It’s nice to know that in the ultra-conservative era of the market-testing advance single, that smaller acts are still willing to put in the effort to make a record, press it up, and put it out there all the while knowing that they may be against the odds. Stardom is probably not one of Junclassic’s [click to read] biggest priorities and maybe it never was. From the impression one gets listening to his latest album, Imaginary Enemies, he’s a guy who’s a little weird and a lot out of step with what’s considered hip these days. And while most emcees in the underground are willing to buck trends and turn their back on the masses, they often make the mistake of having that pseudo-rebellious stance be the core of who they are as an artists, for worse. Junclassic, thankfully, doesn’t fall into that trap. He fires a couple of shots at the mainstream, to be certain, but for the most part, he makes his day to day life (e.g. family, work, weed) his focus, and the songs are much better for it. To put it in his words, “If you ain’t keepin’ it real / Then what you rappin’ for? / That’s why, to me, the realest songs have pain in ‘em / Only time a rapper have your ass tryin’ to relate to ‘em.” This album is an honest glimpse into Junclassic’s world, and a refined upgrade from his previous efforts.
Along with Junclassic’s adherence to the dictum of “write what you know,” what makes Imaginary Enemies enjoyable is the production work of DJ Husky. Combining booming, uncomplicated drums with string and piano loops, Husky creates sound for the record that for the most part manages the trick of highlighting the emcee while never stealing the focus. On one standout track, “Most Famous,” Husky adds in scratches and a choir to great effect, while Junclassic boastfully spits a torrent of words in his Rockness Monstah-like [click to read] vocal tone. That track falls in the middle of a great run of songs that make up the middle part of the record. From “Arrival,” a track about setting examples and following dreams, through “One and Onlee”, one of Husky’s best tracks featuring all manner of bizarre vocal samples, Junclassic and Husky make very few mistakes. Another highlight of that run is “Habits,” a woozy, low-energy track propelled by stumbling drums and electric piano. Another song worthy of note is “ZeeZee’s Groove” a straightforward and affecting song directed at Junclassic’s eight-year-old niece and written in a language that is simple enough for her to understand while never becoming sappy. It also addresses the death of the girl’s father, Junclassic’s brother. He makes mention of his late brother a few times over the course of the album but never is it more moving then when he describes him as “just a comic book-collecting family man with his kids.” That is one of the most striking examples of the candor and attention to detail that makes the best songs on the album resonate. Junclassic is also able of being funny as Hell as on “Dope Song” where he brags of his ability to “talk the weed man down like Priceline.” His combination of pathos and humor throughout the record is very endearing.
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Unfortunately, the album also stumbles in places. Husky’s adherence to formula can make the songs blur together leaving the listener uncertain of which track he is listening to without consulting the CD booklet. The same can be said of Junclassic himself, his flow changes very little throughout the album. “Bionic 6” is a case of going too far in the other direction as Husky and Junclassic both go for more “weird and arty” territory but only end up with “weird and vaguely nonsensical,” there are better ways of branching out and the duo’s goofy and lovable “Dope Song” illustrate. Another misstep is “Say Goodbye” a maudlin song where Junclassic becomes unfocused and leans too heavily on weak generalizations and lame puns such as “Ford couldn’t afford the miles on this expedition.”
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But the good far outweighs the bad here and Junclassic should be applauded for creating an album that feels real in an era where so much seems overly focus-grouped and market-tested. This album is the work of two men who seem to be content with the idea that the creation of the work is its own reward. They make music firmly in the old school tradition with a few idiosyncrasies thrown in for good measure. The attempts at weirdness may be the stuff that gets them talked about right now, but it will be the pounding drums and candid lyrics that get them remembered.
