An artist from the city of Chicago, Elvy the God’s newest project is more a teaser than anything else. The fifteen minute album contains seven tracks that feel more like freestyles than full fledged tracks. With a wide range of production choices, the project seems to aim to show off his rapping skills. While some moments land well, others do not.
Intro track to the whole project is “Flow Crazy,” which is an extremely strong opening. Rapping over this cinematic yet bouncy instrumental, Elvy plays with flows throughout the track with multiple switches throughout. Packed out with bars about how hard he is on the mic & new flexes of fashion, the track is possibly the most infectious here.
Meanwhile, tracks like “Body Bag” feature a much weaker flow to the track. This is realistically due to the hook, which have these awkward extended vocal deliveries. Lyrically the track is fine, however there are tracks here that are much stronger. The instrumental is a bit peculiar, with this guitar that has a country twang. Its something you don’t get to hear in a lot of hip hop, even if it doesn’t play out perfectly.
One of the two freestyles over some older production are in the form of “Dat Boy.” Going over the classic Birdman & Clipse song “What Happened To That Boy,” Elvy rides the beat with a flow that makes it his own. Bars that try their best to match how hard the original track was, he makes what is the hardest track here. Filled with bars about how he rides around with the shooters and guns of his own, every bar ramps up with intensity.
Elvy The God – Dat Boy
While the track “Freestyle” is a simple title, it is anything but that. Going over Wu Tang’s classic “Protect Ya Neck,” he once again finds his own pocket. There may be a myriad of Wu Tang freestyles out there, but not all are that notable. Elvy is able to deliver on that front while not blatantly ripping off the original flow.
Some tracks here straight up do not land. “Deadman Walking” sounds like an instrumental that would be found searching for YoungBoy NBA beats. This would be okay if what was done on it was interesting, but he does an uninteresting take on the style. “Trap Anthem” also closes out the album with a whimper than a bang, which features these boringly delivered typical trap bars.
This may be just a loose collection of tracks, but what’s brought here is quite interesting overall. Some tracks may be too derivative from regular trap anthems, but when he strays from that path he brings something much more unique. With a much broader range of topics underneath him, he could put together a truly special project. For now though, what is here is a solid effort.