Hip-hop has always been a genre of bravado. Arguably from the peak of Run DMC, the first big stars and the forefathers of hip-hop in general, hip-hop has been defined by flexing over your lyrical skills over head-bumping beats. If you’re a killer MC, you can go far. Enter Gemspit Exquisite. This is a scrappy and ambitious project bursting with confidence, razor-sharp flows, and an undeniable love for hip-hop’s golden era, and it’s absolutely packed with bars. There’s no denying that these artists believe in what they’re doing, and that energy carries the project over some real high points. Every verse, every beat, every hook feels like it was crafted by artists who believe in what they’re doing—and that passion is nothing short of infectious.
Showtime Ramon doesn’t just rap—he flexes, he taunts, he fires off pop culture references at a pace that would make a battle rapper sweat with a voice that lands somewhere between early Mac Miller and G-Eazy—smooth yet powerful, with just the right amount of swagger. He exists in this fascinating space between old-school fundamentals and new-school energy. He’s got the kind of razor-sharp flow that could make a Golden Era purist nod in approval, but he’s also playful, self-assured, and just chaotic enough to feel fresh. And yes, he can rap circles around most of the competition.
And Brooklyn-based producer ProjectPorter? He’s right there with him, lacing this project with a genre-hopping mix of lo-fi, boom bap, trap, and minimalist beats that somehow all make perfect sense together. His production choices complement Showtime’s dynamic approach, providing beats that are both atmospheric and hard-hitting. Whether it’s the dusty loops of boom-bap or the hypnotic bounce of something more trap-adjacent, the beats serve as a perfect playground for Showtime’s rapid-fire delivery and clever lyricism. This is apparent in the first track alone; Splatterbrain’s heavy production with its hauntedly reverb-soaked guitars allow for lines like “lightsaber bars, I light them up, where the force at” to hit harder than a stormtrooper blaster.
ProjectPorter’s production is a masterclass in balance—knowing exactly when to give Showtime space to shine and when to crank up the intensity. The boom bap beats hit crisp and clean, the trap elements snap with precision, and the minimalist stretches let Showtime’s voice take center stage—where it belongs. Sonically, I would say that the album takes heavy cues from 80s and 90s hip-hop revivalism, drawing heavy inspiration from something like the Bomb Squad’s signature layered chaos. Thunderous basslines, blaring instrumentation and an ever-present sense of urgency create a raw, high-energy atmosphere that feels both nostalgic and immediate. While it leans heavily on classic hip-hop aesthetics, it never feels like mere mimicry—rather, it’s a passionate, carefully executed tribute that respects its roots while keeping things fresh. Tracks like Tiger Woods, Benji Wilson and Game Changer are the most indicative of these qualities as they heavily feature samples from what I can tell, a Denzel Washington film and a WWE heel character. This project features a lot of homage to sports figures, and the athleticism of Showtime Ramon and ProjectPorter allow this project to hit nothing but net.
Gemspit Exquisite is a hip-hop project that somehow manages to be both experimental and deeply rooted in tradition. It’s an album wherein Showtime Ramon refuses to sit still with his bars as he bounces between lo-fi introspection, boom bap grit, trap swagger, and stripped-down minimalism—all tied together by Brooklyn-based producer ProjectPorter, who clearly knows his way around a beat. The result is a project that feels like a love letter to hip-hop’s past, present, and whatever chaotic future Showtime Ramon is manifesting through sheer force of will.
If you’re a fan of classic, hard-hitting rap, this mixtape delivers a thrilling ride—one powered by passion, respect for the greats, and the kind of confidence that keeps hip-hop alive. Gemspit Exquisite indeed; this project is a diamond.
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About the Author
A tenured media critic known working as a ghost writer, freelance critic for publications in the US and former lead writer of Atop The Treehouse. Reviews music, film and TV shows for media aggregators.
