KNONAM (pronounced “no name”), true to the moniker, has had some trouble making a name for himself. Entrenched in the Twin Cities rap scene but held back by a self-described “black cloud” hanging over his life, the former gang-banger and basement party rocker seems poised for a promising upswing in his career. KNONAM’s debut album, I Swear To Drunk I’m Not God, was put together with the rapper’s old friends Brother Ali and Eyedea. After gaining some attention through a single with Eyedea, KNONAM was invited to provide back-up on Rhymesayer’s God Loves Ugly tour. Eventually granted an onstage appearance with Atmosphere on the final swing of the Midwest tour, the show was cancelled and KNONAM’s steadily building career was unfortunately cut short. But the confident vocalist continues to push forward despite setbacks, and has recently released a free EP through Loud.com to raise hype for an upcoming album, unabashedly boasting beats from 1980’s New Wave.

Right from the opening synth bassline and shattering-window snare of “1988,” its clear KNONAM is on a late 80’s gangsta rap tip. Dropping references to Kool G Rap, cassette decks, and Motorola pagers, this album places listeners in a bygone decade. The production is deliciously Vice City, conjuring images of cocaine-soaked carjacks and neon nightclubs from the tapes this Minnesota rapper bumped on cassette two decades ago. Despite the consistent 80’s references throughout, KNONAM’s flow is anything but a throwback, displaying an influence that extends beyond the confines of the early gangster rap period. His tight style brings a new school vibe to what could have turned into an album of aged-rap cliches, if handled improperly. Thankfully, KNONAM knows how to approach the material.

There is plenty of self-aggrandizing and shit-talking all over this album, but this is where KNONAM seems to be most inspired. He barely takes a breath rapping over “Ransom,” hitting listeners with an impressive display of rhyme and microphone control. The 80’s sound is where KNONAM most often treads, but songs like “Knock You Down” find KNONAM equally comfortable over a more modern post-J-Dilla funk beat (provided by Jake One). He is also adept at hooks, crafting memorable and catchy choruses that fit perfectly with the energy brought to the verses. Another Jake One track, “Tilt the Brim” (using the beat for “How We Ride” from White Van Music), for which KNONAM was a finalist in the superstar producer’s contest, has the rapper locked in an attempt to prove himself on a larger scale, rapping all over the track with no hook and few breaks. Despite the penchant for the rap he was raised on, the skilled emcee also shines over more modern beats.

This free EP features some big name guest appearances, including Royce Da 5’9” and early supporters Brother Ali and Eyedea. Eyedea’s guest spot is essentially little more than a name-drop, as his “featured” spot in “1988” is nothing but a first-take ad-lib at the tail-end of the track. “Why don’t they call you ‘Tiny Pants’? Fuckin’, pants the size of... little tiny... things that are so small that they are called tiny, that’s why you’re called Tiny Pants; that’s stupid,” is all we get out of this guest spot. Thankfully, the other guests turn in legitimate appearances beyond simply being in the studio at the time of recording. Detroit’s Royce spits a sufficient verse in the middle of “I’m Back,” fitting in nicely with the gunshots-and-cheesy-guitar track that KNONAM seems to sink into with ease. Ali’s guest verse and hook on “Hold It” showcase the RSE rappers skills at talking trash while maintaining the tight wordplay he’s known for. KNONAM drops bookend verses alongside these heavy hitters and proves himself a viable counterpart to proven names.

Even with an overall New Wave sound, this Loud.com EP is varied enough that it does not overstay its welcome. KNONAM knows how to make these outdated sounds his own, and makes each song sound surprisingly fresh. The richness of his background and his clear talent left me wanting to hear more out of him; even with his skill at boasting and hard repping, this album simply whet my appetite for something deeper than what is presented. As a mixtape, it serves its purpose well, presenting the listener with the rapper’s core style and where he sits most comfortably. KNONAM brings a new school vibe to an old school sound, and finds a middle ground that sounds fitting and original

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