Mark-uz MidKnyte (Knyte) and Lazaros (Laz) combine their lyrical powers to form the duo Dead Poets.  Bronx born and raised, their early influences include homegrown artists such as Brand Nubian and Main Source. Dead Poets is a blend of Knyte’s laid back, intellectual lyrical style and Laz’ more flashy, fiery persona.  The mix is musical gold, as can be seen and heard on Dead Poets’ debut album, Starving Artist.

Starving Artist opens Resurrection, a song about survival and renewal for both the artists and the genre of Hip-Hop.  Starving Artist is about struggling to improve your place in life; stressing respect and hard work as a means to get where you want to be, whether in music or in life.  Dead Poets spend a lot of time talking about the difficulties that exist in black culture and the inner city, but make the point that every person has a choice to stay where they are or work to improve their lot in life, even while berating the system that created the conditions that exist today.  Tickled Pink is a fun love song featuring J-Rock that has serious potential for pop and urban radio as well as in the club scene.  Denae and L’Monte pitch in on Irresistible, another potential smash on the club scene.  J-Rock makes another appearance along with Tsi Labrev on Elbow Room, relying on a classic funk/soul sample and some of the slickest rhymes on the album. 

The highlight of the album is Uncomplicated, featuring the soulfully gorgeous vocals of Sadie.  The key here, as in most of the album is the struggle to do the right thing.  Knight is talking to and about his young daughter here, re-committing to do the right things for and by her and paralleling this with the struggle that all people who try to live good lives face.  There is always an opportunity to get ahead in life by cutting corners, but Knight tries to teach his daughter to succeed by being upright (”always follow your heart in a moment of truth”).    Stoner’s Paradise is either a love song of sorts, but it’s a question of whether it’s meant to be ironic or forthright.  My first impression is that it’s an ironic poke folks who immerse themselves in the drug culture to avoid the realities and responsibilities of life, but after several listens I’m not 100% certain.

Tropicana is a pleasant change of pace, sampling a bit of Latin-flavored jazz for a feeling of lounge-cool juxtaposed against some of the hottest rhymes on the record.  Dying is the most unusual song on the album.  Based in classical piano, orchestration and some ethereal harmony vocals, Dying is a metaphor for the loss one oneself.  The song is unusually poignant and haunting for the genre, and will stay with listeners long after the album has stopped playing.

Dead Poets take some of the better elements of Urban & Hip-Hop styles and wrap them around intelligent and well-wrought rhymes to craft a remarkable debut in Starving Artist.  The album is atypical enough of the genre that it may have a little bit of difficulty gaining traction in the usual outlets, but has the potential to be accessible to folks who don’t normally listen to Hip-Hop.  Dead Poets struggle with the world as it is and continue to try to make the right choices; entreating others along the way to do the same.  The pride present on Starving Artist is the dignity of human spirit to overcome, regardless of the obstacles that stand in the way.  Redemption is a goal of every day; a mix of survival and conscience that Dead Poets expect from themselves, their children, and the world around them.

Rating: 3.5 Stars (Out of 5)

You can learn more about Dead Poets at www.myspace.com/deatpoetsmusic. You can download Starving Artist from iTunes, Amazon.com, Rhapsody or eMusic. 

Reviewed By Wildy Haskell

Reviews, Wildy Haskell Dead Poets, Starving Artist

Let’s face it: since the early 1980’s rock and roll in all of it’s’ forms have been pretty much passé. The chords have all been struck, the modes and scales shredded and re-shredded like yesterday’s coleslaw and all the melodies sound re-hashed and unmemorable. And while there are plenty of bands and artists that excite me musically, they aren’t exactly paving any new ground. They simply do what they do well enough for me to think they have what it takes to make some noise in a big way. Some excel at what they do so much it almost makes me think they have a chance at setting the world on fire and come with something totally transcendent down the line. A select few make me believe that rock and roll might have a chance. Most however, just do the bar band thing and are competent enough to get to a certain level but no higher (hello John Mayer – I am looking at you!) as they carve out a niche for themselves and their coterie of hipper-than-thou fans, most of which would rather keep their “new discoveries” to themselves anyway lest people they find uncool (i.e. THE PUBLIC AT LARGE) also somehow enjoy their music, comfort them by saying they “wouldn’t be understood” anyways. But, rising above the din and reconfiguring all of modern music has been the arrival of rap/hip-hop music – bringing the vitality of the streets and combining it with technology to create a style of music both primal and futuristic and discombobulating everything that has come since.

What most refuse to understand and even less care to admit is that the only true innovations of the past thirty or so years have come from rap and hip-hop. Sure, the form has it’s antecedents in popular music but by-and-large the art form has been the last true new wrinkle in modern music. Hybrids of rap and rock etc. don’t count of course, as they are blendings of two previously existing things. But the fractured beats, layered loops and samples, and, most importantly, the street poetry have revolutionalized music and changed it forever from the very first time the Sugarhill Gang opened their mouths to spit rhymes. And while the ingredients that make up rap and hip-hop such as slice-of-life lyrics, trenchant beats and catchy hooks are not new, they have been used to create a new form of music which has been the catalyst for just about every musical movement since. Let’s face it: from 1980 onward all artists have either been influenced by rap and hip-hop or have pursued a musical path noteworthy only for the total absence of it. What were the sub-genres of hair metal and grunge if not Caucasian-dominated musical forms bound and determined to run in the opposite direction due to the fear of the rock establishment to hop on board and embrace it.      

The musical forms of rap and hip-hop excite me lyrically much more than musically, as really great artists like Biggie Smalls, Tupac, and De La Soul among many others have always seemed to be very deep poetic souls with a lot on their hearts and a lot on their minds, with their poetry and their message the most vital part of their music. I do, however, have a profound respect for how the producers are able to use loops and samples to “build” a track from the bottom up. Often after hearing a track I catch myself wondering what the musical tapestry woven behind the lyrics would sound like by itself. Unfortunately, that didn’t happen much with this CD though the artists seem strong from a lyrical standpoint and why wouldn’t they, since Mark-uz MidKnyte (Knyte) and Lazarus (Laz) of the duo both grew up in the birthplace of Hip-Hop, the Bronx, New York. The problem for me on this CD was the music and production, which sounded bland and pedestrian to me as I was looking for something special to define the duo.

The first song, Resurrection, has an almost funereal feel to it. The beat pounds as if people are marching, yet the keyboard parts suggest the music one might play at a funeral, much like a dirge. The lyrical flow is defiant, exciting and energetic with a very strong delivery about the struggles a person has to go through to survive. The song Too Many Mics has the music mixed way in the back with the lyrics up front over a very simplistic beat featuring mostly snare hits and very simple bass lines. While the production is very solid, this song is mixed in a way where it really wouldn’t sound too hot on the radio. Music is too far back in the mix to really hear too well. The song On The Grind has the best hook out of the ones featured so far, and features beefed up production values that would lend itself well to radio. Once again, simple beats with snare hits and simple bass, not a lot of variation in the beats between songs. The lyricists and rappers seem very talented; I think it’s going to take a name producer to get some tracks out of them that really have their own personality. At least on these first three songs, they run together and sound so much the same; it is hard to tell one track from another. Tickled Pink has a more banging beat with some cymbal crashes and piano riffs to liven up the proceedings a bit. Very long track but the catchy hook keeps it running smooth. Engaging and possible the most radio-ready track on the CD. The song Step Up increases the production ante yet again with decent sound effects and a great, hooky keyboard sample woven through the song that suggests a dream-like melody. Decent drum beat opening to the next song, Irresistible, with the bell of a ride cymbal being looped repeatedly and driving the track as the chime is used almost to snap the listener from their complacency and forcing them to notice the powerful lyrics underneath. As the album progresses, I am noticing that most of the cuts sound very similar in terms of production and also backing tracks and other instrumental accompaniment. While each has maybe subtle shading or two with some different instrumental highlights, I have been experiencing heavy ear fatigue no doubt due to the tracks pretty much sounding the same. The production seems to be geared more for the impact of singles, than the album concept as a whole, which does make sense as the rap/hip-hop game is geared to single success, not necessarily towards albums as a whole.

While this album may be destined to only be a momentary blip on the screen of rap’s musical dominance, this is nonetheless the work of two lyrically-gifted artists who need to find a more sympathetic producer who can take their skeletal songs and flesh them out and hopefully create something original with them. As it stands, this CD seems to sound not all that much different from the various local crews present in every metropolitan city. I guess I was expecting something revelatory in style, presentation or substance and have sadly received nothing groundbreaking in any respect, at least to my ears. While many lyrical gifts are present, the act needs a total change-up from a musical and production standpoint to give them some sort of shadings which would sound unique in some way. Though some tracks do stick out and each track on its own sounds passable, nothing really leaps out at you as anything extra special. Not a bad album though, and the pair will no doubt be able to build on this release.

 Reviewed By Scott Homewood

Reviews, Scott Homewood Dead Poets, Starving Artist

Dead Poets are comprised of the very much alive and well, Mark –uz (Knyte) and Lazarus (Laz), and Starving Artist is, in fact, quite a filling serving of rap music. During one called “Too Many Mics”, they claim to “cover more ground than FedEx.” And while the musical expanse isn’t quite that wide, these two serious wordsmith-musicians certainly cover a whole lot of musical and lyrical territory.

Starving Artist is mostly a serious, socially conscious work, as tracks like “On the Grind” detail troublesome urban conditions. “Cops treat us like we’re running from immigration,” they complain, while also discussing young mothers struggling to take care of their young and working hard to pay the mortgage. Helped by Jesse Calico and J-Rock, the grinding analysis that is “On the Grind” is performed over a stripped down arrangement with percussion up front and center. “Step Up”, which follows next, comes off like a solution song to “On the Grind” as it advises tough guys to show how truly tough they are by stepping up and being men. That means being responsible. That requires keeping commitments. Mike D’mello is the special guest on this call for men to do the right things.

This duo balances out city-centric tales of trials and tribulations with a few songs that address a few pleasures of life — even though these joys are many times immoral and illegal. “Irresistible” features Denae and L’monte and sexy female vocals in a song that brags about one male’s sexuality. Oddly, however, this character also has an overt foot fetish. Well, whatever. “Stoner’s Paradise”, one of this release’s bonus tracks, begins with the obvious sounds of potheads smoking up as the weed high is discussed at length in song.

One of this CD’s best tracks is called “Uncomplicated” and features Sadie’s singing. It begins with harp sounds, before going into acoustic strummed rhythm with acoustic piano coloring. As strange as this may sound, it wouldn’t be surprising to find hippie Jack Johnson fans digging on this gentle groove. For music fans, it is a great discovery to find artists rapping over something besides old soul grooves and jazz jam samples. Granted, it’s a kinder, gentler rap. But it’s also a wonderful new wrinkle in an otherwise mostly used up genre. “Coolest” is another one of this disc’s quieter tracks. Along with punched horn samples, this cut also includes guitar, piano, strings, and female ooh-ing and ah-ing. Ellie also adds a little tough chick rap action toward the end of the tune.

Speaking of old soul music, “Elbow Room”, which once again features J-Rock along with Tsi Labrev this time, rolls to pumping drums, honking horns, and scratched out guitar licks. In its best moments, this track’s momentum gathering groove brings the great Public Enemy to mind. J-Rock brings a distinctly Jamaican vibe to “Tickled Pink”, which is only spoiled by a few oddly placed sound effects, such as its pause for the sound of aluminum can top popping. With these insertions, the momentum is cruelly halted.

Although Starving Artist only occasionally breaks new musical ground, Dead Poets nevertheless consistently keep the music sounding fresh and passionate. With a little more experimentation, as found on “Uncomplicated”, along with a few less stark, harsh tracks, this disc might have been truly great. Nevertheless, it is still an extremely good effort, with plenty of fine musical moments to cherish. Listeners will not go away hungry after listening to it.

Reviewed By Dan MacIntosh

Dan MacIntosh, Reviews Dead Poets, Starving Artist

Duos work best when they can play off each other, like Abbott and Costello, Sonny and Cher, and Knyte and Laz.  The latter being the most recent and hip out of these pairings, these two sons of the Bronx have teamed up to compliment each other on an impressive debut album of intelligent hip-hop stylings that is more potent (and a tad cleaner) than what is currently heard on BET.

Knyte is the more reflective writer who takes the time to structure his songs, while Laz is faster and punchy using those attributes to build and accentuate his rhymes.  Together, the merging of these two styles makes for some multi-layered urban messages that are relevant and aurally pleasing.

The instrumentation for each track is unique, incorporating a mixture of real instruments with synthesized tones and sound effects.  “Too Many Mics” opens with a quirky harpsichord-esque pad overdubbed with heavy LP scratching.  Switching it up, “Elbow Room” features a full array of trumpets and baritone saxophone while “Classic” embodies echoey synthesized running eighth notes and an unworldly synthesized voice in the chorus.

A highly enjoyable piece, “Tickled Pink,” combines a whimsical celesta sound with fun sound effects like giggling and sipping.  Jamaican rapper J-Rock adds his influence to this love song which emulates longevity in relationships and not one night stands.  However, this message is completely juxtaposed in “Irresistible” where female singers Denae and L’Monte sensually sing the hook, followed up by Dead Poets rapping about doing it everywhere from on top of the washing machine to the back of a Buick.  However, the group turns around another 360º with “Uncomplicated” where the rap duo, along with R&B singer Sadie, sings about the love for their daughter.

In keeping with the flowy R&B feel, giving a smooth accent to the fast-paced free-styling, Mike D’mello adds his voice to “Step Up” where Dead Poets expound on the virtues of staying strong despite adversary and taking responsibility for your family obligations.  Then again, there is a tune towards the end of the album entitled “Smoker’s Paradise” which opens to the sounds of inhaling, flicking lighters, coughing, giggling and soaring strings.

Starving Artist undoubtedly covers both sides of the coin.  Heard in the title track is a monotone chant “Starving Artist” descending line hidden beneath a fast-tempo, high energy free-styling explosion stating, “You can’t break the spirit of a starving artist.”  Whether Dead Poets is rapping about idealistic virtues or not, every tune keeps it real and utilizes current references and clever analogies to get its point across.  By working together and staying true to themselves Dead Poets has done a stellar job.

Reviewed By Kelly O’Neil

Kelly O'Neil, Reviews Dead Poets, Starving Artist

Dead poet’s prose is about the truth. Not the pretty, commercial truisms, but hard glimpses at a part of reality most would just as soon over look.  Starving Artist covers a wide range of social maladies with fierce unyielding confidence.  After listening several times, one is convinced that members Knyte and Laz aren’t afraid of anything.  Then what’s more, is they attempt to give solutions to large scale cultural dilemma.  Some of their practical morals from short stories contained within the flows are great personal and universal lessons.  The rhymes of the Dead Poets set scenes comparable to those of Fyodor Dostoyevsky, identifying with the common struggle and extending them to be identifiable from any class, only the setting is the Bronx.  The new album has a powerful ability to communicate on many different levels of empathy.  Their sense of cultural awareness is on par with that of Talib Kweli or Mos Def, yet with a unique sound.  The Poets have voices all their own and an original style and perspective.  Serious issues aside, there are many playful songs, and what we find is a nice balance of intelligent informed hip-hop, still with sexy pop sensibility and a stoner sense of humor.  The collective result is a romping album perfect for shattering other people’s car windows, or relaxing in your home after a long day “On the Grind.”

The synthesis on “Go In” didn’t escape me, as I had on my Grado headphones (of Brooklyn).  The sound swirled around and then twisted through my brain from right to left, then left to right in the end in stunning 3-D, showing off the brilliant subtlety of the mixing and production.  The bass is always solid, loud, pumping throughout, and appropriate.  The solid core of the sound sends Knyte’s bass-baritone voice into ominous overtones, while quick tenor Laz cuts through like a lead guitar.  The combined effect is intriguing; the two interchange perfectly, as though they can read each other’s minds.  When together their rap-march harmony makes for infectious chorus that sounds like the build of a great party about to get out of control and break out into the streets.  It’s a good thing the Dead Poets are modest rappers, because the power of their voices in the wrong mindset could cause riots. As it is, one can imagine entire stadiums roaring to their wild calls and thunderous bass, thousands jumping with hands in the air, shouting along to the flows.  Songs such as “Elbow Room” and “Too Many Mics” are ready for the masses, just made to get crowds moving, and send groupies concert hopping. 

Starving Artist features a good handful of guest performances, including smooth rhymes from Jesse Calico and the intensity of J-Rock, who both really shine on “The Grind,” a very real song documenting the repercussions of the cultural economic crisis on the level of the street. With many more wonderful guest additions, all of whom add to the brilliance of the album, Starving Artist attempts to show many sides of the struggle, giving voice to as much conventional wisdom as is possible to cram into one album.  All of guests are well blended, as though they’ve all been making music together with Dead Poets for a lifetime. 

The album also has a softer side, with introspective sensibility.  The poetry Laz writes of his family in “Uncomplicated” is truly heartfelt and beautiful.  Knytes memories of mentors past passion for his education, his growth through faith, are elegantly expressed.  The Chorus melody by Sadie is a pretty compliment to the song, and just one of many delicate touches that make this hip hop album holistic.

Finally, something has to be said about all the references to smoking.  “Stoner’s Paradise” is a fun bonus track, seemingly coerced by Jesse Calico.  That perhaps reveals a bit about where the Dead Poet’s draw some of their inspiration, their incite through meditation, and eating preferences.  I must admit, after listening to the song a few times, I had to go “swing by Popeye’s” Chicken.  It’s clear by the comedy in the song, that the Poet’s draw a lot of their balance from their smoking rituals.  It sort of explains the hard edge reality of the lyrics, yet the cheerful optimism that echoes every issue.  It is good to see encouraged, confident stoners who get deep and introspective in order to help improve society through their message.  It can be said that their understanding is of epic proportions, with depth reaching to the very basis of human health through song; Hip Hop that can heal the soul, and drive the weak to become strong.  In albums to come I hope to hear more of this sort of core archaic expression synthesized from New York and back to our original nature again.  Perhaps these Starving Artists are sages in street clothes…”Plus with kings we scrye.”

The Dead Poets went through a sort of self-realized resurrection in which they have seemed to connect with each other philosophically and with their audience on the emotional level.  By focusing their energy in Starving Artist, they’ve divined the struggle of society and unflinchingly put it in front of our eyes, yet without becoming severe or allegorical, they maintain humility and honor.  Dead Poets manage to communicate a realistic war for survival with a balanced dose of courageous compassion for those who believe in helping others, solving problems, and never giving up.  Let us hope their enduring message reaches many.

Reviewed By Julian Gorman

Julian Gorman, Reviews Dead Poets, Starving Artist

The music that emanated from South Bronx city parks is now a global phenomenon.  Hip-hop is worldwide, but the Boogie Down holds the distinction of being its birthplace.  More than thirty years later, Bronx residents Dead Poets stand strong for the music’s legacy.  As the album title would suggest, Starving Artist captures the spirit of a crew on the come up, hungry and full of ambition.  Backed by Audio’s full-bodied production, emcees Mark-uz MidKnyte (Nyte) and Lazarus (Laz) wield words as weapons, proving deadly in their verbal dexterity.  While current chart-topping rappers may guarantee a hit single and/or ring tone, their album’s shelf life remains questionable.  Laz and Nyte pull from their experiences to make boom bap for grown folks, a sound that remains true to the streets while being true to themselves.  “Step Up” makes the case loudly, calling on the listener to take responsibility for their families over Audio’s rough and cymbal-laden beats.  “Elbow Room” finds Dead Poets rhyming for bragging writes, the sampled horn stabs accentuating the backing track perfectly.  “Tickled Pink” features talk of marriage, kids, and romancing with “strawberries dipped in Ketel One,” but all of this takes a turn for the naughty come “Irresistible.”  Some might expect a little perversion with their beats and rhymes, but “Uncomplicated” reminds you of hip-hop’s ability (and necessity) to get grown.  A light, shuffling rhythm complete with acoustic guitar strums provides Nyte and Laz the ideal setting to speak of the love they have for their children. 

Hip-hop has been known to revel too much in excess, from blinged-out visuals to albums being weighed down by too many guests and too many tracks.  Thankfully, Dead Poets suffers from neither.  In fact, the guest vocalists add a welcome variety of voices, from the dynamic toasting of J-Rock to Ellie’s feminine flair.  Jesse Calico is definitely one to watch, judging from his confident swagger on “Tropicana,” one of the album’s bonus tracks (“Girls, girls you know I gotta thing for you / boys I’m beefin’ with, chill…you should call my lawyer…”).  Eastwood’s contribution, “Dying,” is an excellent piano-led selection with melancholy orchestra swells and vocal harmonies.  Laz and Nyte even break out their humorous side on their bonus cut, “Stoner’s Paradise,” spitting verses wrapped in rolling papers and string-drenched soul samples.  Cannabis props aside, this album is serious business.  Check the knowledge dropped on “Classic” as an example:

“Truth is, hip-hop is more than iced-out chains / it’s about depicting the struggle from which we came / and hopes for change, MCs have lost their ways / held captive despite their freedom / where children are left alone with no one to feed them / besides BET and their PS3, time to reflect / we value dead presidents more than self betterment.”

Nas may have concluded that hip-hop is dead, but the music of Dead Poets provides a much-needed resurrection.

Reviewed By Jason Randall Smith

Jason Randall Smith, Reviews Dead Poets, Starving Artist

The Dead Poets are a hip hop duo out of the Bronx comprised of Mark-uz MidKnyte (Knyte) and Lazarus (Laz). The duo met while in college studying accounting. Together they form a hip hop group that has smart rhymes and smooth beats that bring a more positive message to the listener.

That’s not to say all the songs have a strong message. Irresistible is the sexy song and with the added vocals of  Denae and LeMonte it comes of fun and very danceable.  You can’t help but chuckle at the line “Got a foot fetish? I like yours.” This track definitely makes you want to get down and dirty.

Step Up gets you grooving to the beat while reminding the listener to do what’s right. Tickled Pink features J-Rock and is what happens when hip hop and reggae get together. The combination is intoxicating. The opening track On The Grind, is a more traditional sounding track, dealing with the issues facing many men today.

Knyte and Lazarus have very different styles of rapping with Laz being the flashier of the two. Give the album a good listen and you’ll hear the difference and those differences help set them apart from the rest of the hip hop community, and when you add guest vocals it really gives them that special something that puts them in a different category from all the rest of their peers. The lack of sampling makes the music more original.  Besides the beats you’ll often hear strings and even a guitar.  Female backing vocals soften the hard edge of tracks like Coolest which tackles society issues.

Perhaps the best track on the album is Uncomplicated, which is the guys’ song for their children. This song takes you on their journey to fatherhood. It’s definitely not the usual subject matter for a hip hop song, but with the help of Sadie, it comes across beautifully.

That’s not to say that all the tracks work. Too Many Mics has beat that’s so tinny that it detracts from the rhyme and makes it a trial to listen to. Sure the scratching fits with the message they are going to convey, but it would be better if the focus was more on the rhyme.

Starving Artists seeks to show the world a new maturity with their music, something that more people in their genre should seek to emulate.  They bring their music to the masses with class and intelligence which opens their music up to more listeners. The younger audience will like the beats a streetwise rhymes but those of us that have grown up, so to speak , will appreciate the message they send.

Starving Arists is a fine debut. If Dead Poets can follow up with another album such as this, they are bound to take the hip-hop world by storm. If they don’t, they can always fall back on their day jobs as accountants.

Reviewed By Andrea Guy

http://community.livejournal.com/mossip/

Andrea Guy, Reviews Dead Poets, Starving Artists

There is a lot of derivative hip-hop out there, and even worse is the insane amounts of derivative rap.  Thankfully Dead Poets don’t fall into that category for the most part.  Instead of throwing themselves in the Jay-Z direction or the Jurassic 5 direction, they have decided to forge their own direction, with some serious aplomb.  Made up of MidKnyte and Lazarus this duo really knows how to throw a verbal punch.

For the most part these songs smack of the kind of battle hymns that you expect from hip-hop in general, but there are a few real surprises on this album (other than the fact that they aren’t just copying someone else), the first being track “Tickled Pink,” a bit of a rap love song that is set to the tone of the kind of reggae hip hop that has really sprung up as of late, and it is spot on without sounding like it is out of place on an album that has no other tracks like it.  Another surprise is the beat loop on “Step Up,” now the soul vocals tracked into the beat of a song isn’t really something super original, but this takes it to a level that I have a hard time ignoring.  Where normally it is thrown in to just kind of give a song a soulful sound the track is actually worked into the framework of the song without being horribly obtrusive.  This is the kind of smooth beat layouts that have to be every MC’s dream.

There is a kind of symmetry between Laz and Knyte that really makes this album pop, and that really displays the fact that they have the kind of experience that you need to make an impression in a very over saturated market.  One can hope that they keep making this level of album and that they begin to really refine their own sound into something that is uniquely Dead Poets.

Reviewed By Gabriel Llanas

Gabriel Llanas, Reviews Dead Poets, Starving Artists

Having met in college, Bronx, New York natives Mark-uz MidKnyte (Knyte) and Lazarus (Laz) provide listeners a glimpse into their lives with catchy rhymes and moving tales on their debut album, Starving Artist. The duo, naming themselves Dead Poets, prove to be just what Hip-Hop needs today – positive MC’s rapping about the everyday struggle of an artist and how to overcome hardships through patience and positivism.

The diverse 12-track album blends well structured beats and lyrics together, never leaving the listener astray. The flow from each song doesn’t falter while the hooks are tight and it’s often hard to believe that this is Dead Poets’ debut release.

On opening track, “Resurrection,” the listener quickly realized this is not an ordinary Hip-Hop album. It’s an extremely heartfelt, positive take on life and overcoming the struggles that are thrown in one’s direction. Sure, everyone has his or her downfalls, but the message throughout Starving Artist is about surmounting these obstacles and becoming a better person for your children and neighbors.

“Too Many Mics” brings references to politics, the music industry and humility. With catchy phrases like, “We cover more grounds than FedEx,” Knyte and Laz keep the listener hitting the repeat button in constant search of additional lines missed upon first listen.

Tales of the difficulties in black society intertwined within funk, soul, R&B and what will most likely become club hits, the variety on this album is impressive and never falls short. “On the Grind” talks of drug culture, the workforce and poor treatment by cops. In the midst of a song that seems hopeless, Knyte and Laz rap about redemption and how “progress is based on advancement.” The talent and emotion within this song is undeniable.

Tracks like club-centric jam “Tickled Pink” have the potential of Top 40 radio while “Step Up,” is a slower R&B number encompassing a softer vibe with light percussion. Rapping, “Anything is possible from diplomas to degrees” later continuing, “Step up to the plate and be a man,” the positive outlook provided by Dead Poets is inspiring.

Stand out number is “Irresistible” featuring Denae and L’Monte on vocals. A catchy club hit, the infectious chorus is bound to be stuck in your head long after the song is over. Whatever genre of music you may enjoy; Dead Poets’ Starving Artist satiates every music lover’s appetite. Each track is fresh with varied guest vocalists bringing their own style and flavor to the table.

Ending the album with, “Uncomplicated” Dead Poets rap, “Follow your heart in a moment of truth” Summing up the ideas behind Starving Artist – having respect, patience, serenity and humility towards each other, Knyte and Laz leave an impact on the listener.

Not often an easy task for a Hip-Hop artist to accomplish, Dead Poets succeed and never come across as presumptuous or overproduced. “You can’t break the spirit of a true starving artist,” they sing on the title track. Luckily, for Knyte and Laz, this proves to be true. Hip-Hop world take notice.

Reviewed By Annie Reuter

Annie Reuter, Reviews Dead Poets, Starving Artist