Armond – Kairos | Jam the Hype

It’s easy for musicians to sound deep, introspective and meaningful nowadays. Add enough adjectives and self-reflective mumblings when asked a straight forward interview question and you too can throw the hash tag visionary in your twitter profile. In the current musical climate of hip hop, the dream and vision of an artist’s upcoming release passionately detailed in media appearances is often deeper and more profound than anything found on the five-cent tracks. In a genre where concept albums are more second and third cousins than a connected family, Armond’s “Kairos” is the grease-free face wash to erase memories of these blemishes, with the added benefit of fresh sounds that equal the cleansing splash of water to the face.

There’s much that could be said if you aren’t familiar with the Columbus, Ohio rapper, but here’s what you should know before we break the album open: One, kairos is a Greek word that is defined on the title track as “A moment in time that presents an opportunity for change.” Second, Armond is a self-labeled rappity rapper who manages to put a much heavier emphasis on production than those of his breed stereotypically do. Third, the physical conception of “Kairos” comes after some self-imposed time on the sidelines of the musical game that allowed the very personal concepts discussed on this album to be tested, breathed and found true.

Lead single “Genesis Revelation” opens the lecture halls with understated instrumentation and a hook that has no right being as catchy as you’ll find it being once you cut off the Sandman produced beat. “This is Kairos” continues the job of defining what kairos moments are and why we should care as Armond’s double-take lines two-step around a sample-heavy Doc beat. “Marathon,” a track that was originally recorded for “Kairos” when it was slated as a mixtape, is a monster of a track whose strength comes from calisthentics more than bulky bicep curls. A whirlpool of synth and fast-paced drums are the environment that Armond and state-mate Kambino get their lyrical workout on in, with Kam especially leaving his punching bag bleeding stuffing on the floor. The Wit-produced “Pour Effort” is as replay-worthy as anything to be found here on “Kairos,” with a drum pattern that makes my fingers have spasms when I try to mimic it.

Simple but neglected truths are to be found inside the slow, deliberate bars of “The Dreamer,” a bold Doc-produced track that samples Coldplay’s “Paradise.” On first blush the song can come off as a novelty but, as repeated listens have proven, it has staying power when you let it have a life past the obvious sample. Some of Armond’s best work has been written for the fairer sex and “Love Is,” continues the tradition with sonic elegance and pillow talk that transcends both the bedroom ceiling and the star-lit sky that J. Carter’s soulful bridge is best listened under. Speaking of soulful, the unique “Frostbit” oozes similar class. Sean C. Johnson’s hook is like the first Arnold Palmer of the summer, Armond’s thoughts become one with the cloudy atmosphere to the benefit of all involved and poet Barbara Fant’s closes the sensory experience with deserved applause.

It’s not enough to label the Boonie Mayfield-driven “Father’s Day” as emotional and move on. The dedication to Armond’s father is dripping with the perspective of a grown man giving his dad a call “to say what’s up” after a night spent loving on his own creation. The generation-to-generation snapshots each verse gives is emotional. The beat is dressed up with patient keys, brief brushes of bass and a bow tie of satisfying horns that fits the “trying on dad’s clothes” appreciation that the song is. “P90X” will no doubt be, at first, the most talked about track on the album. The posse cut features genre heavyweights akin to that This is the End flick when Swoope, Dre Murray, Yaves, Lavosier, JGivens and Flex walk through the studio door. Punchlines and lyrical acrobatics, all while speaking a point, are on the menu displayed by the backlight of a Doc beat that he masterfully flips no less than seven times, giving each emcee his own tapestry to do damage on. Equally impacting, this time on a thematic scale, is “Dusty Rhodes,” the highly anticipated sequel to the duo’s “Hell on Earth 2K13” collab from earlier in the year. Wes Pendelton’s beat bangs with slow bass rumbles into the concrete while Armond and Raging Moses start a lyrical riot as they break out of their Americanized cages of modern values.

Digesting and interpreting Kairos moments are how change comes about, Armond firmly believes, and he includes five steps in the form of audio interludes to outline how to process these moments. These are tagged at the end of tracks throughout the album and their placement never makes them feel intrusive. I may only listen to all of them once in every ten listens through the album, but the reference they serve as is huge and contain more life-changing opportunities than many of the classics of our sub-genre. The concept of Kairos is far from limited to these instructions however. “Walking Contradiction” is just one untinted window that the listener can lift himself up to and see Armond’s life circumstances in. And what a convicting, lyrically masterful window it is. “Inside,” featuring Japhia Life in one of my favorite verses on the album, is another glimpse from a lower story. The glittery sheen of DJ Natty T’s production betrays the dark testimonies of pain, demon oppression and insecurities that Armond and Lifey exhale. “Barbershop Window” ends this unofficial trilogy of unrated found footage as guests Priest and Smurf Village reflect on what life has taught them and how they’ve arrived at the early morning, horn-infused sunrise of a beat.

The album hints at a conclusion with the arm-stretching “Change My Mind.” This song originally stuck out like a sore thumb on my initial listens, because of the folk strings coming mainly from producer Doc’s sample of Alabama Shake’s “Be Mine.” But, after hearing the original track and giving it some time away, I’ve come to accept it. The Swade Beatz produced “Lost it All,” despite quality appearances by Jae Mitch and Bumps INF, is the least memorable cut on the album. Call it the “Insomnia” of “Kairos.” But that lowlight is quickly followed up by the deafening “Makes No Sense (Revisited),” an angst-ridden conversation between Armond and God made even more blistering by the Pizzie beat that perfectly features a live Paramore chorus. I’ve never heard the insecurities of Grace and being in a relationship with a perfect God detailed as well as they are here and on album finale “Boomerang,” again masterfully crafted by Pizzie. The mood here is much more somber and the pauses between presses of piano keys paint an audio picture of the weight on the emcee’s shoulders. More than any other song in Armond’s collection, this album finale breaks the veins of concrete that always threaten to collapse my heart and lead me to worship the creator of any kairos moment. No altar calls and no canned emotions, simply the emptying of self before the only one who can do something about it.

“Kairos” is a meaty album, laced with lyrical protein. It’s veggies for your mind and ears with enough truth in its 17 tracks to sustain you for weeks. Like a 24 oz. ribeye, it’s an appetizing chore to digest all in one sitting. But, just like a thick book or that three hour movie, you’re compelled to finish it because the quality, message and storyline compels you. “Kairos” is an album chock full of the highest quality of musical creations and lyrical displays of wisdom and agility. But there’s much more going on here than “just” great music. This is a deliberate album. You will have flashbacks on your past year identifying and digesting your own kairos moments when they are defined as the album goes on. “Kairos” is an album that has huge potential for life change outside of the headphones. Don’t sleep, experience this one for yourself.