By Odeisel

Terminology is the language of a particular science.  It’s how practitioners of a science properly communicate with each other with a level of professional specificity.  It binds/connects them by language and helps them to separate from the poseurs from the real.  Termanology is a practitioner of Hip-Hop, and his album Time Machine (Hood Politics VI) is his attempt to both designate himself as the real and separate his art from the run- of-the-mill Hip-Hop that has permeated the space.

While unheard of in mainstream circles, the kid has been burning up the underground for a while now and this album is aimed at least at the street level.  You immediately notice the names of some greats littered all over the album credits. Production by Static Selektah, Pete Rock, The Large Professor, and DJ Premier has the album looking like an Illmatic reunion.  On the microphone side, Termanology’s efforts are buttressed by the talents of Sheek Louch,  M.O.P., and Slaughterhouse compatriots Royce the 5’9, Joell Ortiz, and Crooked I.  With such luminaries, does Termanology have the ability to hold the line and deliver enough expertise to rate professional grade?

There is some heat on this album. Time Machine offers well balanced mix of hunger from the lesser-known elements on here pushing the polished vets lyrically for supremacy. Three verses in particular from Super Snuk (“Forever”) Singapore Kane (“My Boston”) and Tony Touch ( “Wild Puerto Ricans”) deliver some legitimate illness.

Lil’ Fame does his best Primo impression on guest-laden posse cut “The Music Industry (Rmx).” The track has just about the whole underground industry on it with Consequence, Akrobatic, Royce & Crooked going in on the trials and tribulations of the industry and their own personal struggles.

“God’s World” crazily flips the immortal Michael Jackson’s primal refrain from the “Earth Song” on the hook.  The track, produced by Paul Thompson, is perhaps Termanology’s most spirited delivery on the album, lifting Term’s feathery flow towards a more rugged delivery.

Term’s creative highlight is the Alchemist produced “I See Dead People.” Over a slow groove, he delivers a strong narrative. The song is a very interesting take on an idea that has been done before, but done very well.  Certifiable thumbs up.  No ideas original, it’s not what you do but how it’s done.

On the list of missteps goes a sorry attempt at a club song in “Bout to Go Down.”  It’s just not a good song and it neither accomplishes club worthiness, or credibility in the vein of what this album generally delivers.  Consider this song the “C” student in Med school.  He may have graduated and you can call him a doctor, but you just don’t want him cutting you open. Basura, despite the best efforts of the rappers on the track. “Good Day” is also a filler song that doesn’t add or detract from the album, it just spins in place.

As for Termanology himself, he handles himself ably but there really aren’t many wack tracks on the album to throw him off his game, or that heighten the degree of difficulty.  The real issue is his lack of weight on these beats.  They are decidedly Boom-Bapish and Term’s flow is smooth and very agile, but delivery-wise he doesn’t horse these beats. He reminds me of a CL Smooth type, where he does ride and flow very well but is very dependent on the beats to drive his point home because he doesn’t finish verse with aplomb. He’s a middle player in the relay, not the fast start first runner or the closer: with the right runners he’ll be on the winning team.

As a whole, Time Machine (Hood Politics VI) is a solid album.  Not a game changer, and not an OMG album, but one that you can dust off every few months and rock to without pressing skip too many times. As for the title MC, he gets drowned out many times on this album by his guests and the ensemble cast almost gives the album a mixtape feel.  However, he does manage to elbow a bit of space for himself on a couple solo tracks and he does not embarrass himself lyrically on any level. For a relative unknown, he could have done a less guest-heavy album and stood out more, but he challenged himself with talent and that’s to be commended.  As for whether or not he proved worthy of the profession, he’s no expert, but he’s not a quack.

Out of 5

Follow Us on Twitter @ http://twitter.com/planetill

Follow Odeisel on Twitter @ http://twitter.com/odeisel

Join Us on the Planet Ill Facebook Group for more discussion