Drumwork Music Group
Abolished Uncertainties is the sound of Buffalo rapper Jae Skeese casting aside doubts and submitting to the weight of his considerable talent. Skeese takes an introspective dive, exploring his origins, examining the hurdles he’s overcome, and looking to the future. Like his mentor, Conway the Machine, Skeese announces himself as a powerful storyteller on his best offering yet.
Skeese’s rise to the top has been a slow one, a point he references on the opening track ‘RVLR’: “I’m rich in terms of my sweat, equity”. But his hard work has paid off, and Skeese has blossomed under the tutelage of Conway, playing a leading role in Drumwork’s spring takeover. Skeese and Conway’s collaborative project, Pain Provided Profit, dropped mere weeks ago, providing a tasty appetiser, a mission statement of intent. But on Abolished Uncertainties, Skeese is flying solo, letting his talents soar and allowing him to flesh out the stories he hinted at on Pain Provided Profit.
Skeese proves himself to be an excellent narrator, painting vivid pictures of his upbringing and stringing together powerful vignettes. ‘Bonneville’ serves as a nostalgic boom-bap-backed cruise around where he grew up, recognising the dangers that he’s escaped: “I’ve got to roll the dice like Monopoly and move on”. ‘Burner Phone’ is wonderfully creative, partly told from the perspective of the phone; it bounces between humour (“He hates me cause my camera is sus”) and potentially wider-ranging metaphors (“Back of my mind I know I’m expendable”).
Elsewhere, Skeese shows his vulnerable side, referencing the loss of his father and the effects it had upon him. The closing track, ‘Auntie Crystal’, reads like a family history, combining heartbreaking tales, genuine love, and nostalgic tales of first kisses and collecting football cards. On ‘Red Koolaid’ he declares, “My Pain’s different”, while Jillian Haynesworth provides a powerful spoken word piece on the oppression of black people. Skeese also delves into his anxieties; on the mental health anthem ‘Mind Right’, he discusses the pressures of social media and chasing the lives you see on your screen, asking himself: “Should I stand out or run with trends?”.
Skeese’s words are authentic, and despite the hardships, he is committed to moving forwards, shaped by the past but refusing to be bogged down by it. On ‘Million Dollar Dreamz’, he espouses his future dreams but remains humble, acknowledging he can’t do it alone. ‘Sideline Saga’ is similarly forward-thinking, Skeese asserting, “I’m gonna put my sound on the map” while encouraging other aspiring rappers. There’s a maturity to Skeese’s words, recognising his past struggles with a refreshing honesty and using his voice to inspire others.
Skeese may be flying solo, but Conway’s influence is still evident, serving as the record’s executive co-producer and appearing on the excellent soul/trap hybrid ‘Symmetry’. Conway’s signature gritty sound is evident on tracks like ‘Bonneville’, ‘Out There’, and ‘Sideline Saga’, but the production takes exciting turns elsewhere. ‘Lunch Table’ and ‘Red Koolaid’ are jazz-flecked affairs, while the jubilant looped horns on ‘EKIN 3’ are a particular highlight. Kota Savia provides some lovely soulful energy on ‘1 Of 1’ and ‘Auntie Crystal’, while Freeway is similarly impressive on the darker rugged ‘Out There’.
Skeese’s flow is flawless throughout, and the record’s emotional depth elevates him to new heights. Skeese has worked hard for his opportunity, grabbing it with both hands and showing no danger of letting it slip while staying true to his origins. Alongside Conway, Skeese has established himself as the heartbeat of Drumwork, and Abolished Uncertainties suggests he can match the heights of his mentor.