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6 of 6 people found the following review helpful:
4.0 out of 5 stars
Tight and positive lyrics, great music, excellent production, March 5, 2003
Anyone familiar with the aesthetics of rap music can't help but shudder when they hear the term "acoustic Hip-Hop." Since it's origins, Hip-Hop music has been the product of technology, the urban progeny of deejays "toasting" the crowd up through iron mics and magnetic speakers while spinning records on electric turntables. Traditionally, the most "acoustic" rap gets is a mic-less cipher with the beat provided by a human beatbox or fists pounding on hard surfaces. However, socially conscious Canadian rapper K-os may bring an awakening to the familiar rap paradigm with his debut album Exit. Having had his start singing hooks for other rappers, K-os (born Kevin Brereton) quickly found himself bitten by the rap bug and compelled to put his own thoughts and experiences onto paper. Though his early attempts at rapping were received poorly, probably due to love-lyric overkill the rapper admits, K-os continued to grow and improve his music, eventually catching the ear of music entrepreneur and ex-Detroit Piston John Salley, and landing a deal with Astralwerks Records and EMI. Blending the eclectic goodness of the Fugees with tribal funk grooves of Native Tounge-ers like A Tribe Called Quest and Jungle Brothers, and a love for Hip-Hop that would rival even the most zealous member of the Zulu Nation, Exit is not an album to be taken lightly. At its heart, the album is a sharp, soulful effort that opens the door to new possibilities in Hip-Hop music. Track Listing
01. Intro
02. Fantastique
03. Call Me
04. Heaven Only Knows
05. Superstarr Part 1
06. Freeze
07. The Anthem
08. Patience
09. Higher
10. Masquerade
11. Follow Me
12. Superstarr Part 2
13. Neutroniks
14. Superstarr Part 0 Much of K-os' appeal is derived from his diverse musical foundation, much of which can be attributed to the exceptional production of Red-1 of the Rascalz. While many rap artists are contented with sticking to the archetypal "boom bap" rap sound or diluted pop spin-offs, K-os diverges from this formula with music that blends influences from several different genres, including, rock, reggae, and jazz. This eclectic selection comes to its zenith with the "Superstarr" pieces on Exit. "Superstarr Part 1" is a vibrant reggae piece alive with resonant bass and rich brass horns, where the artist sings his fluid poetic expressions inspired by a documentary on music legend Peter Tosh. Completely switching gears, K-os ventures undauntedly into the realm of emotional pop rock on "Superstarr Part 2," singing melancholy verses with compelling intensity over acoustic and electric guitars, symphonic strings, and understated percussion. Latin influences are embraced on "Follow Me," the genre exemplified here by thick, plucking bass and acoustic Spanish guitars passionately harmonizing. Lyrically, K-os alternates between spiritual singing on the chorus to rapping political science: "yo, my war's against the foundation of a global united nation / when humans rule the world by the codes of free mason / hallucinated, by the quest for domination / an equation, which equals the battle station." The near a capella of the introspective crossover single "Heaven Only Knows" exemplifies the extreme of the acoustic sound the rapper strives for. The only instrumentation accompanying K-os for this sparse soundscape is a simple guitar melody, an infrequent piano counter-melody, and a shy high hat peeking out periodically. To pacify those wanting for more "involved" production for this single, included as a bonus track is the remix of "Heaven Only Knows," which utilizes the same timeless soul loop that Ice Cube first lifted for "Today Was a Good Day." But it's not all neo-black hippie sung pieces and free-spirited production on Exit; K-os is sure to include more than a few solid neck-breakers for the hardcore heads. The opening few lines of "Fantastique" pay respect to Special Ed's immortal hit "The Mission," before erupting into fluid springs of multi-hued guitar melodies bass grooves, waspy synth tones, and forceful kick drums. His energetic delivery reflects the animate feel of the accompaniment as he professes his love for Hip-Hop music and his dedication to the art. The simple funk blends of "Freeze" allow the artist to openly show his disdain for the current state of rap music, first though battling a bling-obsessed sucka emcee a`la a Tribe Called Quest's "Phony Rappers," then through a remembered conversation with an old-school head. For "Neutroniks," K-os does his own impression of the cute "wikky wikky" imps from the 80's rap hit "Jam On It" by Newcleus. K-os flexes his muscles with an updated rhyme style, asking "what's the definition of a real emcee? Is it looking hard on MTV? Or is it freestyling in a back street alle-y?" K-os has such a versatile presence on the album that most listeners won't even notice that there are no collaborations or guest spots on Exit - a feat almost unheard of in today's homogenous rap world. Perhaps its because where other rap artists bring in other artists and producers to make it sound like they changed up the flow of the album, K-os actually changes up the flow himself thanks to his versatile rapping ability, skilled singing, and inclination for music with wide appeal. "This is a movement right now," K-os says of today's aurally distinct conscious Hip-Hop, and Exit firmly places K-os at its forefront.
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is k-os' 
