You can perceive that self-assurance in Verbal E's voice. (His assertiveness is most evident on the title track.) It's a quality that's arguably more engaging than endorsements from more established hip-hop names, which doesn't hurt either. In this case, ?uestlove from The Roots provides an introduction of sorts and Nicolay of The Foreign Exchange provides two remixes.

The Supremacy remix loops (what seems to be) a church choir harmonizing and wraps it on a snappy bass kick. On the other hand, the Manor Mindstate remix is lead by a cool piano melody that is accompanied by a flute during choruses. Both remixes are nice bonuses for this album and another argument in favor of Nicolay and his production style. They also help to appreciate 3Sixty's style which is different.

3Sixty makes lush beats. A lot of instruments and sounds, whether sampled or played, are used in every song. Different melodies (or melody variations) alternate, coexist and/or subside into each other. There's a strong inclination to break repetitiveness and have the music be as much an important part of the picture as the vocals instead of just being the canvas or frame that supports it. It's a very effective way to emphasize the emotions Verbal E tries to evoke.

Another noteworthy aspect of 3Sixty's production is the live feel it carries. For the most part, the music feels like it's been performed by a full band. From Ahkil Hill, a story about a deceiving love interest (told from the deceived one's perspective), to Way Out, which, along with This Thing, rationalizes the duo's career choice, you feel like the fans's cheers where muted. While Ahkil Hill seems like a song played in a more convivial setting, Way Out seems much more like a capacity-filled stadium number. They all convey the energy of a (good) live show, nonetheless.

3Sixty as a one-man live band needs a strong frontman to lead it, and Verbal E fits the part. Besides his aforementioned assertiveness on the mic, Verbal E knows how to meet the energy of the lively productions and even manages to enhance it at times (cf. Pop Said, One Moment, Hand Claps). He also presents a more humble (and dare I say mature) demeanor. His brand of braggadocio is more reflective than cocky (cf. Supremacy, On Ten) and, coupled with his fieriness, makes him that much more interesting. And whether straightforward or not, he got rhymes.

If niggas ain't got, they wish the same on you / And take measures to make sure that it never came thru / Niggas is classic crabs graspin' for an ankle to grab / Gettin' mad at what the next man have / So, niggas keepin it real / Body bags, niggas keepin' it filled / Intelligence, niggas keepin it killed / America's puttin' signs on city blocks / Sayin': "Ain't no niggas like the one I got!" - ...I Do Despise

The Chapter deliver a pretty solid debut with a live feel that can play thru all four seasons. It's consistent all the way thru and that's rare. There's always room for improvement but it's as important to stay on course. Hopefully this is the preface to a stellar career.