Saint Bodhi - Mad World [Album Review]
Hailing from South Central LA, Saint Bodhi and her entrancing blend of Hip Hop, Trap and R&B are picking up steam. Having established herself as an accomplished songwriter, with names such as Beyonce, Erykah Badu and Jaden Smith among the heavy-hitters tapping into her zestful artistry over the years, the multi-hyphenate FlowerChild delivered her maiden solo effort, ‘Mad World’, in October. Boasting an eclectic flair, Bodhi’s vast musical palette reflects the diverse soundscape of her native LA, resulting in a forceful debut project, frank in its storytelling and exuberant in its flexing.
‘Mad World’ is an enthralling and occasionally frenetic introduction to an artist born and raised in gritty South Central streets. Packed with gripping tales of addicts, violence and infidelity, Bodhi herself dubbed the album an ‘emotional journey.’ The long-lasting influence of her surroundings on her musicality pervades, through both her assorted beat selection and hard-hitting delivery. Opener ‘FlowerChild’ sees her gliding airily over ethereal neo-soul keys, asserting, “When I get older, imma get up out this bitch, Imma get rich,” with a quiet confidence. Bodhi’s conviction is commendable; swathed in bravado, she exudes a notable assuredness in her lyrical ability. Declarations like, “Wanna be me, you’ll never catch up to me honey,” on energetic banger ‘Pray’ set the tone for the tempestuous journey listeners will embark on.
Her straight-talking ways seldom wane throughout the project. Whether bragging, “everyday I get a cheque, I’m the shit,” on trap anthem ‘Like That Bitch’ or candid admissions such as “I don’t trust too much in this mad world” on the title track, Bodhi exercises her pen with the full disclosure of an intrepid artist, unshrinking in sharing her curious experiences of drugs, scamming and all that lays between. These moments of vulnerability are indelible, helping to depict a “South Central bitch with an attitude, but hugs you,” in Bodhi’s own words. The dichotomy between these two prevalent moods is enough to grab her listeners attention without relying too heavily on shock value. Whilst her imagery at times verges on fantastical, Bodhi excels in portraying the polarity of real human emotion, confessing on ‘Pray’, “I say I’m alright, I’m not fine,” swiftly countered with the warning, “Don’t test my thug tonight.”
Bodhi is comfortable in the art of storytelling. On the eerie ‘Brand New’, she depicts the cunning ‘Keisha’ who “stayed around the block.” The rapper follows in the footsteps of her West Coast counterparts Kendrick Lamar and YG who on ‘Keisha’s Song’ and ‘Keisha Had a Baby’ respectively, symbolise the fictitious lady. Bodhi draws on lived experiences to deliver ‘Gold Revolver’ and ‘OJ’s Glove’, in which the scorned rapper’s fantasies of exacting revenge on her ex spiral into regret.
Mad World presents Bodhi as an all-rounder with a lot more to give. No sole reigning sound prevails in the California native’s musicianship, which may come as little surprise given the breadth of artists she has written for. The 10-track album packs more than enough zeal and Bodhi’s eccentric artistry makes her a name to remember.