The underground rap music scene has been gaining a lot of attention over the past year for the unique approach that these young artists have towards sound. One piece of work that has recently emerged from the underground scene is Osamason’s Jumpout. The unique and chaotic sound and layout put into this album caught my attention and made me want to dive deeper into the true meaning of Jumpout. 

After my first listen of the album, I was caught off guard by the production and sound contained on the album. The majority of the beats on the album were crafted by the producer Ok, as well as Draco.FM producers Legion, Gyro, and Warren Hunter. Ok produced 15 of the 20 tracks on the album, including his signature style of unrhythmic synths combined with heavy 808’s, creating a high-energy backdrop for Osama’s lyrical delivery. While this sound provides a sound to get hyped up for, I noticed that it begins to become somewhat repetitive throughout the album. Because the majority of the album is produced by Ok, there is a clear repetition of material that resides on several beats throughout the album, taking away the thrill of listening to certain tracks because they sound so similar to other ones. Other than the slight repetition contained on a few of the tracks, the album’s production sounds great and set the perfect tone of the album’s chaotic theme. 

The lyrical content and its delivery is a necessary factor needed for a proper review on Jumpout. Osama purposefully makes his voice sound crisp and blurred to construct a perfect layout for rapping over the album’s beats. Osama creates a perfect blend between executing his lyrics over these loud and messy beats to bring the exciting energy to listeners’ ears while also conveying meaningful messages. Songs like Made Sum Plans, Room 156, and Frontin are perfect examples of bass heavy beats blended with a heartfelt tone combined with raw emotion in the lyrics to make a unique and appealing sound. “Room 156 employs harsh pan flutes, sounding like someone threw ‘Magnolia’ in a wood chipper” Pitchfork Magazine said. When considering the lyrical portion on the album, Osama did a great job leveling out the fun and meaningfulness. The song Southside contains more entertaining lyrics, while the song Frontin gives off a more daunting tone while touching on more personal topics. When overseeing the lyrical side of the album as a whole, Osama does an excellent job inheriting his lyrical flow onto Jumpout.

When overseeing the album for its symbolic meaning rather than literal meaning, there are a lot of small details that serve great significance. The album’s title, Jumpout, can symbolize Osama’s journey through his rap career, starting off small and slowly gaining attention until he finally jumps out into the scene and marks that he made it in being successful. Another interesting factor that I noticed was Osama’s “emotional shielding”. Certain topics Osama touches on in his music can be easily disregarded by listeners because the main focus is on the chaotic production that Osama hides behind to convey his personal messages. The album as a whole holds the greatest symbolization, which is to be yourself. Everything about Jumpout breaks mainstream industry norms and creates its own sound. “Jumpout pushes the limits of rape and experimentally crafted rap” AllMusic said. Jumpout refuses to comply with the sound of mainstream rap music and forms its own structure by pushing the boundaries of what is typically considered rap music. 

Overall, Jumpout exceeded my expectations. When I began listening to the album, I had no idea what to expect but by the end, my opinion on Osama had changed completely. Jumpout isn’t just an album, it’s a statement on Osama’s willingness to experiment with new sounds and push the boundaries of rap music as a whole. It gives listeners a glimpse of the constantly evolving landscape of the rap scene and solidifies Osamas impact and place within it.