Reviews

By: Breyner Baptista

“This is not the new UNKLE album. It is a collection of pieces of music recorded in the two years since we completed War Stories. As we were finishing that album, Pablo Clements, my brother Aidan and I set up a studio, Surrender Sounds. One of the most enjoyable areas we have been exploring over the years is the area of audio-visual collaborations, music for film, television, computer games and the like. However, there is a rather frustrating side to this type of creative endeavour. A lot of the music you’re making ends up sitting on the shelf, neither properly released nor heard. A waste, really we thought. So this album is our attempt to alleviate our musical frustrations whilst hoping that it will find a wider audience.”

Lavelle’s claims on the credits for “End Titles…Stories for Film” certainly are legitimate, such wonderfully composed compositions such as these would be a fine waste had they not been released but to declare it as a non new UNKLE album propels me into a pensive state, why shouldn’t it be an official new UNKLE album? It’s a beautiful piece of audio.
The opening track “Cut Me Loose” opens with; reverbing strings, atmospheric sounds then makes way for a rabid drum pattern, a bridge of rapture then ensues, proving to be very enthralling, as the track progresses echoing vocals are provided by Gavin Clark. It’s impossible to not close your eyes and imagine a few of these tracks as being actual scores for such blockbuster films, “Cut Me Loose” could have easily slotted into Batman; The Dark knight.

As with any score project, the main core genre of this album centres around the orchestrally classical. “Ghosts (String Reprise)” is pure 39 seconds of chilling - neck hair raising drama. Goosebumps are sure to proceed, if they don’t you probably lack a simple passion for works of art - it’s quite obvious as to why the string reprise for “Ghosts” (a previous track) is an entirely separate track, it’s quintessential, it just works. “Romeo Void” is a tranquil display of the protaganistic achievement, after a barrage of repercussions. Visualising triumph before end credits without moving images, surely could never be possible until this alluring array of strings, choir pads and light percussion, this is a braille scene, with the ending being our imaginations. With ; the plot revealed, all loose ends tied up, the antagonist eschewed from the mind - the reflection of what amazement you’ve just heard (in this case) is proceeded with the grand closing track of the album “The Piano Echoes”. A morose felicity which intelligently emulates it’s on screen counterpart of rolling blackness, it hauntingly soothes.

Fans of the undoubtedly classic “Chemistry” should be please to know that, it appears once again on this album as “Chemical”. This time around Josh Homme (Queens of the Stone Age) adds his vocals on top of the thumping instrumental. What difference this has over Lupe Fiasco’s “Hello/Goodbye (Uncool)” is not only a slightly re-touched instrumental track but also the fact that Josh’s ghostly vocals and wailing evolves the track into a grander epic composition, ready to be used for a trailer. Once again you do have to applaud the complexity of the track and there’s no argument that the track itself fits right in with this album, but some might be dillusioned as to why the track resurfaced and was placed within “End Tales…”, but then again this isn’t the new UNKLE album, right? This is further backed up with tracks such as “Blade in Black”. “Heaven” and “Synthetic Water” being featured on the album despite appearing on the Japan/Australia only “More Stories”

The formula used on this album, does prove to be successful. It shouldn’t be to hard to imagine these stellar pieces of work alongside a film or commercials as “Trouble in Paradise (Variation on a Theme)” seemed to prove as it was previously used on a UK BMW advert.

James Lavelle & Chris Gross have constructed a gorgeous sound scapes, with each track flowing perfectly together and complementing the former. If this isn’t the new UNKLE album, then I’m sure they have something beyond comprehension for us waiting in the wings.

Rating: 4.5/5

Ghosts (String Reprise)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

The Piano Echoes

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

By Justin C.F. Lintag

“Third one’s a charm” – words from the opener to 9^th Wonder and Murs’ latest joint effort; call it a 3Peat, however. With this 3^rd collaborative album finished two years ago, the duo conveniently dusted Sweet Lord off the shelf and recently released it as a free download probably as a pre-Murs for President campaign. Yet again the natural wordsmith teams up with the producer who churns it up like clockwork and they definitely stick to their original winning formula.

Opening with the jovial “Express Yourself” intro reveals the duo’s unchanged light-heartedness, the same that was found on their previous offerings, 3:16 and Murray’s Revenge. Murs discusses everyday, run-of-the-mill topics but points out the fine lines of his raps, “No drugs, no guns”. On “Nina Ross” Murs employs his effortless storytelling ability in the tale of a revenge seeking groupie. He shows off his rapping forte over Ninth’s chunky drums and expressive loop on “And I Love It”. There are a couple lower points on the album, namely the half-inspirational “Pushhhh”, where Murs shares cliché after cliché of overcoming struggle. Immediately afterwards, Murs goes in expressively over a few signature soul-heavy 9^th Wonder cuts. “It’s For Real” offers a tribute to the good women in his life, from his mama to his girl to his nosy-ass auntie. The ensuing track, “Marry Me” plays as a proposal to a wifey-potential girlfriend. And finally the self-proclaimed ‘Best Friends Forever’ close off their 10-track long player with a fitting outro, as Murs raps, “trying to make some bright days out of dark nights” over an optimistic 9^th instrumental.

Soul-filled sampling coalesced with unstrained lyricism. It seems that Murs may have more Chemistry with 9^th than Buckshot himself. It’s difficult to see him rap as effectively over anyone else’s beats, almost like a Kweli atop a Hi-Tek production. Recorded from Winnie the Booth Studios, it’s the group’s constant humour that keeps their fan base growing. Murs’ subject matter is rarely tiresome and 9th’s beats remain as distinct and inimitable head-nodders. Murs is able to air out all his business but keep it easy for listeners to relate to a not-so-serious musical demeanor. Although maybe not as solid as 3:16 and Murray’s Revenge, Murs and 9^th surely deliver an album of multiple-rotation status. They further secure their self-declared moniker as a prominent “Calilina” collective and have definitely established themselves as consistent role players in Hip-Hop.

Rating: 3.5/5

Mixtape: 9th Wonder & Murs Present Sweet Lord
Download (Click Here)

By: R.M. London

If Shawn Jackson isn’t a living example of a working man’s hustle paying off I don’t know what is. Involved in the hip hop community since his debut in 1999 as Soul Kaliba, one half of the Rhode Island group Roolette, Shawn has continued his flow upstream by releasing a solo project in 2002 enititled “Soul Searching,” a Rhode Island favorite sophomore release in “Opium,” along with a eccentric 12″ done with Giant Panda’s Newman called “GO!,” that was met with high critical praise from Portishead and URB Magazine. Now, in a year that has been moving along at a snails pace as far as hip hop releases go, the relatively unknown Shawn Jackson sticks his Panama hat directly in the mix with his new album “First of All…”

With help from Guilty Simpson, Ta’Raach, People Under the Stairs, and Comel from Time Machine, Jackson’s “First of All…” marks hip hop’s first TRUE summer album of 2008. The beginning of the record blasts off with a proper hyper active introduction track in “How Ya’ll Feel?,” which then melts into the quirky laced “First of All…” that Jackson blesses with smooth bashful bragadaccio, followed by “Soopafly,” a hypnotic left coast laid back loop that will lactate the essential vibes for anyone holding a stank sack. Along with the swagger stuffed “Fix Ya Face,” Shawn Jackson proves quickly that he is a new versatile MC with a hot ear for beats that will soon be taken seriously.

As the jam “Gold Medal Kids” spreads through your cerebellum one can’t help but attempt to follow the hook as you coast– a disease that repeats throughout the album. Jackson than hits his stride as the “Backstage” break bullies the speakers causing nothing but a head noddin’ reaction, which then transitions perfectly into “Strategies,” a face scrunching schooling from Shawn J. with a gully street twist provided by Guilty Simpson. This is where the album takes a turn and coasts with smoother and more soulful beats on tracks like “Feelin’ Jack,” which is undoubtedly my song of the year so far, the hip hop meets techno-salsa “Countdown,” and the slithering “Hate Down.”

While Shawn Jackson and his beat team takes everyone for a versatile rollercoaster ride, the album manages to never once veer off course. From fist pumping hyper activity, to boozed beats and beautiful bluntquests, “First of All…” is a 13-track melting pot full of summer ingredients topped with pure hip hop spices.

While everyone scours the blogs for their next favorite single from a throwaway artist, Shawn Jackson proves that he is one of the top new MCs to check for, and one that can actually make an entire LP worth of dope tunes. “First of All…” marks the first valid Summer record of 2008 and gives a glimpse of an artist that hip hop fans can and will get excited about for the future. Equipped with fresh buttery smooth production and addicting flows– I know you all will be feelin’ jack.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Feelin’ Jack

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Gold Medal Kids (feat. Beloved & Comel)

By: Breyner Baptista

Last year Nas announced that his follow up album to be released via Def Jam would be entitled; Nigger. Undoubtedly, this raised a lot of controversy even more so than previous Nas albums (God’s Son & Hip Hop Is Dead).

Two months prior to the album release, after outcries and pressure from corporate companies and potential government debacles, Nas was forced to change the albums title. Seeking to be defiant he decided to leave the album name Untitled, but promised us that the album cover would speak more than his words, and the cover does just that.

The album commences with the Jay Electronica produced “Queens Get The Money,” a piano-loop based composition which for the first twenty seconds is pleasurable to the ears, but gets rather tedious as the track continues due to the lack of a crescendo. Nas quickly raps about the presidential race, black teenage pregnancies and then proceeds to ramble on the track with meaningless metaphors and even proceeds to take a subliminal shot at 50 Cent; “That’s 50 porch monkeys ate up at the same time.” A very insipid introduction to an album that was supposed to be another event, one that would take power away from the word.

After three bland cuts, the album transcends to it’s only obvious hopes of mainstream single chart success, the out of place collaboration with Chris Brown & The Game “Make The World Go Round” filled with noisy layered synths, stereotypical name drops from The Game, an unnecessary Chris Brown bridge and a sweeping female vocal doo-wop esque singing splattered around the track. This single however is topped by “Hero” which with good promotion, radio play and video spots could well be Nasir’s most accomplished pop hit to date. Despite being a “pop” friendly single, this is one of the best songs on the album. Polow Da Don paints a stellar backdrop, which allows Nas to enhance the picture, create a foreground and proclaim himself Hip-Hop’s hero “My lawyers only see the billboard charts as winning, forgetting Nas the only true rebel since the beginning, still in my musical prison, in jail for the flow, try telling Bob Dylan, Bruce or Billy Joel, they can’t sing what’s in their soul, so untitled it is”. Despite being a good single, we do have to wonder what indeed happened to the artist who once approached every song as if it where a challenge, did he disdain from his own “teachings” and finally conform to the mainstream amphitheater by adding a well known female musician onto the hook to make an easy hit?

Concept wise, Nas delivers the goods yet again with tracks such as; “Sly Fox”, “Fried Chicken” & “Project Roach”. The aforementioned “Sly Fox” is Nas’ en gard towards the Fox News Network; “”The fox has a bushy tail, and Bush tells lies, and a fox trots, so watch what you’re watching.” Lyrically, this track is Nas at his best, but the same can not be said for the production. The guitar in the background could be much more well pronounced and defined, rather than take a somber backseat and fails to provide a sense of momentum, aggression and pace. The Mark Ronson produced “Fried Chicken,” which is the best-produced track on the album, is a track that is left open for interpretation-whether they actually are professing their love for fried chicken or rapping about black women. Nas’ and Busta Rhymes’ cadence, delivery and flow on the track is so effortlessly executed with rhymes such as; “Lay you down cause you’re red hot, Louisian style you make my head rot, then I flock to the bed then, *pop*, When we done, I need rest, don’t know what part of you I love best, your legs or your breast, Misses Fried Chicken, you gon’ be a nigga’s death, created by southern black women” The listeners interpretation is however closed when Busta utters his outro “Ain’t that some shit? I’ma eat some shit, until what I’m eating KILLS ME!”

A Nas album wouldn’t be a Nas album without an inspirational track right? Inspiration is found in the form of the DJ Toomp blaxploitation assisted “N.I.G.G.E.R. [The Slave & The Master]“, Nas delves into his historian mode and preaches about the lack of appreciation, honor and support towards achievements compiled by black people world wide and in the class system; “They say we N.I. Double G. E.R., we are, much more, still we choose to ignore, the obvious, man this history don’t acknowledge us, we were scholars long before colleges” - “we are the slave and the master, whatchu looking for?, you the question and the answer.” On the last verse of the track Nas touches upon the low self esteem and direction-less citizens of Black America ” On the road to riches and diamond rings, in the land of the blind, the man with one eye is the king;” a very pensive way to finish off the song.

The album comes to a close with “Black President”, a track where Nas sympathizes and reflects with Barack Obama’s need for change, hope, progress and equality. The Tupac vocal sample might sound a bit corny at places, but Nas does engage the reader into believing in a new America whilst also touching upon the jealousy of others; “You know these colored folks and negroes, hate to see one of their own succeeding, America, surprise us, and let a black man guide us”.

Although the album is lyrically flooded, Nas tends to churn out some amiable similes, metaphors and references, which fall short. Some tracks are unnecessary long, boring and should have been scrapped and replaced with “Be A Nigger Too”, “Let’s Go Esco” amongst other cuts that failed to make the album. Sometimes through-out, it seems Nas is trying too hard to challenge himself lyrically by going to dense within subject matter and rhyme.

The main downfall of the album rests upon it’s production, which mainly consists of synth heavy production and new jack / blaxploitation samples. I understand that many will argue that it’s about the lyrics not the “beats,” but as a complete package both should go hand in hand to keep the listener interested, this however like his previous albums falls short.

When forced to change the name of the album Nas, remained defiant that the album would still cause a debate, and that the topic of the album would remain the same. Untitled features little debate apart from some selected tracks and feels rather rushed, and some songs feel out of place despite being in the works for quite some time.

What indeed did happen to the political album that was expected?

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

N.I.G.G.E.R. [The Slave & The Master]

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Project Roach

By: Damir Divjak

6 years can feel like a lengthy period, one within which many a progression and development can occur, and it has been approximately that long since Virginia Beach’s genre-fusing N*E*R*D released the second, and more recognizable version of their ‘In Search Of…” opus. An album which, at the time was accepted by critics with adulation and praise for the virtually seamless cohesion of rock, hip-hop and blues, was to go hand-in-hand with a growing interest of the men behind the album; production duo ‘The Neptunes’.

Within those 6 years, we’ve had another album; the anti-climatic ‘Fly or Die’, which brought with it a number of wonderful glimpses, but not the full picture that one would have expected from blossoming and talented artists such as Williams and Hugo – but more importantly, there has been a definite showing of the aforementioned development that comes with periods of time.

2008 release ‘Seeing Sounds’ touches on a number of influences, cited by Williams as ranging from ‘The Beatles’ to Drum & Bass music, in another attempt to fuse the different conventions of various genres into a mind-bending listening experience. Rarely do they fail to deliver; some would argue the only real lackluster efforts to be connected back to the Neptune name were the compositions of Pharrell on his own, during a two year period where his collaborations with the up and comers and already established names in the music world were certainly hit or miss (usually a hit in the charts, despite being a ‘miss’ to long term fans who sensed a change in attitude in their ‘lead man’).

Ultimately, depending on the angle it was looked at from, news of a third album brought a lot of good anticipation, to KNOW that a once formidable team were back in the studio together at the same time creating another collection of music for us. No Britney, no Young Joc and no Madonna. Just the Neptunes and Shae Haley, together again.

The results certainly surpass that of the album that came before it, a much harder sound and one driven once more by a hip-hop influence (at least, drum-wise), with towering choruses and melodies off of the same drawing boards as some of their best rock-inspired work. Everyone Nose, the first single, signaled a big change in the approach – though it’s not a song that reflects the overall atmosphere of the album. In fact – there may not be a single song that encapsulates the feel and concept of the album. Possibly, this can be seen as inconsistency if put down to interpretation, though of-course there will be arguments that the sheer range of influences provide somewhat of an audio smorgasbord for the listener to feast upon, or ‘ogle’ considering the ‘Seeing Sounds’ concept. Personally, although I enjoy the album as a whole, it doesn’t have that same seamless feeling – with 60/70’s progressive-rock tinged ‘Windows’ and ‘Happy’ seemingly clashing with the impressive, booming ‘Anti-Matter’ and ‘Spazz’, both of which rely on typically catchy melodies, drum-tracks ideal for relentless table-beating and rousing choruses.

Lyrically, the album isn’t as deep as the other albums, but as Williams had proclaimed pre-album release, they had performances in mind – live renditions of the songs which it has to be said, are fantastic. Maybe when taken into consideration, this makes the album a little more acceptable – although surely the days of ‘Bobby James’, ‘Provider’ and ‘Waiting 4 U’ writing are missed.

With a strong and pounding start, the album promises quite a deal - but again, following suit to many an album these days, the middle portion of the album serves up little to fully get your teeth into. ‘Sooner or Later’ begins to feel like a composition falling from the same tree as the popular ‘Maybe’; and although it doesn’t exactly land as gracefully and memorably – an astounding last two minutes or so to the song manage to salvage the track as a notable highlight. The politically-charged ‘Love Bomb’ is certainly a track with replay value, with an airily pleasing start which, fitting to its title, explodes into a wonderful chorus, draped in tumbling snares and floating strings & synthesized horns.

Fittingly, this track is followed by ‘You Know What’. This is where I take a step back in wonderment, and just enjoy one of the best songs of the year. Song writing is great, a reflection of Williams at his pen-wielding best, and his signature voice and structuring doing wonders hand-in-hand with a bouncy, melodic backdrop that embodies, at least to me, the stamp which they have left firmly in the auditory part of my brain. The undoubted highlight, and a song that will remain in rotation for the foreseeable future…and probably after that.

In regards to my stance - and not so much expectations, but hopes pre-release- the album tends to fall short of brilliant on a few occasions too many, but it holds itself up as a solid effort and certainly one to check out…the main idea was to take the listeners and fans on an audio roller-coaster, and taking into account the ups and downs, and changes in tempo and content, the album does live up to that aspect. It could have, even should have been better, though it’s best not to linger on ‘what-if’s and ‘could’s, so I shall continue to enjoy the fact I have a long awaited album, and encourage you to do the same.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Love Bomb

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Sooner Or Later

By: R.M. London

On the Deltron3030 record Del the Funkee Homosapien played Nostradamus when he said, “In the year three thousand and thirty everybody wants to be an MC,” I wonder if he really meant in the year two thousand and eight? With MILLIONS of myspace rappers, soundclick bedroom MCs, and netcees all battling their way to the top of the very bottom, the hip hop world is saturated with tons of mediocre music and wannabe artists who are all starting to sound the same. It is a rare occurence when you can find a new artist, who not only pushes the bar and comes at you outside of the box, but one who can put together a complete record that could be considered a playable option when thumbing through your record collection. Recently, I hit the sonic lottery when I came across a Browns Mills, New Jersey MC by the name of 8thw1 and listened to his new album “Love, Money, and Music”–brutally honest, fun, and lyrical hip hop wrapped up in a collection of passionate beats from the likes of Illmind, Nas550, and Manamana.

I hate to make comparisons, but when I first popped on the record and listened to the intro track I immediately thought of one name– Lupe Fiasco. However, when “A Fool’s Lullaby” swooped in and 8thw1 blanketed Illmind’s momentous beat, that comparison was thrown right out the window– I liked this even better. I know that might be a total shocker to Fiasco fanatics across the globe, but as the album continued 8thw1 showed that not only could he impress a hip hop head lyrically, but he knew how to make the total package involved in a song come together and sound complete. With songs like “Money,” “Runnin,” and “Life”– 8th shows his narrative side by spitting tales of real life stresses like financial debt, chasing dreams, career decisions, and the love for his music.

As the record kept spinning 8thw1 flipped a 180 a showed off his other weapons on songs like “Fresh,” a rapidfire rap over Nas550’s agressive beat that might “make you look,” the quirky party anthem “Drunken Saturday,” laced with “Hey Mickey” claps, rolling indie rock basslines, and distorted guitars, and “Posers,” where he calls out all the posers in the game who actually think “less is more.” As “Love, Money, and Music” came to a hault I did something that hardly ever happens when I stumble across a random record– played it again. And as the album continues to get spins in my daily rotation, there is no doubt in my mind that this isn’t the last that we have heard from 8thw1.

Stay tuned.

Favorite Tracks: A Fool’s Lullaby, Runnin’, Money

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Money

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

A Fool’s Lullaby

By: R.M. London

Just who in the hell is Clutchy Hopkins? Well, we still don’t know. Recently, however, the subterranean blogger community has created quite a buzz with their Sherlock Homey efforts, saying the clues they have collected point to three legendary names: The Beastie Boys, DJ Shadow, and Cut Chemist. *Pause* Seems like wishful thinking to me, but whoever the ‘real’ person is behind the cracked face of the faux forty year old hobo-nomadic hippy (that can be seen plastered and portrayed on all Clutchy Hopkins’ media)– their music proves that those accusations are not too far fetched.

With a Wal-Mart shopping cart full of musical trinkets from around the globe this enigmatic instrumentalist brings the hip-hop world a brand new record full of lush exotic noise, clever arrangements, and original methods. On “Walking Backwards” (Feb. 5th) Clutchy continues his mad scientist-like experimentation using multiple concoctions of various woodwinds (flutes, clarinets, and self made inventions), cascading percussion hits, strings (guitar, banjo, violins), and various other sonic shockers ranging from: Pianos, Xylophones, and Maracas to Kabbas, Djun-Djuns, and eerie vocal chants. One fucked up sonic circus that the esoteric ring leader somehow molds into one cohesive beautiful disaster.

As he follows up his highly touted debut release from 2006, “The Life of Clutchy Hopkins,” Hopkins proves over 12 tracks that he is still clutch in the studio, and continues to provide a heavy sampler plate of sounds that float between Hip-Hop, Jazz (’3rd Element’), Trip-Hop (’Sound of the Ghost’), Blues (’Love of a Woman’), Funk, Folk, and even Classic Rock (’Alla Oscar’). With limited vocal accompaniment the record drifts comfortably like shattered ship pieces for 49+ minutes, allowing the listener not only to relax, but to truly wrap themselves within the music that is coming at them from at least one hundred different directions. Although at times I thought Clutchy played it safe by keeping a lot of the same sounds from his debut record he still managed to flip them in different directions and smashed them against fresh loops to make deep and original cuts.

“Walking Backwards” was definitely not constructed for the impatient, Ritalin fed new generation of music skimmers. For the casual skimming fan it will go right over their head and become the new piled of crumpled paper in the Recycle Bin, but for an involved listener and lover of instrumentals, Clutchy’s vast array of worldly instruments, loops, breaks, and creative color will never get old, because just one listen does not reveal everything that is embedded in his new riddle.

In this sophomore release Clutchy bombards the listener with a sense of mystery by plastering the primitive soundtrack to a true contemporary James Bond. “Walking Backwards” is cool, calm, collected and will shake the listeners…but not stir. Eerie, madcap, and boundless– this is a tree that you can sit under for all of 2008, and keep eating off of in its shade. Which brings me to one final question…

Who the HELL is Clutchy Hopkins anyway?

((2.5.2008))

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Love Of A Woman (feat. Darando)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Song For Wolfie

By: R.M. London

Since the days of Gil Scott-Heron dancing around jazz laced rhythms with powerful spoken word poetry, legendary duo Gangstarr releasing their debut single “Words I Manifest” in 1988 while sampling saxaphonist Charlie Parker, and Stetsasonic sampling Lonnie Liston Smith with their 1989 hit “Talkin’ All That Jazz”– Jazz Rap has made its way around the world providing a golden age of addicting music, and years of dual genre splicing that has spawned into some of the most beautiful hip hop music ever created.

Now, continuing the path laid before them by jazz-hop pioneers such as: Gangstarr, Stetsasonic, and the Native Tongue Posse, are artists like Madlib, The Roots, and most recently a French trio that call themselves the Jazz Liberatorz (DJ Damage, Dusty and Madhi). After joining forces in 1999 the Meaux, France bred producers have come together for their debut album, “Clin D’oeil,” a crisp, smooth, and beautiful journey through the golden age of hip hop meshing the glowing sounds of 70’s influenced jazz fusion records with refined live instrumentation, all while bringing together ‘la creme de la creme’ of the independent hip hop community. With big name indie staples such as– J-Live, Fatlip, Buckshot, Sadat X, and Asheru– melted together with the whimsical sounds of the Liberatorz’ creamy samples and live instruments, Jazz laced hip hop is back and better than ever and is ready for our new students, who might have missed the “golden age,” to engulf the distilled history of perhaps the best “sub-genre” hip hop has to offer.

Beginning the album with the seven minute title track “Clin D’oeil” the Jazz Liberatorz tease your ears with gliding keys and upbeat claps, while sporadically morphing their jam sessions into frames of early 90’s nostalgia, covering songs like Tribe Called Quest’s “Electric Relaxation” and Pete Rock and CL Smooth’s “T.R.O.Y.” The warm opener is followed by Tre Hardson mouthing off tales of jazz’s influence on hip hop, paying homage to the pioneers, influences, and wraps up the main purpose of this 15 track gem.

Hand in hand with the intro track the first portion of the record spirals and drifts like dreams around the melodic mumbles of Fatlip, Tre Hardson, and Omni on “Ease My Mind,” D.C.’s own Asheru on “I Am Hip Hop,” and J. Sands on “When the Clock Ticks.” While all these songs are power packed with various streams of glissading beauty they also share another common factor– some of the most eargasmic piano samples and live keys ever embedded on wax. If you haven’t totally tossed your aura into this record by now– it’s hopeless. At this point and on the Liberatorz and company only get better.

As the album carries on more instruments sneak their way in and shock your earlobes; Flutes, Saxaphone, lush keys, and vocal sex pour through the headphones, and at times seem to spill endorphins as they surf the sound waves. With a voice that was born to bless a Jazz Lib track, Tableek (Maspyke) shines on his track “Indonesia,” one of the dopest femcees ever to rock a mic, Apani B Fly, bounces and breaks off a nice addition with “The Process,” and Crown City Rocker’s own Raashan Ahmad ignites the record with perhaps the best track on the entire disc with “Cool Down.” Despite the speed bumps provided by Sadat X and the Soul Clan, this record hardly ever misses a step and the Jazz Liberatorz prove that with their sonic foundations alone they can truly liberate multiple artists from this genre.

In 15 songs the Jazz Liberatorz have uplifted sacred “Golden Age” music by their organic roots and exposed its underbelly to the new generation of hip hoppers, all while adding their own twist. For the lovers of early 90’s production, Jazz, and organic and soulful hip hop– this is 2008’s can’t miss record of the year thus far.

Released: ((1.15.2008))

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Clin D’oeil

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Indonesia (feat. Tableek)

By: R.M. London

Straight from the catacombs of the Quintic Nickelism (QN5) camp, home to popular underground acts such as Cunninlynguists, PackFM, and Tonedeff, as well as a motto that aims to stay “5 steps ahead of the game,” rises the Prince George’s County, Maryland bred MC, Substantial. Seven years after his extremely popular debut album, “To This Union a Sun Was Born,” which bombarded Japanese charts in 2001 and outsold a collection of top American artists (Ja Rule, Jermaine Dupri, Angie Stone, and Faith Evans), Substantial is back with his sophomore record that blasted from the blue into hip hop fans headphones to begin this new year’s first quarter of rhythm and poetry.

As the first track post-intro, “Let it Go,” carousels around your system Substantial immediately lays his purpose out on wax with vigorously delivered rhymes over a cascading jazzy instrumental. It is this song that not only sets the pace of the entire record, but captures the listeners attention and demands them to stay away from the skip button and keep listening.

Tearing through the beginning portion of the album I was drawn to Substantial’s crisp, deep, and powerful voice. Over dome-nodding tracks like ‘That Damn Good,’ ‘Chain Reaction,’ and ‘Resurrection of the House Party’ the right coast MC’s cadence proves it was born with the gift to glide over throwback cuts like Clyde Drexler in Portland circa ‘92. It was a total shock to hear an east coast spawn mix in Pacific personalities with Bronx swagger and force, but the end result continued to impress me track after track.

Not only does Substantial exude a melting pot of originality but he nonchalantly smashes the repetitive pattern that a lot of artists tend to accidentally (or purposely) follow by constantly switching up his style of delivery, lyrical content, and production. As the album continues, the QN5 samurai spitter switches from brash, to fun, to slick, all while keeping his cool as he mouths off brisk metaphors. With a slithering sex laced track in “U Can Get It”, an addicting hip-hod head hit single in ‘My Favorite Things,’ and a staple crowd moving track in ‘4dozdatdonkno’ Sub’s sophomore effort never loses stride, but either picks up pace, or cruises with the chronic sonic current.

With every year’s beginning hip hop fans begin to wonder and worry what the new year will bring to their ears. Will they be let down? Will their most anticipated record come up short? Can it top the year before? And as 2008’s first quarter continues to whiz on by it is Substantial’s surprise sophomore that has lifted the community’s spirits by dropping what will be one of the year’s dopest releases. Boasting minimal slow spots and throwaway tracks I would recommend this album to any true hip hop head.

As the QN5 brand comes off the buzz of the heralded 2007 Cunninlynguists record “Dirty Acres” they can now safely brush off their shoulders and boast one of the most exciting, fresh, creative, and original labels the industry has going today. Although I’m not quite sure what Substantial was shooting for with his album cover (that depicts himself dressed as a Samurai warrior while stabbing a sword through his frame) I think it is safe to say that if this record was the MC “sacrificing” all he had for the better of the genre it was a success, and like the QN5 label strives to be– Substantial remains on top of 2008 five steps ahead.