Acclaimed NYC artist Breeze Brewin gives a crash course in lyrical linguistics on his brand-new banger, “King Oxymoron,” featuring neck-breaking production from Marco Polo.
With his much-anticipated solo debut album, Hindsight, out today, Breeze introduces the project with one of his most incredibly written tracks ever. And that’s saying a lot for someone with a long list of underground classics to his name as part of the Juggaknots and as a collaborator (see Prince Paul’s timeless A Prince Among Thieves).
But even as he’s stayed relatively quiet over the past few years, Breeze has dedicated himself to his pen game and also introducing others to the possibilities of wordplay as an English teacher. And on “King Oxymoron,” he flaunts his language mastery by celebrating the oxymoron itself.
“With some slight pronunciation adjustments, I felt as if I had something powerful, formidable and appropriate with consideration of the slickness that the term could represent, in my opinion,” he says. “With that I wanted to point out terms, not traditionally oxymoronic, but definitely oxymoronic, when considering societal dynamics.”
The end result is something you need to hear for yourself, especially with Marco Polo’s infectious production as the backdrop. “King Oxymoron” can be heard now, along with Breeze’s official debut album, Hindsight, through your preferred digital retailer or streaming platform. CD and vinyl copies of the LP will soon be available for pre-order through Breeze’s own Matic Records imprint via Fat Beats Records.
Breeze Brewin’s history in hip-hop runs as deep as his incredible skill set. There are levels upon levels to his talents, whether he’s penning mind-bending lyrics or crafting head-nodding instrumentals. And over the past 25 years, he’s proven his skills as a member of the Juggaknots and the Indelible MC’s, and as a collaborator on classics including Prince Paul’s A Prince Among Thieves. And with the release of Hindsight, the NYC artist steps out on his own with a thrilling solo album packed with highlights that show off just how gifted he truly is.
“The creation of these songs was often my therapy, and it starts with ‘Gotta Love It,’” Breeze says of writing and recording the album. “For a time, I either couldn’t or just didn’t love it. It was that moment, in a studio with producer Sebb Bash, that I thought: f*ck it, I’m gonna do this sh*t.”
Hindsight captures the magic of what happens when an artist sticks with what they love and shares it with the rest of the world. The 13 tracks epitomize why Breeze has been such an essential voice since he entered the scene. He delivers tack-sharp criticisms of former president Donald Trump (“Devil’s Advocate”) and the music industry (“The Application”), talks his sh*t like only he can do (“Translate It”), and gets deeply personal about friendships (“The Uninvited”) and being a teacher as a person of color (“Taking Notes”). And then there’s a track like “King Oxymoron” that is simply a whirlwind of wordplay.
With this record, Breeze is proving to himself that he can confidently, and ably, work on his own, which was a major sea change for someone who for years collaborated closely with others. “I was at times scared to proceed alone, especially considering the greatness of those I had worked with,” he says. “But it worked out. It’s OK to work with others, and it’s damn sure OK to shut the world out and work with and on yourself.”
It’s with those words—and the music itself—that Hindsight feels like a celebration, not just of a long-awaited solo debut, but of great hip-hop in general. The album is available now through all digital retailers and streaming platforms through Breeze’s own Matic Records imprint via Fat Beats Records with CD and vinyl copies of the LP due out for pre-order shortly.