Present shift in hip hops landscape finds listeners rewarding artists for experimentation. Dogar T. Oppenheimer is smoky, melodic, this dream yarn strings together lines of links, to the effect that anyone will find it impossible to keep the music embedded. Rhymes bring to life powerful aspects of the artist or never-ending ever-cycling creative story of self. No fail, delivers introspective lyricism and charisma on the microphone. Rendering a set of snapshots that feel as deliciously dangerous as the original sin yet overall mood is not stained with dogmatic assumptions. Caught between anticipation and curiosity the artist connects us through the eyes of his subjects as if tuning us magically to the secrets of his soul.
The debut album, Odors, leaves an impression of uniqueness and originality that is rivaled only by the previous track. The beats are aggressive at times and fierce nevertheless hold an undeniable accessibility found that makes Odors radio ready. This incomparable work given to the world of creative by furious grove entertainment honors this phenomenon. Executive Producer, Amecco Watkins, evidencing his eye for striking talent and ability to cultivate the new. The one quality that seems to most commonly fit the tracks in this album is uncommonality which speaks to the inner drive of the artist and producer. Is their target the unsuspecting recipient? The highly developed style leaves you questioning if we're even dealing with the same artist.
Hooks, as ingredients go, is to music what color is to art. In other words, it's hard to do without and you won’t. Inspired by natural themes, cultural touchpoints and instantly recognizable motifs,'beautiful day' is conventional with a twist. 'Clap ya hands' is downright bold, but you never remain in the margins of ordinary. The spirit embodied in the track of ‘Cushion of Air’ is one of salty myths and sanguine confidence, as intentionally rough around the edges as a jagged jut of Patagonian shoreline, and somehow as delicate as the sand it holds. It’s no surprise, really, that inspiration is drawn from the demands of everyday life-after all, it’s practically unwritten law that ambitious rappers draw from personal experience and are transposed into rhymes.
Beyond reach, Dogar in the end, lends yet another example of the kind of talent that lurks right behind the bushes in the backyard of Kansas City. The timeless art of stream-of-consciousness writing rhymes in the margins of important papers (or on whatever happens to be around) while some speaker drones on incessantly, were encouraged as a stepping stone to artistic development. The Motion picture, “Fight Night” provided the opportunity to display him flexing his extensive mic skills and gave more established vocalists a run for their money. The covetous quest to put Kansas City on the music map lies in his grasp.
Invitingly unpretentious Dogar allows us to enter a region that seems to be created for no other reason than to simply make us want more, designed to seduce. Obvious employed advantage of rhymes as an art form is that it writes its own rules. The music lover seeks primarily the experience of the art, is able to sit back, absorb the innovation, and wistfully sigh, this really works. It’s practically a crime to keep secrets like this, so now you know.