’s ambitious nature and energized delivery are supplemented by the project’s cohesive, expressive production.

Production ties in comfortably with Radamiz’ delivery on the project as a whole. “God Talks to Me a Lot” is a gorgeous intro. Every thing about that song was perfect and then as if I feel I cannot get enough of the emotional-driven music I am given “Sumner,” one of the best songs from the album. Fellow Mogul Club member Dre Dollasz does a astounding job with the instrumentation that it backs up Radamiz so well to the point where you may think Dre produced this jewel after hearing Radamiz’ vocals.  Although he does falls short in some cases, he picks himself right back up with the same sound that made me want to listen to this album in the first place.

One aspect that seemed to protrude the most in production was the rich and splendid bass lines.  If you find yourself listening to this album on a bass-enhanced speaker you will be utterly satisfied.  The milky vocals given to us by background singers were gorgeous and in tune with the punchy bass lines and vigorous drums. Although, I love the instrumentation it’s Radamiz’ vocals that help reinforce that soul and emotional-driven tone. The instrumentation is nothing without being completely backed by Radamiz’ and his peers’ vocal energy and delivery; most notably, King Critical’s vicious entrance on “Maintaining” and Madwiz’ soothing build-up on the intro.

Overall I enjoyed the project immensely and it is a great introduction from Radamiz into the music industry. However, it isn’t just the gorgeous drums, or the touching samples or the stimulating lyrics that leave this project as a major mark in the New York Hip-Hop scene – it is the fact that it plays as a portrayal to Radamiz himself.  It is essential to assimilate that Radamiz is Writeous; his attitude and overall view on the world is encompassed in this album and that is the beauty of it. We are all here in this world to be righteous and Radamiz is here to project it.

Vital songs: God Talks to Me a Lot, Maintaining, Ali’s My Big Brother, Sumner, One Night Stan

Stream Writeous below.