Local Artist Review: “Caught Slippin (Deluxe)” by HEAVYHAND
Minnesota rapper DiMaggio works with San Diego-based producer SnowHayley for a breezy, poignant project.
The Internet turns our planet into a neighborhood. Our individual experiences and beliefs weave through an intangible tapestry of constant connection. As degrees-of-separation topple, so do the walls of distance. Occasionally, when the Facebook group is right, and the mutuals align, organic creations manifest through the digital.
HEAVYHAND is one of these human creations, birthed from the web. DiMaggio is an independent rapper, based in Bemidji, Minnesota. SnowHayley is a hip-hop producer, based in San Diego. These two artists represent the new underground, a place where in-person is optional. Caught Slippin’ is an indie hip-hop project, released on Bandcamp. Neither artist has ever met face-to-face; the album was coordinated via Facebook Messenger and phone calls. HEAVYHAND is a testament to e-boy dedication. A product of the niche “MusicBook” community, it’s exciting to see the indie scene boundaryless.
Caught Slippin’ is an impressive effort for a web-grown project. SnowHayley is quite the musical bartender, crafting refreshing sonic drinks by gracefully mixing a variety of hip-hop genres. SnowHayley’s beats (with the exception of a few 808 heavy outliers) are consistently airy and soft, sprinkled with tasteful high-hats, creeping piano, and subtle synth-drones. SnowHayley’s inspirations are pretty obvious at points. The works of Madlib ooze through, with strict adherence to snippet-length beats with a jazzy flair, and plenty of sample layering. Caught Slippin’ is 21 tracks but only a delightful 33 minutes. The Dilla influence peaks out as well, via off-kilter MPC drums. He avoids the trap (that’s a pun) of overproduction and loudness. The production is best described as ambient trap with some light soul and jazz elements. SnowHayley is an adept audio engineer, placing his instruments with precision and intention. His beats never overshadow his rapping partner.
As a member of the Oglala Latoka, DiMaggio cautiously navigates the “rez rapper” label, seeking to push the term into the modern era. In his own words:
“ Rez rapper is a blanket term [for what] I rap about, we have rez records full of oldheads who are afraid to rap about grit in a modern light with homophobic slurs and stuck in the rez ideas. Then young [sic] kids rapping [sic] about some fake gang banging [sic] shit, I don’t mind the term at all but if I described my music thru a lense it would definitely be rez or native ’cause [sic] you are getting [sic] this from anyone else.”
DiMaggio is certainly on the right trail. The thematic content flips between 3 overarching narratives. First, passionate reverence for his Native identity; he reclaims slurs such as “injun” and “redskin” routinely, and flexes his “backwood” background with sheer confidence. A stand-out line: “y’all custards, I’m the Chief”. However, he avoids the pitfalls of machismo, opting for respect instead (see “Sweet Dream$” for wholesome feminism).
Second, his justified spite for white America, and the “crackers” that run it. When DiMaggio threatens violence, it’s directed to those who deserve it, mainly those who planned the obsolescence of his culture. There’s not much to talk about regarding this attitude; DiMaggio is blunt enough himself.
Perhaps the most important theme is DiMaggio’s uncertainty regarding himself and his place in the world. Caught Slippin’ s most essential emotion is functioning anxiety. It would be inaccurate to call his posturing simply an insecure facade; it’s certainly genuine. But genuine toughness does not mean emotional stagnation. DiMaggio’s softness works in tandem with his rough exterior, truly presenting the entire man, flaws and all. Flashes of childhood hardships strike quickly and dissipate into hazy memories of drinking, smoking, and life without stability. Caught Slippin’ is a perfect representation of masculinity without denial of flaws.
The majority of Caught Slippin’s problems are technical. DiMaggio’s delivery, while it does convey underlying paranoid anger, could use some improvement. His inflection conveys his attitude well, but his flow is occasionally stiff and needs some variance. The lack of variance dulls the impact of otherwise hard-hitting topics. DiMaggio’s writing would benefit from focus. A majority of themes intertwine, resulting in an abstract idea instead of a clear stance. Plus, he has a tendency to force a rhyme scheme, which further stalls him. SnowHayley’s production follows DiMaggio with patience. However, the lack of smooth transitions dams the flow of the album. Instead of a moving river of instrumentals, the snippets became puddles. The album is awkward at times, simply put.
However, the technical problems don’t detract much from a solid project. It’s impressive for an album planned exclusively online. Caught Slippin’ is a solid original blend of both sonic and human cultures. It’s a pleasant listen, that points to something greater for HEAVYHAND, with plenty of room for improvement. I trust they will improve as time goes on. It’s certainly worth checking out. Link at the bottom.
https://itsdimaggio.bandcamp.com/album/caught-slippin-delux-vocals-stay-alert
