The Last Outlaw [Editorial]

Mar 20 2011

Standing as one of the last testaments to personal integrity in music, Brotha Lynch Hung has survived the fallings of the hip hop industry without ever changing his identity. Regarded as one of the originators of the horror movement in West Coast hip hop, Lynch created his own sinister style of music, which he dubbed “rip gut”. The Sacramento MC has planted his feet deep into the industry, and has managed to outlast hundreds of other MCs who were here today and gone tomorrow. Lynch has avoided the usual route of mainstream television shows and radio stations in favor of longevity with fans of independent music. His cannibalistic rhymes are too hardcore for mainstream attention, but that has never swayed Lynch to tone down his material. If anything, Lynch has turned up the volume on his sadistic and expletive rhymes, creating some of the most violent music in hip hop today. Refusing to change for anybody, Lynch is the last of a dying breed.

From the beginning, Lynch took a risk on his music. Born an only child with little friends, if any, he grew up admiring the twisted villains in horror movies. His first push into music proved to be successful, as he charted on Billboard with his EP, 24 Deep. In a time where controversial music could propel record sales, Lynch was simply expressing himself. The success of the record was incidental. Following the EP, Lynch released his now classic and iconic album, Season Of Da Siccness. Lynch took his brand of “rip gut” music to the next level with themes of misogyny, abortion, rape, and murder. The album charted even higher than his last and helped place him amongst the top names in West Coast hip hop. Lynch’s rhymes and subject matter grew even darker and bloodier with every album. Whatever mainstream attention he received was the product of a curious world looking into the mind of a madman. Passing on pop and hip hop trends, Lynch continued his murderous assault on music with no regard for public safety.

Watching the industry grow and change in structure, Lynch is a valuable commodity. Here you have an artist who has the artistic freedom and creativity to be as sick and disturbed as he wishes, and still move units. Fans adore Lynch and have been following him from the beginning. His fan base is not limited to horror fans, but his presence in that community has helped keep him relevant. Now in 2011, Lynch has resurrected his career with Strange Music and has been pushed to a different level of exposure. With major tour schedules and an incredible online presence, the Brotha Lynch Hung brand is as hot as ever. The most interesting part of that, is that Lynch is still the same old cannibal murderer. Even on a label known more for its celebratory music than bloody themes, Lynch pushes on with flesh eating narratives. His trilogy of albums, inspired by his love for movies, is carried by a serial killer protagonist. The eerie production coupled with Lynch’s wild and unique rhyme pattern have made for the darkest releases on Strange Music. Not since Project Deadman have fans of Strange Music received such morbid and ruthless aggression in a record. Even with the number one independent label backing him, Lynch stands tall, proud to not be another robot for the major labels.

Coming off the heels of Dinner And A Movie, Lynch’s Coathanga Strangla is only weeks away from its release. Fans can expect more murderous mayhem from the Sacramento lunatic who has kept them entertained for two decades. A legend in the game, and relic, in a good sense, of creative pride, Lynch is a pure artist. Don’t be surprised when the Coathanga Strangla is the last thing you see.

-Victor Sandoval, Strange Music Blogs Contributor

Click here to pre-order your copy of Coathanga Strangla, which includes an autographed copy of the CD, a Coathanga Strangla t-shirt and album sticker.