Introducing ‘Notes from Mr. Sandman‘ – a column slapping a spotlight on lyricists overlooked, under appreciated, or just plain criminally slept on. Or like a man named Nas once said, “I never sleep, cause sleep is the cousin of death.” Enter Mr. Sandman with what y’all missed while chasing the REM dragon; Photo: Jillian Fennimore via WickedLocal.com
Truth should not be so hard to come by but many wise men and women will tell you that it is. Hip-hop used to be a place of perspective and reverence, and while it still is, one has to dig deep to find it. Excavate long enough and you’re bound to come across Akrobatik, a Boston-based lyricist who is known for his cutting honesty and fresh wordplay.
Akrobatik first broke onto the scene in 1998. Hip-hop was blossoming and many rappers were turning themselves inside out to get a piece, but Akrobatik remained steadfast in his principals. His politics and relentless pursuit of truth didn’t make him the most marketable, but then again that wasn’t his primary focus. His first steps into hip-hop culture were pure and embraced a god-given talent.
“Well, I couldn’t sing or dance as a kid, but I knew I had rhythm,” said Akrobatik when asked what drew him to rap. “I always knew I could keep a beat, and I was really good with words, so when I first started hearing rap from the older kids in my neighborhood, I was hooked.”
Akrobatik’s style is genuine and deliberate. He doesn’t have a forked-tongue and hype is a word to describe his performances not his style of writing. If he were a ball player he’d be Paul Pierce, the type of lyricist who doesn’t have the flashiest game but comes up clutch every time.
Akrobatik’s solo debut Balance is an alarm clock, a siren meant to awaken the masses from their slumber. From a production standpoint it featured some of rap’s most influential beat makers, which is a testament not only to Akrobatik’s tastes but his involvement in the scene. DJ Fakts One, DJ Revolution, Diamond D, and Edan among others all contributed their magic, making it an album that truly lived up to its namesake.
“My love for beats of all styles will always make sure that I sound up to date,” said Akrobatik. “The producers and beat makers impress us MCs with whatever they are working on, and we gravitate towards what moves us. For me, that could be any rhythm pattern or tempo that I may hear. And I’m always open to new ideas. I would point to tracks like ‘Mercenary’s Theme‘ off the Built To Last album or ‘Lemme Find Out‘ off my new album Resolution with Mr. Lif.”
“Hypocrite” is classic Akrobatik. He formally introduces himself and maps out all his dos and don’ts. For the untrained ear it may comes across as brash, but upon closer inspection it’s clear that he’s admonishing the filthy maladies plaguing his community: [LISTEN]
While he may not embrace the title, Akrobatik is a teacher. He sees fallacies and attacks them like antibodies do viruses. It wouldn’t be a stretch to call him academic, which isn’t a knock at all; he can avoid over intellectualizing a topic by speaking in layman’s terms. Akrobatik breaks down complex and controversial ideas with eloquence, making him a natural orator.
“Most of life is politics, so the circumstances under which we live will always be a main focus in songwriting,” explained Akrobatik. “I also think that as artists we have a way of documenting history that goes beyond what the daily news cycle or even a blog poster can accomplish. We timestamp history with what we record because it has replay value. People want to go back to it.”
“All I can ever give anyone is my perspective on what I’m experiencing or witnessing what someone else is experiencing. So there’s no easy answer, let the people who find what I made see that it mattered enough for me to address it, and maybe even struggle with it.”
Absolute Value is a follow up that defied all odds. His debut was already considered an underground classic, and he matched its intensity with a project that reflected growth and maturity. He brought along a legion of lyrical stalwarts including Little Brother, B-Real and Mr. Lif to name a few. The production is equally as tight, featuring beats from luminaries like J-Zone, 9th Wonder and J-Dilla.
“A to the K” has Akrobatik storming out the gate like a heavyweight prize fighter. By this time the commodification of rap was in full swing, and he felt the need to defend hip-hop against the oncoming invasion: [LISTEN]
“I think the mainstream media is aloof to much of what is going on within American and international sub-culture,” said Akrobatik. “There are concepts that the pop world will always be able to grasp easily: sex, violence, drugs, the daily news cycle. The more subtle things, the intricacies within the culture, won’t get covered so well in most cases. Hip-hop and hip-hop lyricism are in great shape, especially internationally.”
For Akrobatik hip-hop is more than just a job, it’s a way of life. It provides him with a platform, and an opportunity to vent some of his deepest frustrations. He is an ambassador who defends hip-hop with determination and grit.
Akrobatik never shies away from politically charged lyrics, and in the process he’s gained the respect of both his peers and fans. To stick his neck out and stand up for social injustices is what made him something of a people’s champ; his perspective just as poignant today as it was when he first broke onto the scene.
“Everything in the American collective consciousness seems to be about which side you decide to be on,” said Akrobatik. “There’s a line in the sand, and you have to select which side you’re on. I like to rebel from that, and live life knowing that I can change my mind based on new information or just flat out maturity. And that supporting something or someone does not need to be mutually exclusive with supporting/not supporting something or someone else. We are all evolving.”
