Influenced by a wide array of experiences and socioeconomic conditions, Alexander Spit has distinguished himself as a producer/emcee in a manner that appears nearly effortless. With the potential to become the latest addition to the short list of acts to make a big impact within Hip Hop, he has reached the public’s radar thanks to staunch determination and business ties not limited to ubiquitous streetwear brand The Hundreds. As he eases his way towards achieving dreams of greater recognition, Spit has come considerably far with much of his audience unaware of the grind he’s put forth to date. With Dillinger, Alexander Spit stakes another claim for attention to be directed his way as he hopes to capitalize on the momentum built by this past winter’s A Breathtaking Trip To That Otherside.

A product of distinctly alternate lifestyles in San Francisco and Los Angeles, Alexander Spit is best described as a big ball of sporadic energy that can’t be neatly pigeonholed. Without a trademark signature lane, he constructs his unique definition of cool by staying open to exploring a number of creative possibilities—an erratic strategy that works to mixed results. Free to roam amongst his own space, Dillinger’s strength lies in a delivery, which overpowers a dull voice that takes some getting used to. “Down” stands out as a fun and amped up highlight sure to translate well in live performances, one of a few songs to match the promise found throughout Spit’s back catalog.

Whether due to lack of access or mere assistance on self-reliance, Dillinger’s mission is executed with hardly any notable guest spots. One exception is “94 Logo Blur,” where Alexander Spit lets loose the witty simile “pocketful of dirty C notes like old Casios,” as he revives the minimalist style of the Cool Kids alongside Chuck Inglish. Changing pace, the mellow “Eleanor 60” includes references to the beloved cult film Old Boy and television chef Anthony Bourdain, signals of an avant-garde path that is brave for an artist still attempting to ascend from the underground’s ranks. Proving his versatility, Spit’s aspiration of comfortable living manifests on “Millions” with a slowed down flow inspired by the Midwest, as he makes sure to enunciate each syllable rattled off.

While his ingenuity is praise worthy, Alexander Spit takes chances that could leave newcomers confused and disenchanted by his inconsistency. Given that his forward thinking has yet to be fully refined into a set sound, this gift and curse requires investments of time and patience with moments such as the genre bending ode to a dysfunctional relationship “June July August September.”  As well, “The Room/Bellucci Jawn” is a glaring example of filler which provides a difficult listen for those unaccustomed to the work of eclectic emcee. It’s a polarizing factor that could work against him in the long run. Summarily, Alexander Spit is worthy of keeping tabs on despite Dillinger missing the cohesion that could make him a stronger contender at present.