With his 2019 not falling short in terms of quality and consistency compared to all other years throughout this decade, BONES has come through yet again with his newest project IFeelLikeDirt. More than just simply adding another quality record to his catalog, this offering showcased the legend’s profound sense of awareness when it comes to dropping his music at just the right moment to match whatever aspects that project has respectively.

Taking this notion and applying it to this release in particular, the attentive MC crafted what can only be described as a perfect album leading into the winter season — a season that his music as a whole has come to associate itself highly with given both its corresponding lyrical sentiments and sonic impressions. 

This project capitalizes on these facets by showcasing a number of tracks that entail this downridden and brisk makeup, as seen through the tracklist’s heavy reliance on building this atmosphere through lowly instrumentals and numerous lyrical references to various aspects of winter. 

As if it exclusively had to rely on these obvious elements alone, the bone-chilling semblance that each and every track on this album has can be chalked up to the fact that BONES is simply working in his wheelhouse when it comes to constructing and delivering an atmosphere in this manner. Time and time again he has applied his stone cold delivery upon these types of beats, and has thus created a niche all to his own when it comes to defining what it means to convey a certain “chilling” feeling to his audience. 

Tracks like “FrostBite” and “SingingInTheRain” are the most glaring examples of how natrual he can make this feeling translate, as both feature bouncing yet equally meek breakbeat grooves with crisp and poignet snares that drive the point home by arguably by themselves. The solemn guitar leads found on examples such as “ArentYouASightForSoreEyes” and “517” complement the overall theme as well, as they too work to bring about this frigid tone all on their own.

Taking the totally of these elements and effectively presenting them in a moderate fashion similar to his past few projects, BONES makes it clear that he is not letting anyone dictate where he goes with his music but himself. With each successive release in the past year or so, he has made it all too obvious that he will continue to do what he does best and nothing more. For some, that may seem redundant and lazy, but when he applies what he does best at what has come to be his time of year, it elevates the status of albums like this. 

It seems as if the now-veteran of the game has a plan for everything, and with all things considered, he is at the very least not faltering whatsoever in demonstrating his efficiency.