MonClaire Goes Hard on New Singles "Chosen", "Bruce Wayne" and "Another One"
MonClaire’s got flows. We’re talking sick ones, natural sounding, more than those of just another rapper proving he can rap double time over a slow beat. This fact, this accomplishment, actually, in today’s era of singers masquerading as emcees, proclaiming to be hip hop, is certainly not to be overlooked and, in fact, is to be lauded loudly.
On his recent slew of singles, “Bruce Wayne”, “Chosen”, and “Another One”, the mic master holds little back in terms of polysyllabic, multi-structured rhymes. Matter of fact, he sounds like the New Yorker he is, from an epoch in which the most lyrical emcees consistently hailed from the Rotten Apple and proved it with each outing.
This distinction is pivotal in assessing his music—his very style and capabilities—in comparison to what passes for competition these days. Of the three cuts, his potential is displayed most eminently on “Bruce Wayne”, for the simple fact the track moves at a low 90’s tempo (a rarity in itself in today’s reincarnation of the roaring 20’s). Although the track sounds slightly more souped up and computerized than your average Wu-Tang production, the banging drums, blaring synths (reminiscent of vintage Ghostface Killah esque horns) and verve of the track is sliced to shreds by the precision of MonClaire’s flows in what sounds like a delicious free for all—or, a true emcee letting loose in his element.
Again, the most notable facet of this recording is almost everyone can rap ‘fast’ (double time) to a plodding beat. The capacity to get on an instrumental that’s moving and dissect it with crisp flows is the measure of mic controller worth the title, which MonClaire evinces seemingly effortlessly.
“Chosen” may surpass big “Bruce” in sheer pound as it hits hard with somewhat predicatble bass punches. However, the piano’s out of this world, the tempo is modest, and MonClaire makes it happen while rapping once again. The hook is accentuated by some fairly soulful singing on this number, which features Play Nice and Keante Rodriguez.
“Another One” rounds out the triad with the almost requisite club knock that accompanies just about any rap album. Although the subject matter is confined to that of an anonymous “she”, the track flips midway with haunting pianos that encompass MonClaire’s ever present flows in a way that makes you feel it—and him.