Album Review: “Son Of A Gun,” Miggs Son

Miggs Son spitting

Miggs Son spitting

We at Broken Glow highly endorse artists and musicians of any genre or medium who take an exploratory approach to their craft. While the band’s musical style is heavily grounded in rock music of the past, Broken Glow has also been afforded numerous opportunities to collaborate with acoustic acts, jazz musicians, theater productions, classical performances and hip hop artists. The band has always felt that what’s good is good, regardless of genre. It is in this spirit that Garrett has reviewed “Son Of A Gun,” the brand new release from another northern transplant to the Hostess City, philosorapper Miggs. Check out the review below, which will be included in the next issue of Pale Blue Dot’s DIY arts publication, Musaic Magazine.



“Son Of A Gun,” Miggs

In an age of voice-correction, crispy synth stock beats and generic “get mine” materialist messages, the mainstream of radio hip hop has discouraged many devotees of the genre. Whereas at one time rappers were revered for skills in delivery and writing, recent years have seen the spotlight shining on producers cranking out the next club hit. While the seeming disintegration of the industry’s “hip hop” may spell trouble for some, it has fueled the furnace fires of independent artists aiming to reclaim their beloved form of expression. Their solution: go organic. This approach is evident on the new album “Son Of A Gun,” a triumphant collection of 13 tracks from Savannah’s reigning not-a-rapper Miggs Son.

Before the beats begin, a radio voice from a bygone age discusses “absolute music,” as though the listener is about to embark on a lecture in orchestral composition. The theme of “absolute music,” or creating music for its own sake, is a Baroque Era concept which is in contrast with the more structural music of the Classical Period and the narrative “program music” of the Romantic Era. These themes, while only briefly mentioned in the opening dialogue, reveal an approach which is often overlooked in popular music. That this rumination on various forms of music opens the album is indicative that these elements are present throughout the album. Tracks such as “You” and “Ordinary Guy” have very distinctly narrative forms, while “Illest Illustrator” and “Mo Honeys Mo Problems” are tracks focusing more on the writing, the crafting of rhymes and lyrical themes. Regarding music for its own sake, “Knowhatimean” and “Never Comin’ Down” are two standout tracks, catchy in their own right and notable for their melodies and memorability.

From the first Coltrane swells that lead “Toccata & Fugue” into a distopic organ-driven world to the waning strains of the Peter Pan-inspired final track “When I Grow Up,” Miggs sets the tonal landscape for his thunderous beats with the sounds of old jazz, vinyl scratches and warm production. Throughout the record live instrumentation and guest appearances from various Savannah musicians bring different vibes to each song, and every track embodies its own space thanks to intimate production by the rapper’s brother Freak Tha Monsta. And while many traditional hip hop images remain present (pursuit of females, success, overcoming adverse odds, etc), the album’s overall feel harks back to the opening rumination on the pursuit of various artistic experiences. Miggs raps with a deep pocketed flow, and his signature irreverent humor is broken here and there with raw sincerity as he hits on cosmic awareness, visual arts, personal demons and the fleeting nature of youth. “Son Of A Gun” is a refreshing return to classic hip hop – honest, rooted in the past yet pushing through to the future. Recommended for anyone with ears.


But don’t take our word for it, go download “Son Of A Gun” for yourself here, and keep your ears open for more new music coming your way from Savannah.