There is a visionary in DREWKABOOM’s wordsmith armory. “I swear it by the old gods and the new.” DREWKABOOM’s ability to handle or manipulate the vernacular of mythology into a sort of scripture of rhyme is a definition of rapture. There’s a deep seeded mystic in the meditations of the “Lost Moon of Jupiter.”
We find DREWKABOOM sifting through collections of memories and references which calls to mind the late MF Doom with his almost fervent four armed plucking of mind candy. While both rappers freely dig the crates referencing childhood and adult karmic kin, DREWKABOOM’s cadence has driven him to become the rapper with a Baba from India and a “zen mode” that becomes like a lost moon orbiting, dark stars and opaque planets that diffuse futuristic realities.
DREWKABOOM is bending the spoon of grammar and there are few emerging artists to have in one way or another walked through the road less traveled and circled back with such a hefty wealth of musical gifts.
Summoning the deity of fortune and as the ancient three kings are mentioned like a scholar’s brow rummaging through teeth of pulpy realms, we are relegated to the lyricisms of a cloud-walker, a fire-breather, reincarnated time and time again into the pyre of the phoenix.
Word for word, DREWKABOOM is a tour de force, a wrecking ball of syntax- We are the subjects of “Lost Moon of Jupiter” in retrograde, spiraling like unknown satellites, freely pacing the salons of space while the fingers of that breath unfurl: a collision of galactic mouths in the shape of a mic which DREWKABOOM rules over with an iron fist.
Written by Hari Palacio