â€œSlojoâ€ is the first track on Junk Scienceâ€™s latest album, and the blend of seventies instrumentation with a current type of flow makes for a strong foot forward. The rap styles that are showcased during this CD are points and strong, and are only moderated by a second set of vocals which end the track. â€œPop Rocksâ€ starts things up with a skit-like discussion before going in an eclectic, shambling type of backing beat. The backing beat seems to intrude a little too much on the flow during the track, distracting individuals from what is a pretty intelligent lyrical flow. With this stutter-step, listeners will be a little shaky on whether they would like to continue with the disc. â€œDo It Easyâ€ is Junk Scienceâ€™s â€œmake it or break itâ€ track on â€œNerve Tonicâ€, and the sixties girl group meets jazz instrumentation of the track is the first of many good things present on this track.
The instrumentation smartly stays in the background, allowing the intricate and blazing-fast flow present to have the spotlight. What was an iffy album before â€œDo It Easyâ€ is a pretty solid disc by the time that the track ends. The inclusion of spoken pieces before a number of the tracks on â€œGranâ€™dad Nerve Tonicâ€ really diminishes the actâ€™s momentum accumulated prior on the track. During some tracks, these spoken pieces work in slowing down the flow, as is the case during â€œWords From The Pedroâ€, but it seems that they are more of a hindrance than a help to Junk Science on â€œNerve Tonicâ€.
The â€œscratchy recordâ€ layer on â€œWoodchucksâ€ gives the song a vintage feel but is put on a little too heavy. Like the instrumentation on â€œPop Rocksâ€, the crackling detracts at points from what is an impressive flow. Junk Science has their vocal component down; it does not seem as if they are resting on their laurels in the slightest in that department during the entirety of â€œGranâ€™dadâ€™s Nerve Tonicâ€. The instrumentation is similarly solid, but it feels as if there are times where it needs to take a more dedicated supporting role. I understand if the instrumentation builds to a crescendo at points, but do that when no one is rapping. Regardless, this disc brings it back to an earlier point of rap music, when slower flows and old albums were both looked favorably upon for a track. Pick it up.
Top Tracks: Glass House, Third-Person Stealth