Epic had a smooth voice, a debonair flow, misleadingly naïve words and his lyrics were full with some kind of sweet irony. Also, he had quite unusual a look for a rapper, with his grey hair and shy manners. The Canadian, actually, who was not as old as he looked, was not afraid with mocking his own age and appearance, on various occasions ("Old Guys are ready to Rock the Mic", "Middle Aged White MC").
Since 2007 and his last album, Tinfoil on the Windows, we all thought that soso had disappeared with his label, Clothes Horse. Sure, in 2009, he had released a joint album with DJ Kutdown, All They Found was Water at the Bottom of the Sea. But this was an instrumental record, available only through a very specialized Japanese label, Hue Records. In 2013, however, soso was still alive. As other key artists of the indie rap movement, he had found an asylum in one of the few labels making their best to keep this scene alive, Scott Da Ros's Endemik Music.
Last year, soso started getting some attention from music critics. His last album, Tenth Street & Clarence, received some praise from people usually not too familiar with Clothes Horse Records. So it was perfect timing that now, in 2006, Japan's Hue Records decided to rerelease Birthday Songs, the Canadian's best album so far. As usual with its releases, the label didn't publish the record as such, but with a new packaging, including some notes in Japanese, and lyrics in both languages. The rapper contributed as well. He drew the dog on the cover art, to replace the birthday cake of the previous version. And he corrected or added a few tracks.
The newest release from Soso starts where the previous one had stopped. Once again, lyrics are about a Clarence, and this dead child whose birthday was celebrated on the gloomy Birthday Songs. Nobody knows if this story is autobiographic or not, and if the scars exposed by the rapper are real or fake. Anyway, the wounds are still hurting, judging by the album's atmosphere.