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In anybodies estimates, RZA is one of Hip-Hop greatest producers. This is the man responsible for an incredible string of classic albums over the space of three years, starting with Enter The 36 Chambers and ending with Forever, a feat only Dr Dre has come close to matching. But like all of the 90’s great beatmakers, RZA sound hit a pinnacle and the inconsistencies began to appear. This could be seen in the bloated Forever and the fact that the Wu’s individual sophomore releases largely turned away from the RZA. Although not hitting the lows of a Pete Rock, RZA ’s track record since Forever has been patchy at the best - W was full of the dark brutal beats that made RZA famous, but Iron Flag recieved little critical acclaim. Last year’s 8 Diagrams was somewhere in the middle, progressing the Wu sound through RZA ’s use of instruments and having a decent supply of brooding bangers (the highlight Wolves being the best example) but also poorly paced and with too much filler. RZA ’s Bobby Digital project - designed as a way for RZA to develop a new sound free from the pressures and expectations of Wu members and fans alike - has so far been even more disappointing, Bobby Digital In Stereo being wildly inconsistent while last years Afro Samurai was just boring. So the question is can Digi Snacks halt the Bobby Digital rot?

The answer, unfortunately, is an unequivocal no. The main problem is with the vocals. Most would agree that the RZA isn’t a strong enough MC to hold down an album on his own, thanks largely to his slurred wild flow and lyrical style. Typically the RZA ’s lyrics switch between dropping ‘knowledge’ (usually five percent philosophy mixed with scientific terminology) and being unpredictable. Unfortunately, and unlike Ghostface who mastered free form lyricism on Supreme Clientele or Killah Priest who has the preacher/philosopher corner in rap locked down, the RZA spits what is mainly gibberish uninteresting to anyone with a double digit IQ.

RZA ’s lack of progression as an MC is no where near as frustrating as the albums guest MC’s. The best is Inspectah Deck, though even he is a shadow of the MC who demolished GZA on Liquid Swords years ago, spitting a verse full of cliches (Cradle to the grave/I be on my grind hustling) on You Can’t Stop Me Now. At least RZA and Deck have original voices, because the rest of the album is full with no name no flow Eazy-E wannabes, who’s only achievement is getting Compton into their verses more often then Game. You have to ask why the RZA didn’t/couldn’t scrape up a few verses form the likes of the GZA or Meth, and surely overlooked Wu affiliated MC’s like Hell RAZAH and Killah Priest would be dying to rhyme over a RZA beat.

Where you would expect the album to be at its strongest, the beats, are too average to make up for the terrible vocals. For the most part the beats are forgettable if inoffensive (David Banners bizarre G-Funk ‘influenced’ beat on Straight Off The Block aside) although the album begins to find some form in the final third, from Creep onwards. When the album is partially successful is when RZA makes lighter pop beats, assisted ably by Thea Van Seijen who channels Chrisette Michelle remarkably well, like on Up Again and Don’t Be Afraid. The latter track is in fact the one track that might have you coming back to this album, and is easily the best produced and most thoughtful moment on the album. Some nice guitar on the track shows variety, the beat has an energy absent on most of the album while the hook is designed to stick in your head.

A decent finish is not enough to save Digi Snacks. Where the album should be strong (the beats) its mediocre, while the vocals are largely awful. Instead of being a side project perfect for the RZA to develop a new original sound, Digi Snacks resembles a mix of tracks that aren’t good enough for the Wu themselves, but will do for RZA ’s weed carriers. Another Bobby Digital disappointment then that is best avoided. The cover’s artwork is cool as hell though.

Rating: 2/5