Chee Malabar has recorded as part of the Himalayan Project and Oblique Brown, but he’s recently started to branch out as a solo artist. For this album, the Indian born emcee enlisted Staten Island producer Ali Abidi to lay down the beats. Burning Tire Artisan is rooted in classic East Coast hip hop, from KRS-ONE to Nas, but is given an unique perspective as Malabar presents us with a political awareness that’s informed by his experiences as an immigrant. This is complimented by the production work of Ali, himself a Pakastani immigrant, who manages to work South Asian music into a classic New York boom bap sound.

Malabar has stated before that his early work with Himalayan Project suffered from the fact that he hid behind political rhetoric and didn’t share his personal experiences. With Burning Tire Artisan, Malabar is making a concerted effort to tell more of his unique story. However, there are times when he falls back on the crutch of general political rhymes. On the opening track, “Live From Al-Jazeera,” I was a little worried, since it seemed to be full of unfocused political rage, and between the rhymes and beats, just never comes together into a coherent listening experience. Listening to a song like this should quickly bring to light just how difficult it is to make an effective political rap. One thing I’ve found, especially when an emcee possesses a point of view that isn’t well represented, is that an effort needs to be made to give proper context to the concerns and struggles. On the second track, “Soft Eyes,” it opens with Malabar speaking, “The whole city smells like hot garbage. All around me, I see motherfuckers walking on eggshells - like they’re afraid to hurt my feelings.” This short bit just leaves me confused as a listener. Does he mean New York smells like hot garbage? If so, how does that effect you? What does that have to do with the way people treat you? What does it have to do with the rest of the song? This happens a few times on the album. At the end of “Cassette Era Rhymer,” there’s a skit about someone getting worked up about a new pair of Jordan retro sneakers, only to have someone else get mad. However, the two points of view aren’t clearly explained. Instead, we’re just told that a pair of Jordans “…isn’t going to solve all this bullshit.” I’m not sure what the bullshit is that is being referred to, and I would doubt that anyone worked up over some new kicks would suggest they would solve social issues, so a little more dialogue with more substantial discussion is required if Malabar wants to drive a point home with this skit.

While those are points where I found the album frustrating, there are points when the album is extremely moving and powerful. “New Yorkstani” with emcee Mo does a fantastic job of relating the changing face of immigration in NYC, and how difficult it is to establish a new home in a foreign land, with a chorus declaring “Many tried to tame her, many tried to claim her/left the same way they came - perfect strangers/the city is yours, the city is yours.” “Kandahar Cruise” is a short but effective song featuring a clip of writer/journalist/professor Amitava Kumar speaking about the lasting effects of torture. “Harsh Truth” is where the album really takes a step towards becoming a really special album, as we get to see a vulnerable side of Malabar, as he relates the good and bad sides of relationships. It helps give the project a point where we’re not just considering big picture subject matter, but let’s us relate to the artist on a personal level. “Good Ones” continues along the same path, as he’s forced to relive a painful past relationship. When he’s focused on a clear message and really opens up, Malabar shows he’s capable of writing smart passionate lyrics that can elevate the record. Combined with a confident and deliberate delivery with a touch of New York swagger, Malabar has the ingredients to be a top class emcee.

Burning Tire Artisan has moments where it doesn’t communicate effectively as it needs to, but it also features moments where the music resonates so loudly that it’s impossible to ignore, and the album hits much more than it misses. Malabar brings a perspective with his background that we don’t hear as much of in hip hop, but that doesn’t mean much if the music doesn’t deliver. While there were a few moments that were a little weak, the strong moments are much more important, as they force us to expand our understanding of the scope of hip hop and the world we live in. I’m excited to see where Malabar goes from here.