In the world of hip-hop, rhyme schemes separate the casual MCs from the lyrical architects. On his track “Ridicule,” Bronx-born independent artist Escovar shows that he’s not afraid to lean on one of the most demanding rhyme techniques in rap: the monorhyme. Where most rappers switch rhyme sounds every couple of bars to keep things fresh, Escovar doubles down, stretching one rhyme family for entire sections. The result is hypnotic, aggressive, and relentless—perfectly matching the street-rooted energy behind his delivery. Escovar vs The Greats The Anatomy of “Ridicule” The song opens with an 8-bar verse built on a split scheme: rid of me / epitome / link wit me / think of me (AAAA) calvary / allergy / calorie / gallery (BBBB) This back-and-forth structure feels like a heavyweight boxer alternating jabs and hooks. Each cluster builds momentum, then flips to a new rhyme pocket before the listener can settle in. By the second verse, Escovar goes all-in: “YOU CAN RIDICULE BUT YOU CAN NOT GET RID OF ME / THE STREETS IS HELL I AM THE STREETS ITS IN THE PIT OF ME…” Every line ends with the same “-it of me / -ick wit me” sound, creating a six-bar monorhyme that pushes the theme with unshakable consistency. It’s the type of technique that locks the listener’s ear into a chant-like rhythm—similar to drill music, but with a more lyrical edge. The third and longest verse showcases Escovar’s most ambitious stretch. He begins with a few set-up rhymes (energy / NFT / Emmitt T), then launches into a 12-line run of “-ee” rhymes: “bullets bite you like a centipede / I cook the beat before I spit n*** I been in lead / you rappers lost in the stu you n***s been in need…” This long chain of “ee” sounds creates a rapid-fire assault, keeping the listener’s attention locked. It’s capped off with a clever couplet pivot: “give it to me fast / something that I didn’t smash.” How It Stacks Against the Greats When comparing Escovar’s style to some of hip-hop’s finest technicians, a few clear parallels emerge: pioneered internal rhymes and narrative rhythm. Escovar’s monorhyme stretches echo Rakim’s ability to hypnotize listeners through repetition. was the master of multisyllabic rhyme density. While Pun layered 5–7 syllables across bars, Escovar locks whole verses around a single rhyme sound—a different kind of intensity. bends words to force unpredictable slant rhymes. Escovar keeps his rhymes Nas weaves rhyme into storytelling. Escovar uses rhyme as a weapon of dominance, focusing on punchlines and threats instead of narrative arcs. In short, Escovar’s style is closer to the battle-rap tradition of Cassidy or Jadakiss than to the story-driven poetics of Nas. What makes him stand out is his commitment: few artists dare to ride a single rhyme sound as long as he does, and fewer still pull it off without losing intensity. The Verdict “Ridicule” isn’t just a showcase of lyrical aggression—it’s a technical exercise in discipline. By anchoring his verses around extended rhyme chains, Escovar creates a unique cadence that blends street grit with lyrical precision. It’s a sound that feels both classic and modern, drawing from the East Coast battle tradition while carving its own lane. For an independent artist, this kind of craftsmanship is rare—and it proves that Escovar’s pen isn’t just sharp, it’s calculated. Official Website: https://www.madeonmercurymusic.com More blogs by Writter Big Chat: https://www.madeonmercurymusic.com/vlog https://www.youtube.com/watch?si=NB1g2ZH66_OEOTI_&v=NQj6ewh5NEw&feature=youtu.be