You’ve never heard of The West Ghost, and I don’t blame you. Hailing from the West coast (duh), the mysterious rapper is at a level below underground hip-hop in what would be best described as subterranean. Google searches will eventually lead to his Soundcloud, but other than that, information on the rapper is scarce. Ghost claims to “represent no history, no race, and no background because such things are only flimsy excuses to let pride cloud justice and reason” and has chosen to keep his identity relatively unknown, a tool in his battle for bringing “reason” back to modern day lyricism. However, with the current state of his music, Ghost has quite a bit of ground to cover if he hopes to bring these ideals back to the mainstream.
While the intensity of the delivery may change here and there, the volume of Ghost’s voice never changes, swiftly becoming tiresome and sometimes being overshadowed by the heavier and more electronic production.
Son of Sorrow is his most recent project and is meant to represent one part of The West Ghost logo that he says is “symbolizing major parts of the personality, the first and dominant being sorrow.” The 5 track mixtape can most definitely be described as sorrowful with its gloomy production full of synths and darker sounding trap instrumentation which mimics just about every other beat being made right now. Excessive hi-hats and the electric-dominant sounds being used by 2nervous2be grow old quicker than post-Hairspray John Travolta, and the only other credited producer, Ozzie Beats, clearly listens to a lot of Drake. The lack of diversity production-wise makes the project a chore to listen to and the vocals don’t do much to salvage whatever promise there could have been.
Son of Sorrow leaves a lot to be desired and The West Ghost has a ways to go if he wants to change today’s lyrics.
After seeing the name The West Ghost and then listening to the voice behind it, the moniker makes all too much sense. Ghost sounds like a ghost. Every word sounds like a challenged exhale as if there’s a boulder sitting on his chest, and he’s far too quiet when it comes to spitting his lyrics. While the intensity of the delivery may change here and there, the volume of Ghost’s voice never changes, swiftly becoming tiresome and sometimes being overshadowed by the heavier and more electronic production. The quality of his deliverance shows further through “Voyeur,” a “hidden track” (why does a 5 track EP need a hidden track?) where his flow goes completely off the rails, at one point attempting, and failing, at what I assume is meant to be an impersonation of the delivery of “baybay” a-la Biggie Smalls. And of course the content of each verse is just downright depressing, but if you didn’t see that coming then you should probably work on your inference skills. Perhaps the most peculiar part of his delivery is that if you scroll through his Soundcloud you’ll eventually come to his first mixtape, Its Been A Long Time – The Mixtape, which actually features some tracks where his vocalization is more on point (see “Spire” and “Simple Nothings“). Hopefully we see more of this from the inexperienced rapper on his next project.
Overall, Son of Sorrow leaves a lot to be desired and The West Ghost has a ways to go if he wants to change today’s lyrics. While his mission is valiant, and I for one agree with the fact that hooks and catchy punchlines have far more importance in mainstream hip-hop than they should, that is just the nature of the today’s music in a world with a massively short attention span. With 2 more projects on the way, only time will tell how far The West Ghost can make it with his current style. Hopefully, as his artistry develops he’ll find what he needs to take it to the next level.
Stream the Son of Sorrow below and make sure to always check back at True Too for all your hip-hop discovery needs.