RESPECT. Review: Saint Iago’s ‘Saint Iago City’

Saint Iago City is a project that is as ambitious as it is risky, a complex and meticulously crafted body of work released during an era when artists can often struggle to hold their audiences’ attention over the entire duration of an album. It’s also the debut effort by Saint Iago, an upcoming Brooklyn based hip-hop duo that’s formed between rapper Caesar (RJ Levychin) and producer Linus (Jakob Penn Sweet). Saint Iago City toes a fine line between reality and fantasy, with Caesar essentially projecting his own future onto an imaginary setting. Although stepping into the character of a prodigiously skilled and ruthless emcee is about as difficult as it is forthright, the 19 year old does so with a level of skill and poise that makes the performance nearly believable.

“Success doesn’t feel like it’s supposed to” contemplates Caesar on the somber “Guilt” interlude; a theme that recurs throughout the 40 minute long LP. On Saint Iago City, Caesar envisions himself returning to his home after a long time away; presumably years after building up his career and seeking that “demon green”. As he struggles to deal with his newfound success and reconcile old relationships, Caesar questions not only the value of friendship but whether or not he himself is even deserving of it: “Dropped some people to get serious/Mixing these worlds got me delirious/Caesar are you hearing this?/Think you left your soul behind/You should go get it.”

On this nearly featureless album, Caesar displays a talent reminiscent of fellow Brooklynite Joey Bada$$ on his breakout release 1999. A variety of flows keeps his delivery from sounding stagnant and his fresh lyricism leads to some truly memorable punchlines: “Young Bipartisan/Tell me what you need/Old friends want an arm and a leg/Vince Cartilage”. This carries over to the heavier parts of the LP as well, with Caesar rapping “What I do know is/Ledges are the best listeners/And that’s my inconvenient truth/Been tryna change my focus/Why the fuck is it on you?” on the closing track. Although Saint Iago City isn’t an autobiographical album per se, Caesar’s raps convey a sentiment and veracity that further blur the boundaries between character and person. This rings especially true on songs like “Summer”, where Caesar is reflecting on past loves: “She asked me what I see in her/I said the future/Something bout me and her/She thinks I’m a user”.

It’s impossible to talk about this album without talking sonics, of which the mastermind Linus has produced a sundry. This is progressive hiphop and then some; Linus clearly pushes the boundaries of the genre on cuts like “S.N.A.K.E.S.” and “Vision” but the risks he takes can sometimes come off as erratic, weird and even abrasive. Make no mistake, this album is far from commercial and seems to be content where it is. Even the most accessible songs on Saint Iago City, the stellar house-inspired “Nightmare Wave” and the banger “You Better”, veer intentionally away from the mainstream. It’s certainly a bold move musically in this day and age, but it makes what these two young artists are attempting that much more unique and impressive.

While Saint Iago City peers forward, it doesn’t forget to pay respects to the roots of hip-hop with boom-bap tracks “Captured by the Game” and “Don Decanter”. Additionally, the occasional skit and interlude are not only vital for keeping track of the story, but also allude back to a time where albums were more than just a collection of songs. It’s refreshing to listen to, if not anachronistic between the eclectic and mainly progressive production. Saint Iago seem intent upon taking their fans for a musical journey, and they surely succeeded; songs flow from house, to jazz, to trap and back again with ease.

But for all its praises, Saint Iago City does fall short in some respects. It suffers, like many other debut projects do, from a lack of polish and resources afforded to so much music on the market today. While not a single song is unlistenable, a trained ear will easily be able to pick up occasional distortion from the mic and subpar mastering. As for Caesar himself, there seems to be no resolutions to the alcoholism and depression that lurks ominously at the fringes of the entire LP. Nor are there any definitive statements that can be drawn regarding staking friendship against personal gain. Instead, Saint Iago leaves their audience to ponder the same questions that they themselves are still likely to be figuring out. Yet answers or no answers, Saint Iago City is still perhaps the most unique hip-hop debut of the past decade; a comprehensive tribute to hip-hop that simultaneously nods to the past while it explores a bright future.

Stream Saint Iago City below.