On his latest effort, aptly titled Back From the Dead, Mississauga rhymer JD Era delivers confident bars with a renewed and refreshing vigour.
The production is largely dark and gritty; tracks like showpiece "Magnificent" and the dramatic "Snowfall" are laced with a vintage feel that offer comforting familiarity for long-time Era fans. Songs like "10 Blunts" and "100's on Deck" showcase Era's ability to evolve while retaining his essence. Era is gifted with a tight, varied cadence that shines throughout the album, especially on the introspective "Cloud 9."
Perhaps a testament to his self-assured independence, Back From the Dead is light on features. The guests he does include are welcome additions — Toronto's Swagger Rite joins Era on the rousing turn-up anthem "Bass," and the two exhibit an effortless chemistry that can't be manufactured. Louie "Ox" Rankin serves as the ultimate hype man on the title track, his gruff, ominous voice setting the perfect tone for the aphotic beats that follow.
There are a few slips ("You Know It," the perfunctory song for the ladies, feels particularly forced), but for the most part Era proves that even after an extended hiatus he hasn't lost his touch or his hunger.
(Independent)The production is largely dark and gritty; tracks like showpiece "Magnificent" and the dramatic "Snowfall" are laced with a vintage feel that offer comforting familiarity for long-time Era fans. Songs like "10 Blunts" and "100's on Deck" showcase Era's ability to evolve while retaining his essence. Era is gifted with a tight, varied cadence that shines throughout the album, especially on the introspective "Cloud 9."
Perhaps a testament to his self-assured independence, Back From the Dead is light on features. The guests he does include are welcome additions — Toronto's Swagger Rite joins Era on the rousing turn-up anthem "Bass," and the two exhibit an effortless chemistry that can't be manufactured. Louie "Ox" Rankin serves as the ultimate hype man on the title track, his gruff, ominous voice setting the perfect tone for the aphotic beats that follow.
There are a few slips ("You Know It," the perfunctory song for the ladies, feels particularly forced), but for the most part Era proves that even after an extended hiatus he hasn't lost his touch or his hunger.
