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When looking at Antwon's music it is easy to pick apart and compare certain aspects to similar trends in rap. His voice and flow share similarities with mainstream rappers such as Rick Ross or Notorious B.I.G. His sound can be easily compared to that of cloud rap, that the likes of Main Attrakoinz and Lil B have bought to the forefront of hip-hop in more recent years.

His subject matter ranges from self-loathing stories of past relationships ridden with dread, to his uncanny fondness of the female genitalia. Themes we become all too familiar with in modern hip-hop. Yet choosing from extensively eclectic characteristics, Antwon has simultaneously found himself functioning in a pretty singular sound lane. Although this has lead to almost no-one being able to challenge his lonely crown, it has yet to be revealed how far this road can take him. Heavy Hearted In Doldrums is a perfect example of an artist polishing their craft, yet with a constant sense of uncertainty lurking round every corner.

Yet this ever looming sense of uncertainty is a paramount feature of Antwon's music. In the album opener 'Rain Song' we are greeted by eerie synths and ghostly high pitched keys, as a wave of melancholy drifts in. Antwon confesses, "Them ladies say they want me, they want me, but them hoes never really know me." Yet it is the feature from fellow outcast Lil Ugly Mane which epitomizes the venerability of the track: "Money, women, and lies, running in place till he dies, he built up a wall to have somewhere to hide, but anxiety's coming from somewhere inside."

As the album continues the sorrows only get deeper. On 'Don't Care' he ditches his '90s flow, for a hazy hook. On the self-explanatorily named 'Loser' Antwon bleeds over isolated pianos, drowning 808s and screaming adlibs that float around: "Nobody gave us shit now those strangers think they know me." It becomes very evident that Antwon lives within his music, reluctant to delve into the world outside of it. This self loathing is oddly enjoyable, yet it cannot help but feel self-inflicted. Luckily Antwon comes to the same realization. Coming from the Bay area he has previously drawn on many features from the Thrashscore scene. He takes a different route this time. As we hit the half-way point of the record Antwon switches out the tape for another. As the heavy drums and techno keys ease in on 'Mr. Intercontinental' he states his intent: "Wait it's Hip Hop nigga hold on." Calling on the past time of boom bap rap he takes the approach of heavy drums mixed with a lighter tone, achieved by influences of '80s-esque techno.

You cannot help but bounce along to tracks such as 'Stop' and 'Break Yo Back', as if you were on the set of Miami Vice. He calls on fellow Greenhead affiliates Heems and Lakitus on 'KLF ELF' and the ever rising Ratking member Wiki for the track 'No Metro Nome'. Surrounding himself with fellow rhymers sparks a reaction from Antwon, as his wordplay and flow step up a notch. We are left with a very different taste in our mouths, in contrast to the first half of the album.

There is a clear distinction within this record from the self-crucifying beginning to the celebratory ending. This could be jarring for some, yet Antwon's music has always been a mismatch, of the best kind. While this album may not answer many questions or push too many boundaries, it doesn't really need to. As the album comes to an end the unease yet again creeps in, but so does the underlining feeling that this what separates Antwon from the rest. He shows no signs of slowing down but he cannot seem to see the brick wall ahead of him. He is seemingly unaware that it even exists. If anything, on Heavy Hearted in Doldrums, it is Antwon's disregard and unknowingness that makes the ride so engaging. He refuses to look at what is coming towards him and it's thrilling to watch him dodge the traffic.

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