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Final verdict: 9/10 ★★★★⋆˙⟡
To quote a dead guy, “people can’t articulate a complete thought without quoting someone else,” or something to that effect. So, to introduce Eigh8t the Chosen One’s upcoming LP “Inner Conflict” (out February 13th, mark your calendars!), I must quote a quote, perhaps a quote from the rapper himself; “I got more bars than bars got liquor” (“Be On Go”) is one bar that perfectly sums up this album, because wow. This guy has 99 (or perhaps more) problems, but a lack of bars ain’t one of them – and to that fact I will attest in this very article.
I’m admittedly not awfully acquainted with hip-hop, having only been exposed to a handful of “classics” of the genre (for the sake of field study) and various indie concoctions I’ve been commissioned to listen to and review in the last year. With that, I’ve formed a rather misinformed opinion – and it ain’t a verdict against the idiom per se, because the music itself is pretty good, but I am slightly averse to the culture surrounding it in my own peculiar ways. My main grudge with hip-hop lies in the fact that many albums of the genre drag on for way too damn long. And look, I get it – most hip-hop is very narrative-driven, with albums veering more towards concept album lane much of the time. Space is necessary for the topics at hand to be properly explored. Still yet – I’m bored! Jesus Christ! Summarize yourselves, people!
But there is an exception to this law of nature that I empirically determined – and that is but “Inner Conflict.” I’m specifically overviewing the deluxe edition of the album here, which at a whopping 25 tracks might seem quite intimidating – but give it a spin, and its behemoth status quickly justifies itself. Much like a title such as “Inner Conflict” implies, this is an album that dances around themes of mental disorder and existential doom – only it’s not really “dancing around” the meat, now is it? Nay, this is explicit. Overture “Trigger Warning” is exactly what it says on the tin – the album opens with a disclaimer notifying the listener of the grim topics that are to be dealt with ahead, and I’ll be damned if the subsequent tracks don’t live up to said disclaimer.
I’m not exactly sure whether this is a good thing to put out in the open, but in my current sleep deprived state, I deem it to be necessary context if my commentary is to hold any gravity. I have experienced profound mental illness over the course of my days, including violent struggles with bipolar disorder. And you know, there’s a lot of music (and media at large) tackling such issues out there, and some of it is truly magnificent, but I don’t think I’ve ever heard a better lyrical account of bipolar turmoil than the one on boast in this album. “Inner Conflict” portrays so many ugly, ugly details definitive of the disorder. This is an ailment multifaceted, an affliction discombobulating, and yet this album does a convincing job at flattening it down to be digestible while remaining accordingly solemn. It did for sure strike a chord with me, and I believe it will with other folks who have faced similar challenges.
Which brings me to my main point – “Inner Conflict” isn’t an album that is so much musically significant (though I have to give Eigh8t his flowers; his rap flow is smooth like butter and extremely pleasing to the ear), for the lyricism is real cornerstone of this record. As you might be able to derive from my prior sayings, this is an extensive (and convincing!) account of what bipolar disorder – and many other mental disorders, for what it’s worth – entail. The inner conflict (ha ha), the despair, the hospitalizations, everything – Eigh8t does not shy away from expressing his truth in all its glory (or lack thereof). Each song in this 25-track monster of a tracklist adds something to the narrative, a narrative of narratives that attach to construct the ultimate narrative, which in turn is a narrative of a fall from grace. And storytelling aside, I appreciate the wordplay this guy seemingly can’t stop himself from indulging in. Wordplay is the way to my heart, always.
But to get to the music itself; as aforementioned, Eigh8t’s a skilled rapper, making this record quite a joy to behold. The arrangements are pretty run-of-the-mill, and so is the production. But notably – there are a handful of plenty major collaborations here, with artists such as Stevie Stone, Krizz Kaliko and Planet Asia (among others! This album is fuckin’ stacked) featuring on various tracks.
My favorite album cuts include “Bipolar Batman” with its sweet piano run and warm vinyl crackle, “Outta My Mind” with its programmed string section, and “Loser,” because… same. The bonus tracks are also good and not to be dispensed; my favorite of the four has to be “All My Sins,” though “Bad Dreams” is roughly on par with it, too.
Would I say this is a “perfect” album? Well… no. The 9/10 rating I’m about to slap on it (wait for it!) might suggest that it is, but truthfully, what I appreciate most here is the lyricism, the narrative arc, the drama – and it is all executed beautifully, so what the fuck. 9/10. Good record. Don’t forget to take your Lamictal, everyone.
Silia 
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