On his longest, most thoroughly executed album yet, out now via independent label Lex Records, Lord Jah-Monte Ogbon deftly showcases the surfeit of sonic skills that he’s cultivated over years of releasing exceptional, albeit shorter, projects through fellow indie labels such as FXCK RXP, Copenhagen Crates, and most notably Jewelry Rap Productions. From razor-sharp wit and an artful ability to select felicitous beats to his propensity for creating fresh, ear-catching cadences, Jah-Monte has become a master at humorously weaving insight and absurdity with satire and one-liners, all while delivering it rapid fire or slo-mo (or somewhere in between) over incredible production. One listen — or five — to his new album As Of Now will prove that this is the case here and now more than ever before.
Charlotte, NC-raised Ogbon (aka King Callis) is clearly eager to show off his newfound zeal, represented amazingly on the lead single and album opener aptly titled “I’m Signed to Lex Now I’m Up,” produced by haNN_11. More than a half dozen times across the album’s 17 cuts, the intro being the first example, Jah-Monte enlists a producer (sometimes more than one) to provide two disparate beats for a track, with an abrupt switch occurring mid-song, allowing — and challenging — Callis to exhibit distinctly different cadences and moods. This technique is displayed superbly on “Okay, I Know Who My Twin Flame Is,” produced by Jacob Rochester and Nolan the Ninja, which Ogbon claims as his favorite song on the record, and also on “Flewed Out, All Expenses Is Paid For,” produced by Laron, another album highlight for its sheer intensity. Other legendary beatsmiths credited on the beat-switch heavy album include iiye (aka Pink Siifu), Zoomo, Lex Records labelmate Chuck Strangers, Navy Blue, Nolan the Ninja, Dirty Art Club, and a few more who all equally deserve flowers for their contribution(s) to the riveting flux of As Of Now.
The project ebbs and flows (literally) like the greatest comedy films, in which plot and performance are not sacrificed for humor but are skillfully intertwined. Skits and interludes don’t domineer and instead provide jocular respite from Ogbon verbally thrashing one great beat after another. Jah-Monte’s intricate storytelling never takes a backseat to comical, panning adlibs fuzzily buried under immaculately chosen production — quite the contrary, as all three (beats, raps, and adlibs) are adroitly interwoven by the Charlotte madman. This aptitude for picking production (some from underground hip hop legends, others gleaned from Instagram) goes hand in hand with Callis’ expert album sequencing.
To date, As Of Now stands as Jah-Monte’s magnum opus. Yet, as the title suggests, from this point forward, fans can expect a continuance of this high-level artistry, which he has never lacked before, but is still able to take to new heights on each successive endeavor.
