Sy ShacklefordEaston, PA rapper Godilla has been out of commission for over a decade. His last release was 2014’s “They Came On Horseback”, a joint album with rapper Eff Yoo. “Prismas Electricos” is his re-introduction into a new decade of rap, including its modern-day underground scene. Produced entirely by beatsmith Native Born, the album’s title (which translates to “electric prisms”) is a reference to the abstract work of art of the same English translation. Marketed as “a sonic journey steeped in Boom Bap, nostalgia and thoughtful sampling”, the album is more akin to a short film about a man looking for his place in the new world order. In many ways, “Prismas Electricos” is Godilla’s attempt to prove Thomas Wolfe wrong.
A ten-track album, the “Channel Surfing” intro is dead-on with the nostalgia promotion ploy, having television samples ranging from old Radio Shack commercials to “Aliens” (1986). “?? What’s This ??” begins next, with lo-fi snares and a looped background sample. Godilla’s raps are, if anything, virtually stream-of-consciousness, as though almost off-the-top. Before one realizes it, “88MPH” kicks in. Dusty drum snares with a distortion kicks off the track, with Godilla referencing the “Back to the Future” (1985) nod to the title near the end. “Bubble Letter Glyphs” is boom-bap, with the hitting drums and sampled & looped piano keys. Godilla’s shows technical prowess with command of internal rhymes and multis, and he handles the hook, making this track the album’s first official song and declaration of Godilla’s return.
“Class of ‘96” is an instrumental interlude, soothing and with subtle hints of moody vibes. “Starscream’s Ghost” has Godilla making references from Dominic Guerrero to Mortal Kombat. “Terror Ink” is a posse cut featuring Tone Liv, Mister Misk & DJ Tmb, and one much needed to break this album’s monotonous, directionless trajectory. “Metal Sunset” is comprised of the only production on the album that’s actually a head-nodder and the lyrics are braggadocious, showing Godilla rapping with purpose here, “Your shit comedy, honestly a laughin’ stock / Wordplay 7:30 til the casket drops.” The penultimate track “Blind Focus” is intriguing because of the sample used in the backdrop while the outro is bass, piano, then sampled dialogue to close things out. Ironically, “Prismas Electricos” has very little to give it an overall shine and lacks replay value. In the final analysis, taking into considering Godilla’s length of time away from the game, his re-entry point is like the ending of “American Gangster” (2007): Being older and out-of-place in a world that changed without him.