IN the vastly over-saturated genre of hip-hop, it can be exceedingly difficult to prevent yourself from merely fading into the background. A scene which is constantly spawning off-shoots, niches and momentary phases, it is only the truly unique and uncompromisingly inspired that can ascend toward the upper echelons of the ‘rap game.’

Hailed by many as one of the freshest propositions to embed themselves within its modern landscape, Queens-native Action Bronson has long been regarded as an MC with the kind of innate sense of humour and awe inspiring lyricism that has enabled a small minority of rappers to transcend its boundaries and become a true cultural figure.

With several incredible mixtapes under his belt, Bronson’s mainstream success will ultimately boil down to how Mr Wonderful; his major label debut, fares with both the press and fans alike.

Beginning the album with frenetic keys and an aesthetic similar to Billy Joel’s legendary ‘Anthony’s Song’, ‘Brand New Car’ pits traditional rap structure against the pop sensibilities of 70’s FM rock to great effect. A style that Bronson had initially adopted upon the Party Supplies assisted Blue Chips 2, it’s inherently joyous nature broadly sets the tone for what is to occur throughout the record’s duration.

‘The Rising’ sees the charismatic MC spitting bars over a beat reminiscent of The Menahan Street Band. Buoyed by his impeccable flow and hilariously wry lyrics; the track culminates with a lengthy and unsettling rant from his cousin and frequent collaborator Big Body Bes.

Continuing the album’s early momentum, ‘Bronsolino’ delivers the stellar combination of ‘Terry’ and ‘Actin’ Crazy’; two of the earliest excerpts to emerge from the album which remain standout tracks.

Held together by a lavish beat that wouldn’t be out of place on Guru’s Jazzmatazz series, ‘Terry’ sees the MC in strident form, preaching the benefits of his indulgent lifestyle. Laced with his usual mix of obscure references and braggadocio, the ambient textures of its outro are demonstrative of his newfound experimental stance towards production.

Whilst the former may verge upon bliss and serenity during its final strains, ‘Actin’ Crazy’ serves as its polar opposite. Infusing heart pounding boom bap drums alongside bizarre synths that recall the  production of Flatbush Zombies’ Erik ‘Arc’ Elliot, it enables Bronson to navigate the kind of amped up territory that saw him touted for greatness by so many following 2013’s Saaab Stories. Lyrically, the track sees Bronson reiterate the hedonistic rhetoric of many of his verses, stating: “All I do is eat oysters and speak six languages in three voices.”

’Falconry’ has an organ based beat and stuttering structure could easily be misinterpreted as a deep cut from The Wu Tang Clan’s Iron Flag era before ‘City Boy Blues’ sees Bronson’s distinctive drawl verge upon greats such as John Lee Hooker and JJ Cale over a funk based guitar riff. Undoubtedly one of the album’s most jarringly unexpected tracks, it will simultaneously displease hip-hop ‘purists’ and provide an interesting talking point for those with further reaching tastes.

Continuing to eschew current trends to deliver something completely left-field, ‘A Light in the Addict’ features jazzy piano and sees the MC evoke a sorrowful tone that hasn’t been explored in previous projects. Featuring the soulful voice of Black Attlass towards its climax, its beat comes courtesy of aforementioned frequent collaborators Party Supplies; delivering an exquisite instrumental outro containing intricate guitar and scat based backing vocals.

Perhaps the most commercially viable composition on the record, ‘Baby Blue’ features the record’s two biggest guest stars in the shape of Chance The Rapper and British super producer Mark Ronson. With Ronson seldom straying into the realms of rap production since 2003’s Here Comes the Fuzz, his presence upon the track is evident of the gravitas that the man often referred to as ‘Bam Bam’ holds in modern hip-hop.

Led by a guitar lick that simultaneously nods towards The Police’s trademark sound as well as 80’s rock outfits such as Foreigner and Toto, ‘Only In America’ sees Bronson emasculate his competition; comically stating: “You and your father never played catch, he taught you how to twerk.”

Reinvigorating the album following the relatively unremarkable ‘Galactic Love’ and meandering live recording ‘The Passage’, ‘Easy Rider’ concludes the LP with aplomb. Over an unorthodox beat that is propelled by a boisterous bass line and soaring synths, the track provides a fittingly cinematic crescendo for an immersive and musically diverse album. Conjuring up strong imagery with its ‘ride the harley into the sunset’ hook and subsequent sound effects, Bronson brings his most comprehensive release so far to a close with a masterful guitar solo from Eminem collaborator Curt Chambers.

An album that is sure to divide a hip-hop community in which some continue to place their unwavering faith upon samples and discourage any subversion from traditional structure, Mr Wonderful is sure to delight Bronson’s current fanbase and nurture his reputation as one of rap’s most daringly inventive MC’s. A major label debut that is not without its flaws, he has managed to maintain the essence of his underground roots and refused to be fazed by the weight of expectation.