Home Mixtapes MDR – Bars Over Bass (Mixtape Review)

MDR – Bars Over Bass (Mixtape Review)

by Miracle

MDR_Bars_Over_Bass-front-large(Photo By Dat Piff)

“Breathe” (previous review)

“Lost Lovers” (previous review)

Massachusetts artist MDR was last seen on the site back in 2014. Earlier this year, he officially dropped his highly anticipated mixtape, Bars Over Bass. The collective consists of 11 total tracks and is sans guest appearances. Readers can take a peek at the above links to check out previous reviews for two of the selections off of the tape. They can continue reading on to discover what other singles caught the site’s ear.

“Far Alone”

This is the very first song on the project. The production here is inventive. The unorthodox framework, subtle musical components, unhurried tempo, and casual vibe are a valid match. The hook is intriguing. The delivery is very hushed and the lyrics are meaningful. The verses are kosher. MDR disperses an effortless flow, consistent wordplay, and personal rhymes. He lets the listener in on past & present life experiences in a very upfront manner. He spits: “And people used to say I was the real deal. Until I make one track that they don’t feel. I’m like damn just a kid with a real feel. Let me know how you would do if you didn’t have a damn deal. 19, I apologize to my ex. To be real this is some s–t to get off my chest. You were nothing but a plan to get the damn next. Always looking into time, wondering what I plan next.” The straightforward emotional tone of those bars right there makes quite the impression. Overall, this is a choice way to kick off the tape.

“Used To Know”

The production here is likable. The eclectic base, quirky supporting details, median pace, and neutral vibe work harmoniously together. The hooks is comprised of a sample. The vocals are cool and the lyrics are pointed and catchy. The verses are commendable. MDR provides a self-assured flow, authentic wordplay, and engaging rhymes. He does a notable job of illustrating a bold confident version of himself. A handful of striking lines worth repeating include: “Working every night. Let ’em know it’s never their time. Catch ya boy receding like a mothaf–king hairline. Know that I’m the man boy. Say it in my interviews. Copy all my s–t but that’s just why nobody enters you. Fell in love with music. I could always use a friend or two. Every since I’m blowing everybody be befriending me. I’m telling you I’m on it. I still got my girl. I have everything I have wanted. Trying to tag along since I got a couple fans now. People ask me questions like yo Matt what’s the plan now?” One has to appreciate the flavor found within those bars right there. In the end, this is a fresh addition to the project.


This the final selection on the tape. The production here is hot. The healthy bass, foreboding background details, animated rhythm, and aggressive vibe make for a five star combination. There is no hook in the traditional sense. But the song’s title is colorfully referenced throughout the track. The elongated verse is seriously on point. MDR laces the beat with a charismatic flow, dauntless wordplay, and wicked rhymes. He goes into straight beast mode from start to finish. A highlight from his wreckage includes: “Talking to your mom and we wish we never had you. F–k around and get it popping in this b—h boy. And bring a shovel, you’ll be laying in a ditch boy. You say you balling, take a look up at them wrists boy. Throwing feather punches and all of ’em f–king missed boy. That’s rough shit, three hours in the damn car. (…) When you see me take a look up at the stars. Ask who murdering Delgado and they screaming MDR.” That last line pretty much says it all. Would not want to be the individual on the receiving end of this verbal assault. As a whole, this is a brilliant conclusion to the collective.

**My Two Cents: Bars Over Bass is a high quality effort. The production is legitimately done and the content is respectable. MDR gives the listener a lot of different styles and sounds to rock with. There are some moments here and there where both aspects could be stepped up a notch or two on the creative tip. But I have no serious critiques of the work. If he applies the same type of passion and energy he displays in “Delgado” to the rest of his tunes moving froward, MDR will be just fine. I think readers will agree. So go ahead and give the Massachusetts talent an ear. -MinM

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