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by
1 January, 1997@12:00 am
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Acey’s alone once again with his follow up to his slept on solo debut All Balls Don’t Bounce, with his latest effort Book of Human Language. This time striking independently, giving us an entire bible of life’s lessons in rhyme form. But without a major label Capitol to direct him, Acey defines his own hip-hop guidelines, which can be a positive or negative, depending on how you look at it.
Mumbles’ provides the tracks for the album, with experimental beats, which almost fall into the “trip-hop” variety. “Guidelines” seems to be the only song reflecting Acey’s earlier All Balls material, while the rest of the album follows closer to the formula of songs like “Masquerade” from the Project Blowed album.

The Book Of Human Language isn’t a series of short stories, like most hip-hop albums. This “book” is a novel, divided into chapters, each relating to each other, making casual listening not an option. Each of the tracks have their own hidden meaning, such as Aceyalone vs. Father Time on “The Grandfather Clock” which later unfolds on the eerie death metaphor “The Thief In The Night” Other outstanding tracks include the haunting illuminati refrences on “The Walls and Windows” where Acey freaks a Mumbles track previously heard on Deep Concentration, and “The Balance” where he breaks down yin and yang in a colorful fellowship flavor.

Overall, the album serves as an excellent piece of poetry, as Aceyalone never fails to give you flawless flows. Although, the production on this project tends to be a bit further out there, which sometimes can lose the listener. Clearly, All Balls, had better beats, as did Project Blowed. While it seems like a dream come true to have a whole album like “Masquerade,” the tracks aren’t up to par with previous efforts, which keeps this just short of being another underground classic.

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