At the New York release party for Eprhyme’s first CD a few years ago, the audience was an unusual blend of angel-headed Jewish hipsters bopping along to neo-Hasidic hip-hop, along with a smaller African-American crowd which was there to check out the new record drop. Eprhyme straddled two communities — the New-Jew one, and the urban hip-hop one — and while we shared space that night, I noticed there was little interaction between the two sub-groups.
Now, the follow-up to that first record is here, an 11-song mélange of styles and themes called “Dopestylevsky.” (Eprhyme, pronounced E-prime, is a master of the unpronounceable — perhaps a gesture at the ineffable God he invokes often in his music.) And so is that same productive tension. “Dope” is a more polished and more professional record — no doubt in part because of Eprhyme’s affiliation with the famous indie label K Records from Olympia, Washington. It is also more continuous with current styles of hip-hop, featuring more current musical stylings, half a dozen collaborations with mostly underground artists, and is less overtly Jewish in terms of content. The result? Less novelty, less preaching, but perhaps more potential to reach a wider audience with a Jewish flavor of hip-hop and rap.