28 Oct 2021
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Scizzorhands - EP Review: Iron Flowerz with Kevin Posey

21 May 2021 // A review by Gaby Ivanov-Giraldo

Kevin Posey and Scizzorhands have released their very own collaborative EP. This is a 4 track relic-themed project with some darker, heart-felt content. Posey is an open book of tale, and message. Scizzorhands has a lush rap style, and he crafts his character throughout with skillful lyrics, and sharp delivery. The EP is influenced by the art style of Scizzorhands on production, with the story and gift of prose from Kevin Posey, Mazbou Q and other featured artists.

Called Iron Flowerz; it’s gritty, it’s affirming, and it’s crafty. Especially for those of colour; having experienced these now stereotypes of Blackness… What an open platform to the world these artists have become! Here they speak, and let their story live, while resonating with many. I was also so ingrained, and enriched by their tale of what growing up being black meant. It is musically cunning throughout, while allowing listeners to be let into a deeper understanding of racial injustice. The big picture grips the listener, and awakens the mind to a compelling beat, and substance.

Southside starts off mellow in beat, and eases into poetic lyrics. A story is told of the Hood; anger, survival, sadness, bloodshed and crime. A slowed-down verse seeps through the song; well produced and with an effective message. Bella Shanti features, discussing self-destruction and the “make-or-break” lifestyle that no doubt brought trauma to many that had no choice. Posey comes in with his prose and story, a revelation of the impoverished times in his life. He was around gangs, violence, sex, and drug abuse. More importantly, Posey depicts loneliness that can be heard, and very strongly felt.

Yeah is a political track about making an important voice heard. Racial justice bleeds through the lyrics. We hear a New Zealand politician’s speech on racial injustice, right here in our very own home. It is followed by a speech from Martin Luther King, and a portion of his famous two-cents, that took one of the greatest effects of human history. Posey tells his story of being "held up by a gun to a man with dope in his lungs". We are blown into a revelation of do or die. We then hear Mazbou Q on the verse, "definitive with [his] lips, so intricate with [his] diction”. Mazbou Q comes in and spits gold on colonization, conscious mentality, systemic racism, and being in-tune with one’s ancestral history. He learnt the art of protest and political activism, and draws attention to themes that can make people uncomfortable. A voice for the voiceless, and platform to speak. I love the line “If mana can be tested, then you might have to be prepared to defend them.” We are taught here that angst is not the theme, but rather the fight for future generations, and the "sequel" to doing the work, and spreading opinion. This made the album impeccably powerful. Each artist has a part to play. It ends with a word on compromise, and caution to not be politically, or emotionally misguided.

Oklabama; a song about the south side. It starts with the lyrics "I'm southerine like Collard greens." Posey talks deep here on themes about growing up one way, and relearning self-worth and self-appreciation. Posey is loved for his accent, and history “overseas”. Yet, why was this a struggle in his own hometown? What is special about being foreign there, and not “here”? The talent of this artist to be able to tell a story, yet lift people up and spread healthy messages of one’s self is phenomenal. This theme is extended by Chozxn and the line “I’m the best dancer”. Talk of language, self-recognition, charm, worldliness and being dignified as an artist left us here with a feeling of elevation. The last track

@Me, ends in a grand finale. Another story, yet on a theme of sensual expression, flirtatious and vibrant energy. These artists are given a platform in New Zealand to flaunt what they were given. We hear an understanding of the importance of sexual glorification, and that of Blackness. Being very paramount to racism, this niche, or element, cannot be left unspoken. The hidden truths are revealed, and we are blown into themes of taste, and captivation. Just like women, men too need a platform for sexual expression. A new voice to rap that amalgamates the struggles of race, yet glorifies its uniqueness.

We need music that represents these commonalities in artists. There is a need for Blackness as a community here in New Zealand, and the need for these Hip-Hop supergroups, and influencers. We have delivered many of the same messages and melodies for many years. These messages have always been played, and still bring joy. However, after the Black Lives Matter movement that spread globally around the same time as the Covid-19 pandemic, we have had the privilege here in New Zealand to start to have more and more bubbling artists bring more and more of their success, talent, and art to the front of the stage. And, yes, I mean the front of the stage. It’s simple, not cut throat. We need representation of this kind. And, what better time than now to release Iron Flowerz.

Rating: ( 5 / 5 )
 

About Scizzorhands

Hailing from West Auckland, Scizzorhands is a world class turntablist who is always improving on skill and knowledge, bringing a variety of music in a hip-hop way.

From a young age, he was influenced by his grandparents and family who introduced him to music in the form of a drum kit at age 11.

Aged 17, Scizzorhands invested in his first set of turntables. Being heavily influenced by the likes of Mix Master Mike (Beastie Boys), DJ Rectangle and New Zealand’s own P-Money, he started down the path of becoming a turntablist DJ. Self-taught, Scizzorhands upskilled his scratching under the tutelage of New Zealand’s 2003 DMC World Champion DJ CXL.

Visit the muzic.net.nz Profile for Scizzorhands

Releases

Iron Flowerz
Year: 2021
Type: EP
The Introduction
Year: 2019
Type: EP

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