An album by G.T.I.M. aka GTek the Ill Meta4

Review presented by Issac Sandoval

Listen to “W.O.R.D.” by G.T.I.M.

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GTek the Ill Meta4, also known by G.T.I.M. for short, sent The Write Reviews word that he wanted his album W.O.R.D. analyzed. Of course we accepted the task, looking forward to hearing the album based on the cover art alone. With Warren Peace being extremely busy handling some behind the scenes work, Issac Sandoval, aka the Expert Examiner, steps up to the task of breaking down a potentially lyrical assassin’s album to find out if there is treasure within or if the chest is empty.


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1- Rap Slayer (Extended Version)

Can you say bars? G.T.I.M. can. Adopting the “Way of the Intercepting Fist” into Rhyming is not going to be an easy task. A Wu-Tang Clan influence is evident from the very beginning. We’ve got elements of martial arts, boom bap beats, and that awkward pocket RZA type flow. As an intro it sets the album up nicely, G displays some fun bouncing rhyme schemes infused with some witty word play, make no mistake you’re in for a lyrical display on this album.

2- Dope Spit

In case you thought the first rack was a fluke, G wastes no time going in over another boom bap. Here he brings the same lyrical ability from the intro, but he gives us a small taste of some double-time flowing as well as expanding on the awkward bouncy flow. The hook is a nice piece of catchy word play that’s easy enough for everyone to follow and catch the ear.

3- Chi-Flow Chilla

G grabs another old-school instrumental and gives us another catchy hook. The hook rivals the previous in catchiness, but is much more impressive with the double-time delivery. The beat is much smoother than the two before it and it brings a nice change of pace. The first verse is not my favorite, there’s a four bar scheme where he lists the sports team from his hometown of Chicago, and it’s just far too simplistic for the level of lyricism that he’s established to this point. The second verse is much better we see a return to form as far as the literary devices being used, and our first dose of substance on the album. Chi-Flow Chilla sounds like two separate songs, with the first part being disappointing.

4- Mistic

No, that’s not a typo, it’s short for optimistic. Here G gives us perhaps his best display of flow. If I has to visualize the instrumental I imagine a basket being weaved, and we can see the wicker gently sliding in and out with another piece. That other piece is G, who’s natural pocket weaves in and out of the beat and the end result is a great vibe and a sonically appealing track.

5- Rhyme Form feat. Merkules and DJ David

Our first encounter with a featured artist is none other than Merkules, seriously if you’ve never taken the time to listen to Merkules I personally recommend him. Merk comes in and delivers and excellent verse and his voice is a complimentary contrast to G’s voice, the two styles mesh well while standing out uniquely, great feature. DJ David brings some 90s flavor to the track, and honestly what would this album be without some scratches?

6- RTRF (Real Talk Real Flow) feat. Maurice B.

We got some soul on track six ladies and gentlemen! Maurice B delivers a hook that I’m not even sure how to describe, but the sound reminds me of R. Kelly on Cassidy’s Hotel, not a bad thing to resemble honestly. The hook is backed by a smooth instrumental, the drop comes as soon as the hook is over. It hits hard and G hits you with that RTRF, pay attention on this track, I still don’t think I’ve caught everything. Only drawback is on the third verse when G breaks out the double-time he loses some of his diction. Overall, it’s a great track.

7- Free

In case you weren’t expecting another old-school beat, consider yourself warned. We’ve got a decent enough emcee hook, but then he starts the verse with his “Supercalifragilisticexpiali-dope spit” that was the hook on track two, so bonus points for being self-referential. Not many people will do that, and it’s always something I’ve enjoyed. If you need a track to vibe with, I recommend you throw on Free, that’s exactly how that saxophone makes you feel the production by F. Lawless was excellent.

8- By My Side feat. Maurice B.

Welcome back Maurice who delivers another smooth hook that takes you away. Sadly By My Side does not stand up to our last G and B collaboration, and the fault here goes to G.T.I.M. This record was a great idea to bring some versatility and variety to the album, but it was poorly executed. I think the failure of this track all comes down to one thing: his delivery doesn’t match what he’s saying. His awkward choppy flow works brilliantly on these old-school beats, and he’s one of the few artists that I can tolerate the awkward flow from, most do not do it well. But the words he is speaking to his “ride or die” are smooth and charismatic. So I applaud the bold risk of attempting this record, if he had taken the next step and altered the flow to fit his words, I think this track would’ve been excellent

9- Monstuhh

On track nine however, G is back on his ish. No joke, the last two days I’ve been walking around going “paging doctor Frankenstein I think we got a monstuhh!” Simply brilliant hook that will get stuck in your head. We have probably the hardest hitting beat on the album backing up G’s best display of fast-spit. His enunciations is clearer on Monstuhh than any other song where he utilizes the double-time technique, and he also maintains the speed for longer. Very impressive, nothing else to say.

10- Climb

The most modern of all the instrumentals, most modern song of the album really. From the drum roll to the smoother flow, G brings his sound into the present in a way that he doesn’t sever his ties to the era that he clearly feels is where he belongs. Since I’ve already drawn more comparisons in this review than I ever do, I’ll do one more. Jadakiss’s newest album Top Five Dead or Alive did the same thing bringing the gritty sound of the nineties to the trap sound of today without sounding corny. I’ll even go out on a limb and say that G and Dope Orchestra did this just as well as Kiss and Swizz.

11- Piss Skit

I mean, it’s funny, I’m not sure if it adds anything to the album in any way. If this is a mixtape I’m giving bonus points for the hilarity of the skit, but if it’s an album, points off for being a deviance from the project as a whole.

12- Get Live feat. Dev and J-Black

G takes us out the same way he came in with a wide array of literary devices being called upon on over a boom bap beat. Another departure from his usual flow into something a little smoother that makes a killer combo with this beat. I do wish J. Black had brought some more energy to the hook to send us out on a high note similar to the way we came in. I’m not sure exactly where Dev was on this song, additional vocals perhaps? Either way, solid enough outro to accomplish it’s purpose.


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Rhyme Form, RTRF (Real Talk Real Flow), and Monstuhh


Way Of the Intercepting Rhyme Device is a solid Hip-Hop album from Chicago emcee G.T.I.M. Make no mistake this album is straight Hip-Hop, by someone who is Hip-Hop and it’s for those who are Hip-Hop. This album is not for everybody, the casual Hip-Hop fan is not going to get it, and the pop Hip-Hop listener will grow tired of it. But for those of us who live and breathe Hip-Hop, this is an enjoyable piece of work. It’s something that a head can throw in while chilling on the porch, riding around town, or trying to get some work done. What I’m about to say is going to sound harsh, so understand that I like this album, I enjoyed this album, and I would purchase this album.
Now that being said I’m going to draw one more comparison: Canibus. Before you jump all over me for the Canibus comparison I want you to think back to time in your Hip-Hop head life when Bis was one of your favorite rappers. For most of us heads he ranked way up at the top at one point, and maybe even still. There may be a lot of stigma surrounding him because he just won’t stop dissing Eminem or for pulling the notepad out against Dizaster, but that’s not what I’m comparing here. When you look at Canibus’s full body of work he’s known for delivering some incredible rhymes over less than stellar beats, and I’m afraid that’s what we have here. A few of the beats are good, but the majority are lackluster and forgettable. They provide a wonderfully nostalgic feeling and that’s part of what makes it enjoyable, but at the end of the day, we’re not going to rush to find these producers catalogs based off of what we heard here.



(3.5 out of 5 stars)

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