B. Dolan’s Fallen House, Sunken City arrives to the hip-hop community in the midst of the aftershock that is Waka Flocka Flame’s earthquake-of-a-statement that lyrical rappers don’t make money. Although Dolan’s title for his album has nothing to do with Waka Flocka Flame’s comments, it is quite ironic a lyrical and poetic rapper drops an album with that title just a bit after that debacle.
Lyrically powerful is the best descriptive statement to tag B. Dolan with. What further makes this album stand out is the fact the majority of the beats are built around powerful drums. This ups the ante on Dolan’s aggressive delivery. The album is completely fast-paced in both production and flow. This is an album that will need many listens. A lot of power is contained within in just 47 minutes of music. People may need to listen to this album several times to just garner a basic understanding in what Dolan is spitting.
The album starts off with Leaving New York, which plays the opposite roll of Jay-Z’s Empire State of Mind. From the start the listener is able to understand Dolan and his sentiments, outlining what to expect from the rest of the album. The album continues to move through the listener’s ears like a hurricane. The standout track has to be Border Crossing. With a haunting and marching-band-esque beat, Dolan handles it far better than most rappers probably would. “Caught up at the border between the living and the dead,” is an intriguing lyric and can relate to several different things in the world we live in today.
This album serves as the first big wake-up call to hip hop in 2010. With just a few solid albums released thus far, Fallen House, Sunken City is a refreshing and uplifting listen. Even if you want to believe Waka Flocka Flame’s comments about lyrical rappers, it’s an album like this one that shows the true worth to lyrical rappers are the messages they convey to the public.
Listen to Border Crossing.
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You can contact Brad at brad@theurbanian.com or follow him on Twitter.