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The hook from “Latin Grammys,” for instance, sees Bronson feebly brag about his promiscuity, something he’s done many times before with more inspiration. Bronson can still be more imaginative than almost every other rapper, but here his idiosyncratic humor, kaleidoscopic use of pop culture references, and culinary fantasies aren’t as consistently gripping or eccentric as they once were. Yet “C12H16N2” hints at a world-weariness that perhaps is evident in his voice: “I got older and I realized there was no heroes/Don’t even talk to me unless you’re talking more zeroes.” This lethargy is present in the writing throughout.
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It’s enticing to accept Bronson’s slowing flow as design rather than fading skills. This reduced emphasis on cannonade bars is why many of the better songs are the slower jams-“Hard Target,” “Shredder,” the swooning strings of “Vega”-but such is the lack of urgency on tracks like “Cliff Hanger”-you can picture Bronson studiously reading from his book of rhymes in the booth.
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Yes, the man who was moved to apologize to Ghostface Killah for claiming, “He’s not rapping like this no more” just ain’t rapping like that no more. There’s evidence that Bronson’s rapping has lost significant velocity, even compared to his relatively well-rapped last album White Bronco. It’s when you peer in closer that the cracks start to appear. When in form, his worldbuilding remains sharp and vivid. Perhaps taking influence from the Teenage Mutant Ninja Turtles’ arch-nemesis Oroku Saki, Bronson describes a night in the life of a villain. Then there is a song like “Shredder,” a two-minute potboiler draped in the midnight noir sounds of somber saxophone lines, a prominent bassline, and shimmering keys. A pianist tinkles in the background as the percussionist sprinkles in some natty little drum fills. Sampling the intro to I.N.D.’s obscure 1981 sophisti-pop number “ Into New Dimensions,” the beat evokes memories of Operation: Doomsday-era DOOM, tempting Bronson to detail various adventures: sniffing coke off mirrors, jumping in a Jacuzzi with “12 freaks,” and cruising around in his beamer listening to Gerald Levert.Ĭonversely, closer “Hard Target” places Bronson on stage in an underground jazz club, delivering a monologue on his achievements in the publishing industry and the diminishing effects of weed on his brain. If nothing else, the album is a triumph of Bronson’s omnivorous musical taste, starting with the self-produced opener “Capoeira”-one of the best instrumentals he has ever spit over. Once infatuated by the eternal truths of boom-bap, he now boasts a more diversified palette that includes 1960s Brazilian pop, Latin funk, lounge jazz, and reggae.
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Rapping about food-" Shiraz," " Brunch," and " Jerk Chicken" are three tracks from his 2011 debut album-became something of an Action Bronson signature.Given Bronson’s expanding outlook, it seems suitable that Only For Dolphins is his most eclectic album yet.
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After breaking his leg in 2011 and being unable to work, he turned all his attention to making it as a rapper, releasing a series of well-received mixtapes and gaining props within the hip-hop community for his braggadocious delivery and proclivity for translating his impressive culinary vocabulary into bars. Bronson attended culinary school, then worked as a chef around New York City. Before he was putting out songs with Chance the Rapper and A$AP Rocky, Bronson, born Ariyan Arslani, was a high school dropout from Flushing, Queens, who found purpose in the kitchen. One reason it’s taken so long to reach this moment is Bronson’s love affair with food. "This journey started way long ago," he says. But becoming a healthier person has been a lifelong struggle. Now, thanks to an ambitious fitness regimen and an overhaul of his diet, he’s down 127 pounds since March. At his heaviest, the MC also known as Mr.