Jon Connor — SOS: Review

Kevin Montes
3 min readApr 29, 2020

There is a lot that can be said about Jon Connor, but most importantly is the vigor he pushes with the music that makes you want to punch someone (energy). He is one of the last few authentic emcees in the genre. So every time he drops a project it feels like a breath of fresh air for that moment.

Jon Connor is visceral and tangible with a master craft he has created in his flows and writing. He can come on any track and destroy it, so much so the flexes he released in albums and freestyles amass to his already great discography.

SOS also adds to that marker with professional consistency in every aspect of a track’s creation. It is the most fleshed out Jon Connor has been a whole project. His lyrical prowess has yet to be outmatched and this album keeps solidifying his status as one of the best “authentic” emcees in the game.

When SOS has Jon Connor making tracks that are very self-love-objectivity iit loses all the whimsy he carries. It’s as if he is taking a step back to re energize his transcendent flows. But when it doesn’t, the album delivers on many levels.

Like on “The Procedure,” which weaves a perfect blend of hi-hats and snare/bass-percussion like some of the sounds of yester. All the while Jon Connor comes in ready to destroy people and microphones like how Ice Cube was depicted on “No Vaseline,” on Straight Outta Compton.

But there are times where the tracks turn into the mundane with the stereotypical “typecast” track that revolves around self-love and a woman’s inner beauty. Though, metaphorically speaking about Flint, his words seem lost in the mess he purposely created. It doesn’t take away from his craft.

Jon Connor is a raw spitter — telling it how it is with wicked quick jabs that leave you in disbelief. His technique for weaving realism and metaphors is profound, and not many rappers today emanate the same spirit.

“Vehicle City,” embodies that spirit fluidly and the instrumental evoking sirens and outer sounds to create the background. It feels less like a song and more like a performance you’d catch in a Broadway play.

Some tracks don’t carry the same oomph as the other singles of “Vehicle City,” but still hold their own weight. This holds true for 80% of the album. Nothing can hold back Jon Connor from coming in hot and creating destruction like he did with some of the singles to hype the surprise release.

It’s feature heavy line-up gives more insight into how meticulous each song sounds. He brings out some rappers that maintained a star underground status into light again, like Jarren Benton and Dizzy Wright. And some high profile hip-hop ones like Three 6 Mafia’s DJ Paul and Kelly Price.

Jon Connor has kept it quiet for a minute, but this new album has been a pleasant surprise. Though it may not amass to the heights of Unconscious State, but it is still a fun turnout for the Michigan rapper.