Sy ShacklefordSunz of Man and Da Last Future founding member Shabazz the Disciple had quite the prolific year in 2024, having released a full-length solo album and three EPs. Hitting the ground running in 2025, the Brooklyn-bred emcee has released “The Writing’s On The Wall”, a thirteen-track collaborative album produced entirely by Australian beatsmith Ed Nodz. With the album cover depicting a hodgepodge of apocalyptic images befalling New York City, Shabazz lays down his prophetic conscious bars over Mr. Nodz modernized boom-bap.
Introduction aside, the album truly begins with “144K Anthem”. Over looped layered strings and no drums, Shabazz’s flow consists of a slightly hoarse voice, melodic inflections to his voice, and clever flips on words. Multiple listens make it clear that this track juxtaposes the number 144,000 into its double entendre: One for karats of gold, and the other referencing the rapture. The reggae-tinged production on “Bought with a Price” comes laced with religious imagery in Shabazz’s lyrics while “Burn Babylon Burn” has a decidedly upbeat production that contrasts the end-times theme in the raps. The lead single “Wizzard of Oz” makes use of metaphors to provide lyrical commentary on the myriad of America’s societal ills:
The middle of the album is kicked off with the piano-driven spoken word interlude “Salvation (4 Windz)” before giving way to “Swing Lo Sweet Chariot”, which (as with most of the album) carries a heavy reggae influence. “Chant Down Babylon” is the one track that provokes the imagery of the album cover, largely because of Nodz’s strong urban production, particularly with the horn sample. Lyrically, Shabazz predicts a war where technology is pitted against spirituality. The title-track is boom-bap that has the added effect of being jiggy (i.e. you can dance to it), with Ed Nodz providing a bounce to it which Shabazz readily adapts to.
“The Watchmen” has a dark aspect to the production with its moody bass and foreboding organ keys, and lyrics prophesying a nuclear holocaust. “200 Thousand Thousand” is the perfect segue from there as it begins with a nuclear siren effect. “Departure” bookends the album’s intro (titled “Arrival”), but it’s not the final song. “Conception Immaculate” is actually a bonus track and it’s here that Shabazz’s rhyme delivery is less reggae-infused and more Ghostface Killah-influenced. As for the verdict for “The Writing’s On The Wall”, its too steeped in religious prophecy with sprinkles of conspiracy theory to be a completely enjoyable listen. Ed Nodz’s production has some bright spots, but is mostly without much variation. Shabazz is can spit, there’s no question. It’s just the redundancy of his topical rhymes for this album can wear one down.