In 2023, while the big boys of DHH are still making the same kind of music that they were a few years back, fearless emcees like Darcy are gaining recognition in the scene for their groundbreaking approaches. Since the start of his career, Darcy has been on a creative rager, and he is determined to demonstrate that he is here to stay. On April 7th, 2023, Darcy dropped his latest body of work, ‘Full Moon’, which continues to carve out his vibrant and mystic space in the Indian trap scene.
‘Full Moon’ is a well-packed, water-tight project with only 7 tracks and a runtime of 20 minutes. From the jump, the project clears what it wants to be. Rather than than forcing listeners to slog through filler tracks, the shortened time frame allows the EP for more standout moments. From the stellar production to the aesthetic cover art, and from the prolific arrangements to the smooth transitions, the entire project is meticulously crafted and follows all the thematic frameworks that give you a dark, surreal, and existing experience.
Darcy Full Moon EP Review
Firstly, the haunting cinematic sound hits the ground running with the EP intro ‘Full Moon’. The howling wolf and the eerie forest soundscapes create a spooky atmosphere. As the piano roll drops, the soundtrack introduces a minimal melodic vocal sample. Next comes ‘Guru Purnima, which continues with the same chord progression and vocal sample. As soon as the percussion kicks, Darcy showcases his rapping prowess with his consistent flow and tight delivery, spitting every bar as he effortlessly glides over the beat. I particularly liked how Darcy enhanced his vocal tone throughout the EP by channeling the rage aesthetic. ‘Guru Purnima’ sounds like a twin-like partnership between rapper Darcy and producer Babywxve thanks to the beat transition in the middle of the track, and all the other elements that enhance the piece sonically.
Lyrics-wise, this EP sees Darcy embracing more Mumbai slang than his previous records. With another seamless transition, the next cut ‘Atkeeez’ features a high-energy beat with blazing 808s produced by $ohunnid and Darcy going ham with his casual slick-talk. However, some lines hit you hard when you pay close attention. He also mentions Chief Keef, Birdman, and Jagjit Singh in his bars. Although the song’s hook is quite trippy, it becomes ingrained in your head for the rest of the day after a few listens.
When the next song ‘Jh@!’ begins, Darcy’s high-pitched vocals sound very much like Lil Uzi Vert. What enhances the song more is Darcy’s unpredictable delivery and use of percussions to pack the pockets precisely. Encapsulating digital samples, the production really amplifies the energy, thanks to the producers Fatboi Raccoon and Eyepatch. On this song, Darcy mentions MC Stan and his song ‘Yede Ki Chadar’ while he says he has been doing trap music for a long time now but isn’t receiving the credit he deserves. The hook part sounds very catchy, adding to his prolific resume of quality hooks. ‘Jh@i’ captures the longest runtime on the project as it features two excellent trappers from the scene Sahir and Xxxifou. Both features add to the song, making it one of the stand-out tracks on this EP.
‘B@d@L/C9’, crafted by Fatboi Raccoon, Eyepatch, and $ohunnid, is a rap/hyper trap hybrid that blurs the lines between rage, trap, hyper-pop, drill, and rock. With this song, Darcy improves his performance by riding the beat like he’s some kind of otherworldly entity and using a croaky voice that brings depth to the instrumental as well. ‘B@d@L/9’ is purely the sound of the future for DHH and is a lead song on the track list for me.
The penultimate cut ‘N@r@k’ is one of the best-composed tracks of the EP with the trumpet instrumental that gives you a victory celebration feel. Darcy’s cadence and the memorable hook enhance the catchiness of the song. Throughout, I was captivated by his flow, and his high-pitched delivery reminded me quite a bit of Uzi and Carti. Other than that, this track’s ad-libs set well and sounded better than those on the rest of the EP. Darcy concludes the project with “Kinga Crimes Interlude,” in which he summarizes the overall point and discusses the negative aspects of the life of a trapper. He confronts his inner voice that urges him to have a better life and stay out of the trap scene.
To conclude, as expected, Darcy only seems to be experimenting and becoming better with each project. And with ‘Full Moon’, he served his best. However, there were a few tiny flaws, such as the voice note in the third track that I felt was unneeded. Apart from such negligible issues, the project as a whole is very well-executed. Darcy and his team showed their A-game and gave us a solid sound list that feels replayable and enjoyable.