Drapht ProfileWhen you're this deep into your second decade of releasing Australian rap music, the question rings in your fans' ears: "what does Drapht have to say that we haven't heard already?"
Monsoon answers eloquently. It's packed with evidence of the further progression of Paul Reid's delivery and his mastery of melody and pacing. Raindrops is illuminating. Midnight At The Hospice — a moving moment for fellow West Australian rap legend Hunter — is more than an interlude; a look to the future with the past firmly in mind. Funky closer Odds is arguably the album's brightest spot; reflective, engaging and also fun. Monday Monday might be the clearest reflection of Reid's progress.
The Drapht of yesteryear would have treated this treatise on the under-appreciated as an opportunity to make a big, light-hearted, self-deprecating joke. Indeed, he may have adopted a character as a protagonist for the story. The new Drapht is more considered, and more easily able to come to grips with the points of view of those around him when they might differ from his own. There's still fun to be had with this record — after all, growing up is as much about embracing your past as it is about letting it go — but this is the most adult we've seen Reid on record, notwithstanding the heavy subject matter he has confronted throughout his career.
It makes for a reinvigorating listen; this veteran clearly still has a few tricks up his sleeve.
