Fresh off the experimental release with underground legend C-Rayz Walz, Freestyle vs. Written, Israeli-born, New Jersey-bred MC Kosha Dillz embarks on his first solo LP produced entirely by talented LA beat maker Belief. The album, Beverly Dillz, was reportedly recorded in the Beverly Hills section of Los Angeles. An interesting mix of danceable tracks and powerful rhyming, Beverly Dillz is at times wildly original and entertaining. Despite a small snag here and there, the album mostly soars.
The album gets off to an amazing start with the busy, bouncy “DooDoo.” Kosha Dillz’s confident rhymes sit right in the pocket of Belief’s production and the hook is a memorable and fun romp. Dillz keeps the rhymes playful but his pure rhyming talent bolsters the humor. Next up is, “LA Ish,” and while it’s a bit of a sharp turn in sound, Dillz offers his sarcastic observations on Los Angeles life in his own way. “Fat Love” is an early letdown considering the strong start. The production isn’t horrible but Kosha’s attempt at portraying the ladies man crash lands with immediacy. By the time the hook comes around, the listener would wisely skip the track. The LP returns back to form with the excitable “Dilly Wonka.” Kosha matches Belief’s nearly eerie but moving production with ease, with rhymes that border on otherworldly. The hook brings everything together into a neat, tight package. “Cellular Phone” is funky but it doesn’t provide the best platform for Kosha Dillz’s steady rhymes. The track mostly drones on although Kosha valiantly delivers his verses – the hook is a small redeeming feature.
“Bubble Gum Pop” is so out of place production wise on this album, it makes it stand out in the best of ways. The track sounds tailor made for a much more visible artist than Kosha Dillz but not only does the MC sound at home on the track, he complete owns it. The sarcastic, fun-poking sensibilities of the rapper are on full display with this. The album comes to a fitting close with “kal ha kavad lirkod” – which has Kosha Dillz employing the Hebrew language prominently in the song. The reggae-tinged number keeps things moving and Kosha even manages to inject plenty of homage to his homeland and lineage. In one of the more surprising releases of the year, Kosha Dillz never appears to take himself too seriously and that’s a good thing. The production is mostly strong and doesn’t detract at all from the MC’s overall aim – definitely a solid release for the fall.
– D.L. Chandler