Any D.R.O. project guarantees the listener two things: meticulously hand-crafted production and simultaneously enigmatically-specific yet universally-compelling lyrics. FETAL, D.R.O.’s latest gift to audiences everywhere, is not only a fulfillment of both of these promises, but also a perfect example of what makes D.R.O. such a unique and exciting artist: he makes hip-hop that immediately engages the casual listener while also rewarding the close, repeat-listening of the more curious and patient music-lover. In an age of trendy, disposable rap, FETAL distinguishes itself from the pack through its visceral modernity and timeless depth.

Over the course of this tight, five-song EP, D.R.O. explores the extremes of the mental and emotional states of modern-day life; specifically the duality of superiority and inferiority. Never one to over-simplify, he steers clear of reductive ideas of psychological anguish in favor of the nuance and subtlety of interior life. On the surface, ‘GOD LIKE FEELING’ can be heard as comfortingly familiar boast-rap, but upon closer inspection the song reveals its true, multi-layered self. Its chorus of “Only love with you…” reminds the listener that every feeling of grandiosity has its roots in some deep-seated desire for connection or an equally deep fear of inadequacy.

This is the dichotomy D.R.O. mines richly on FETAL.

The complexities of ‘GOD LIKE FEELING’ become even more apparent when compared to the track ‘I AM’ in which D.R.O. enumerates and embraces his perceived shortcomings as a person and an artist. With lines like “I am that/judging aristocratic asshat/white trash in fact…” and “Maybe canary barely/I’m nearly a fairy/dairy-intolerant honest kid…” D.R.O. seems to be practicing acceptance of the kind of negative self-talk every listener will no doubt be able to relate to. In light of ‘I AM's revelations, an astute listener will reconsider the ostensibly ego-centric viewpoint of ‘GOD LIKE FEELING’. What causes and conditions are behind the ego? Under this scrutiny, ‘GOD LIKE FEELING’ begins to seem less like a statement of braggadocio and more like a self-soothing mechanism. These competing concepts come to a head in ‘SHAME’, where D.R.O. opens a safe-space for the listener to interact with the eponymous mixed-feelings. Musically ‘SHAME’ is a bubbly, danceable, head-bobber but, lyrically D.R.O. grapples with overt shame and regret, with lines like “my fears are the best-dressed again/success isn’t necessarily a friend I get…” and “I think I might just digest all of my pain that’s in my life…” It’s as if D.R.O. is indicating to the listener that the arduous process of self-reflection is best punctuated by moments of care-free, non-judgmental honesty. D.R.O. wants us to move our bodies not in spite of but because of the mess in our heads.

On FETAL, D.R.O. gives us two masterclasses in the marrying of production and content. ‘OCONVID’ begins with a suspiciously serene synth melody while D.R.O. releases an onslaught of fears and concerns, only to end with a Noise-influenced instrumental break. The song perfectly mirrors the way we work ourselves into a mental frenzy daily only to go on about our business with that chaos in the back of our minds. The first movement is the moment in the morning when you pour your first cup of coffee and slowly become alert to the myriad stresses and anxieties you have to look forward to that day, while the second movement is the time to “sip, sit back and think…” D.R.O.’s production in the first half of the song lulls the listener into a false sense of security while he slowly unfurls a canvas on which he will paint an abstract-expressionist portrait of psychic unease. The instrumental break is perfectly produced and encapsulates the overall themes and messages of the song; cacophonous but not aggressive, noisy but not disturbing. It is the white-noise of anxiety that we can’t quite ignore as it drones in the background of our minds while we attempt to accomplish the seemingly innumerable tasks of everyday life.

Finally, ‘WAIHTD’ expertly utilizes a spoken-word voicemail message to bring about a sense of resolution and completion. This flawless production-choice not only creates an air of intimacy and affection but also serves as D.R.O.’s suggested solution to the mental-duress expressed throughout the EP: connection. ‘WAIHTD’ seems to suggest that the answer to the constant and inescapable havoc we create in our own heads is to step outside of ourselves and seek out connection with other people. The song gently nudges the listener away from the obsession with their own thoughts toward the journey for a sense of belonging and acceptance. True to form, D.R.O.’s solution is not overly hopeful or saccharine. It’s offered as more of a question than an answer; something left up to the listener to decide. As with all of D.R.O.’s work it begs us to listen again and again, until we can answer his question truthfully for ourselves: “I’ve got you, have you gotten me?”