Eternia & MoSS
At Last

Written by Dominick. Published: Monday, July 12, 2010.

The fairer sex used to be a great source of pride for Hip-Hop. Not so long ago women in this genre really were spearheading a prevailing, positive feminist force within the culture. We had powerful ladies like Latifah and Rage who exuded feminine inner strength, un-afraid to mix it up on the hardcore tip. Then the females like MC Lyte and Roxanne Shante who were just as skilled and savvy as their male equivalents came about and helped open doors for chicks like Bahamadia and Lauryn Hill; whom in their prime’s provided artistry that has often been labeled as good as it gets when it comes to a “femcee”. Really, the one consummate thing that remains the greatest measure of a woman on the mic is her ability to make you not even consider for a moment her gender…she’s simply an emcee out there, telling a story, amazing you and captivating your senses. Of course we all are aware of the current dismal tide as it concerns women in Hip-Hop. Few of the truly deserving acts ever get a decent look and instead are passed over for amalgamated meshings of raunchy over the top sex kittens and shock value driven performers. It’s because of this troubling new inclination amongst many young femcees (and really, labels) that Canadian bred, New York dwelling artiste Eternia and her new collaboration album with MoSS; At Last, is so exceedingly important.

Eternia isn’t a new name or face and At Last isn’t her first picnic by any means. In fact, she’s already released 3 other albums, one of which (“It’s Called Life”) was nominated for a Juno Award for the best rap recording of 2005. Yet, if you mention her name to most casual heads you’ll likely receive a hugely bewildered stare, followed by a query as to who you’re talking about. Unfortunate yes, but not the only one thing. For those of us in the know, she’s long been a source of amply loaded, wordy compositions that never hesitate to let her listener’s in on her inner most feelings, life paths and abundant opinions. She’s always had a special lyrical charge, but this time out she’s got another huge edge on her comp in working solely with MoSS; a fellow Canadian who’s been on the underground scene just about as long as her, wielding production chops that very much mirror her rhyming, in the sense that it’s turned heads all over the states, especially within circles that truly appreciate dope, stripped down, Boom Bap. The inclusion of MoSS as the DJ Premier to Eternia’s Guru (R.I.P.) is the perfect blend and pitch for the duration. Much of the album’s production is composed of rich sample lifts paired with flourishing, infectious drums that coincide with Eternia’s arresting pennings. She’s a special mix…one part philosopher, another part ongoing self biographer, at times the only sentiment that quells the overflowing promise and skill At Last contains are the sharp moments of bitter honesty that Eternia unleashes that can catch you a bit off guard.

There are the joints on this album that will have instant replay value;“32 Bars” is a quick, but exceptionally executed banger that finds our heroine doling out braggadocio in the form of playful reasons why each and every culture embraces her, over one of MoSS’ most vigorous rhythms. Then we have the all too interesting “Ladies Night”-type cut in “The BBQ”, where Ms. Silk Kaya goes rhyme for rhyme alongside Rah Digga and Lady Of Rage, firmly marking her spot amongst thee most thorough femcees past or present. All of that is well and good, but it’s the flashes of vulnerability followed by empowering triumph when we get to hear this super woman at her optimum. “To The Future” is a raw, unabridged glimpse into her deepest depths and struggles, again a fleeting moment of sorts in the fact that the track only clocks in at just 2 minutes, but within those hundred and twenty seconds you witness a sort of bravery that is seldom found in Hip-Hop anymore.

Eternia plays the leading role well, commanding the mic with a self-assured vigor that never lets up. When she jumps on a joint with the bruising force that is Reef The Lost Cauze and the slick tongued talent of Termanology for the album’s title track she sounds comfortable and even steals the show from the Philly and Boston based rhymers. When she goes toe to toe with Nueva York’s latest Latino lyrical champion Joell Ortiz the results are equally as impressive. She stays true to her form, matches Joell’s contagious energy and delivers a highly sound performance. While I do enjoy it when she turns on her competitive juices, I much more take pleasure in Eternia’s superlative story telling, particularly her jabs at ex-beau’s. “Played Out” is a somber composition that delves acutely into a relationship gone awry, with bars so sincere I’m sure even the coldest playa will feel some inkling of remorse. As an added plus to the song, Jessica Kaya, just one of Eternia‘s musically gifted siblings, provides the lovely warbling heard on the chorus. “Mr. Bacardi” is another love story of sorts, one that outlines Eternia’s on-going, tepid affair with her favorite brand of liquor, that honestly, despite it being an overdone song formula I found hugely entertaining, mainly due to some well timed and outlandish tales of drunken debauchery.

It’s always a real joy when a long awaited release lives up to expectations and/or even it’s title and At Last truly does. MoSS’ beat work is outstanding…every snare snaps crisply and his inspired sampling set Eternia up to succeed. This is one of the best produced albums of the year and MoSS deserves a massive amount of praise for the clearly diligent job he dished out. Together he and Eternia should also take a bow for the album’s direction in general. Nothing sounds out of place, there’s a good variety of song structure and themes to display Eternia’s strengths and every track is listenable. There might not be many females who currently populate real heads’ lists as memorable or worthy of keeping up with these days, but Eternia and MoSS have undoubtedly changed that in one fell swoop with this unyielding piece of musical goodness that puts real emceeing and production back at the forefront. I will say that she is certainly the owner of the best female fashioned LP of this year, but in the same breathe I am doubly sure to also state that she is additionally the creator of simply just one of the best albums of 2010 period.

$18.99 out of $20.00

Dominick “BIG D O” Ledezma

Category: Reviews