It may seem as if Bishop Nehru, the 21 year old New York native and frequent DOOM collaborator, is the leader of hip-hop's new wave of sample-heavy revivalists. He's a young, fresh face, surrounded by veteran endorsements and unbelievable collaboration opportunities. On paper, Nehru is living the dream of a young MC. Advice (not to mention a big co-sign) from Nas? Check. Endless studio time with MF Doom? Check. But, when its Nehru's turn to take the reigns and prove himself amongst all of this hype, he trips and falls, often getting caught up in repetitive lyrical deliveries. Nehru has a lot to say, but often forgets those words when the spotlight is on him.

If it weren't for the name-dropping production credits on Elevators: Act I & II — electronic madman Kaytranada and sample-junkie MF Doom formally splitting production down the middle — it would be an album bound to fail, washed away in the rush of spring release promo cycles. Nehru decides to attack the project on his own, with only one vocal feature — courtesy of vocal duo Lion Babe — on the entire release. There are miniscule increments of brilliance, coming and going until Nehru's sophomoric voice takes ahold of the songs, for the worse. But even then, as the magicians behind the board attempt to keep Nehru's composure, the production seems to fail Nehru, making for a beautiful disaster of a collaboration.

And while Elevators is indeed an album split in half, with Kaytranada starting the first half proper, MF Doom's approach on the latter half is exciting and strange, sample heavy and obtuse. On "Again & Again," Doom's production turns hectic, surrounded by horns and bass, often distracting the listener from an otherwise stale flow delivered from Nehru. However, the following track, "Potassium," is an absolute standout. Doom's groovy production is at its peak, and Nehru is capable of keeping up with Doom for a moment of pure magic.

This is a problem far too common in modern hip-hop. The quota of solid production floating around compared to the amount of lackluster, lyrically skilled MCs is devastating. Nehru deserves props where it's necessary, though — attempting to revive a lost sound is sure to score big with nostalgists and hip-hop purists, but, beyond that, there isn't much to love. Kaytranada and DOOM had to take matters into their own hands, picking up Nehru's slack along the way. It was a long shot that ultimately didn't work out in their favor. Kudos for trying, though.