By shelz.

Last Halloween season, Tech N9ne and his Strange Music crew released K.O.D. to the sheer delight of Tech’s hardcore loving fans.  It was a wonderfully dark and disturbing ode to the underbelly of horror core that could creep out even Tech’s creepiest fan. His encore, The Gates Mixed Plate, however, was less than shocking.

The fans balked at the album, suggested that Tech had lost his edge and blasted him for going soft.  In response, Mr. Yates has given them Seepage.  And even though the EP contains some shots at the same folks who will love it the most, the fans will probably be too busy embracing the album to care that he was talking shit about them.

Tech’s sound is a very particular and acquired taste and he has developed a staunch following who love him best when he ventures into the deepest recesses of the taboo.  In that regard, Seepage does not disappoint, but for the uninitiated the themes will be a bit too shocking.

The album starts with “Choking From It,” a snippet of an interview during which Tech divulges his confusion about his mothers illness and why God allows her to suffer.  It’s a theme we’ve seen before and one that may drive some of the darker images he evokes.  Seepage then moves on to the title track which combines sinister bells similar to those from the Halloween soundtrack, an eerie slow wave of bass and synth, plus a nod to the infamous banana squishing hazing scene from Spike Lee’s School Dayz. Tech strikes out at the contingent who said he went lame with The Gates Mixed Plate and lets them know of the darkness that seeps from within.

Seepage then takes a turn to the slightly comical with “Asshole,” a warning to everyone  that the Strange Music crew should not be taken lightly.  The scat imagery is plentiful, with Tech even referring to himself as “Lil Sphinter.”  Like it or not, Strange music wants you to know they are more than capable of  shitting all over you; Hov too.

“Bite Me” walks the same ghoulish line of K.O.D.s “Pinocchiho” weaving a disturbing tale of offing a “teen hoe” by biting into her jugular during sex.  The concept is bad enough, but meandering into statutory rape’s realm isn’t smart, even if it is just fantasy.  Hopefully, the dead girl is over 18. (Well, hopefully she’s not dead, but you know what I mean.)

The album regains its composure with “Alacard” a story about longevity in the business.  Tech is Hip-Hop’s Dracula, living to see lesser emcees and their caviar dreams come and go.  There is the expected slow roll of the synth, haunting choral vocals and some vocal distortion on the chorus make Tech sound like a demon.  This is the best song on the album even though the hook plays like a sonic caricature of the malevolence he’s attempting to present. “Trippin Comin” is a somber yet true tale about youth violence, the streets that feed it and how running your mouth is rarely ever wise.

It’s no secret that Tech N9ne is a talented emcee whose flow can take several incarnations.  He can dance around the swiftest of beats without getting tongue tied and add gravity to the murkiest of tracks and that is evident on Seepage.  However, the evil theme comes off a bit cartoonish this time around.  The tracks, which are leftovers from the K.O.D sessions, lack the energy of the ones that made the cut and singing about banging and killing teen girls is too taboo for my taste.  But what do I know, I liked The Gates Mixed Plate.
2.75 out of 5

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