While I’m quite aware of the hiphop’s subgenre distinctions, sometimes I wonder what the difference truly is. If an artist is telling his story, verbally depicting the world around him, the trials and tribulations that he experiences, and making time to boast his lyrical skill, to me, that makes him conscious, in a sense. These days in hiphop, talent is viewed as a mainstream trait to sell records. Where as, purist heads of the art form see talent as the total package of what most conscious artists are. However, just because an artist is deemed underground and conscious, doesn’t mean he’s good. I’ve heard plenty of emcees put it down at open mic nights and I wasn’t impressed. Then again, just because an artist is mainstream, and is succesful, doesn’t neccessarily mean he’s a sellout that makes ringtone rap. There will always be those mainstream juggernauts that have made their mark in hiphop and will continue to be a the going standard. Jay-Z, anyone? Conversely, the once underground emcees that have made their way into the living rooms of suburban America, and onto the iPods of suited up yuppies have staked their claim of supremecy, without saying a word about it. See: Mos Def. Where does that leave the in between? Where does that leave the emcee that’s been doing his thing for years but hasn’t quite received his just-due recognition outside of his main fanbase? Good question. What I can say, is that if you haven’t listened to Akrobatik before, you might want to get your fix.

Absolute Value, the latest LP released by “A to the K,” is complete. In fact, this album is so complete from production, to his delivery, that I can’t seem to stop playing it. Many “conscious” emcees often get accused of living in the late 90’s, back when Rawkus was doing their thing with Soundbombing. Others just have this stigma of being “anti-establishment,” and many listeners are turned off completely. Reference: Immortal Technique. It’s a definitely a refreshing feeling to listen to modern beats that are reminiscent of DJ Premier, and to peep an artist with the storytelling abilities of Slug from Atmosphere, a certain aggressiveness in his baritone delivery, and lyrical content that doesn’t have me doing the snap dance or feeling the urge to scream, “YUUUUULE,” and act a damn fool. From the opening track with B-Real, to theincredibly soulful track with Little Brother, I can nod my head throughout the entire album. It serves as the album you can drive and bump to, or the album you can listen to when you’re balls deep in a hurricane, and stuck in a hotel in Tampa. This entire LP is complete, which leaves me to wonder, if this man didn’t have the distinction as a “conscious emcee,” most likely because of him remaining a constant as an indie artist, would be giving him his props on a larger scale? Perhaps.  Still, every album, freestyle and guest spot I’ve checked out from Akrobatik has be consistent, and he reps Boston to the fullest. If you slept on this artist before, it’s time to wake up.

4 out of 5. EASY.