Showing posts with label Cypress Hill. Show all posts
Showing posts with label Cypress Hill. Show all posts

Saturday 26 March 2022

Cypress Hill "Back In Black" (2022)

 

Has it really been four years since Elephants On Acid? Having been underwhelmed by Cypress Hill's long awaited return, I found myself rightly cautious about its follow up. Back In Black lacks the input of DJ Muggs and it hurts the group. With Black Milk handling the production, a rather subdued atmosphere arises from steady and cautious percussive arrangements. Its accompanied by darkly urban sampling that rarely leaps of the page, always residing with a soft temperament where the danger is far away. The lean baselines bring some redemption with classy aesthetics, its far from a saving grace. The drum grooves sound weak and thinned out lacking, urgency or a sense of imposition. I think subtlety and craft were the aim here yet its slow tempos and lack of bombast leave the general tone a dull and lackluster one. 

Sadly, both B-Real and Sen Dog seem to be on autopilot. All their verses flow with the same cautious pace. Its rock steady yet rigid. The immediacy and enthusiasm of words are lost in the monotony. Even the better word plays and rhyme schemes lull into this complacency. The records lyrical themes signify a return to roots. Gritty and mean, the pair delve back into gangster oriented tales of urban life in the city. Perspectives are offered, stories and braggadocio as to be expected. B-Real and Sen Dog also reflect on their roll in legalization and a change in cannabis cultures reception in the social fabric. These could be landmark chapters given Cypress Hill's history but this points too falls blunted like much of the record impact.

Every song has the same structure with instrumentals on loop, just going through the motions. Where are the hooks and choruses? Not even a break or beat switch. Sure, each song a hook line in its chorus but it all flows with the same cadence and the verses before it. No song has a memorable spice and a couple attempt to recycle their own or other classic hooks. Black In Back's merits are lonely, just the experience of its two voices to carry a bulk of mediocrity to its conclusion without being offensive, off color or cringey. I have no reasons to return to these songs again. Cypress have announced the next record will be their last and that it will be with DJ Muggs. I hope they find a way to go out with a bang cause this was a soft whimper.

Rating: 3/10

Wednesday 21 October 2020

Cypress Hill "Demo Tape" (1989)

Decades into this wonderful internet experiment, one can easily find rare tracks, b-sides, outtakes and demo tapes that used to be privy to a handful of ears. With another nostalgic plunge, I looked up Cypress Hill's demo tape. Its somewhat disputed what year its from but 1989, a year after their formation, seems to be the best guess. What a fantastic idea, this six track tape is a remarkable insight into where the group started and what evolution took place in the years leading to their debut self titled.

Its remarkable how much of Hill's trademark sound is present from the get go. The four tracks that would carry over to the album have their core samples all in place, the unique flavor is bold and obvious, the stylish identity firmly established. They all carry a little extra percussion and layering that got stripped back. Refining his beats, Muggs polished up the occasionally crowded jabs, stabs and redundant vinyl scratches in the end. These elements do have strong ties to the 80s Hip Hop sound and characteristics, with that these demos create a cultural bridge between the two eras.
 
The one track that didn't get carried on is Caliente. Its a stage for Sen Dog who raps entirely in Spanish. The beat is jive, the classic Amen Brother break loop on sharp repeat. The sparse sampling ushers in a calmer hypnotic flow for Sen's bilingual ability to sway in this listeners discern. Instrumentally it harbors much of the aforementioned 80s tropes, one can hear why it was ditched, there is however no doubt that Sen shines in the spotlight but its the only time we really get to here him go for it.

As the groups main MC, B-Real dominates the verses with much of his flows and style figured out. A large portion of the verses start with the same lines but quickly derail into less refined collections of rhymes loosely linked. Although my memorization of his lines immortalizes them, it genuinely feels like he puts the best at the front, later on fleshing the rest out with better ideas. On occasions his voice drops off the navel inflection and in a few lines he sounds much more regular.

The demo tape is a fascinating insight into a group who have mostly figured out their sound. In comparison to what else was around at the end of the eighties, the Hill must of sounded special landing on the desk of some record executive. Or possibly not? I don't know much of their origin story at this point but it would be fascinating to find out. Making records was a longer process back then, two years on paper can technically be thirteen months and with it known they recorded some of the record in 1990, they could of been snapped up after this demo! Its fun to speculate.
 
Rating: 6/10

Saturday 17 October 2020

Cypress Hill "Cypress Hill" (1991)

 

 As a precursor to another record I'll talk on tomorrow, it felt essential to lay a little groundwork with Cypress Hill's dynamite debut from 1991. Nothing quite like this sound had existed beforehand. The Hill blew minds with funky Latino vibrations and a bold advocation for the use of marijuana at the forefront of their music. Unlike a lot of other acts in Hip Hop, the trio would go on to have a decorated career beyond the debut with a string of creative and commercially successful albums, birthing songs known the world over like Rap or Rock Superstar and Insane In The Brain.

Firstly a disclaimer, this group were one of my first "favorites", who as a young teen I bonded with immensely... these beats and rhymes are practically baked into my brain. I can't tell you how many times I've spun this one. Giving it another go as I right, I am reminded of how well crafted these instrumentals are. Yet to lean on slamming percussion, DJ Muggs flavors his grooves with bold, funky samples. It has a little Bomb Squad flair for obnoxious noises and stabs among the guitars, horns and trumpets. It mostly has a keen psychedelic edge, resisting conventional melodies and arranging his loops to flow in succinct persuading repetitions.

I often forget how uplifting and warm the Hill once where. By album three, Temples Of Doom, they were deep in the darkness. Despite having devious classics like "How I Could Just Kill A Man" and "Hole In The Head", Muggs keeps spirits up with a spicy measure of groove and funk weighed up in a string of classic beats. However the lyrics are mixed in with rugged street talk and violence, swaying between more fun topicality. Variety comes with laid back grooves, busying instrumentals pushing the noise and a playful helping  of Latino flair. In the records end stretch, the guitar sample on Tres Equis illuminates brightly, doing all the work for Muggs as Sen Dog raps in Spanish. A niche touch to give the record more uniqueness.

B-Real is a phenomenal talent, all too overlooked as one of the greatests in my opinion. He establishes himself with a youthful flair but his rhymes are so concise, the flows mesmerizing and with that strong navel inflection, inspired by the Beastie Boys, he proves himself on round one. So many of his distinguished particular cadences and catered rhythms are established on this one. Flows and rhyme groupings that get recycled and referenced in later records are in abundance here at the inception. Lets not forget the hooks, this record is loaded with them. Hand On The Pump has one of the best with its lala lala conclusion and Sen delivering the hype between.

Every track as something to offer and a write up can't go by with out mentioning Stoned Is The Way Of The Walk. An absolute banging sleazy spaced out beat with B-Real rhyming through the percussive breakdowns without pause. Its timeless, despite having a distinctly "of the time" feel, everything stands up. With knowledge of whats to come, Real Estate seems a step ahead. It has the harder drum loop and focused attention on its main sample and pumped up baselines. That's another point, the music is laced with bold lines in the low end that glues much of it all together.

This record never lost its charms on me over the decades and right now it's pleasures are so vivid. That is when I enjoy writing the most. What's the point other than to feel the music as much as you can? I can barely think of a bad word to say on this record, its a brilliant debut statement. Stylistically stunning and sharp, flavored with a spice not heard before in Hip Hop. Barely a weak spot, although everyone will find their favorites among these sixteen cuts. A classic!

Rating: 10/10

Monday 15 October 2018

Cypress Hill "III: Temples Of Boom" (1995)


It feels surreal to think that twenty three years have passed since Cypress Hill put together their third and iconic Temples Of Boom. With each record they continued to recreate themselves and this time the trio went down a dark avenue. The music videos went the same way too, resulting in MTV and radio refusing to play them. That didn't stop the record going gold and eventually platinum off their reputation alone. This was the first record I became obsessed with and if your familiar with my taste in music it should be no suprise as to why.

1995 marks a peak in the Mafioso Rap movement and despite the dark and violent, gang related themes, Cypress sidestep that particular narrative. It was when Hip Hop was transitioning away from bombastic sampling styles and production was growing towards sequenced beats and slick synthesized instrumentation. With retroactive ears Muggs's production gets a whole new level of appreciation. These beats hold up so well, Muggerud brings together the tightest kicks and snares samples, arranges them with a hard hitting, slick bombastic groove that resonates of dark vibes.

Track after track is hypnotically dark. Deep rumbling baselines glue the power and jive of the drums with their evil and menacing sampled counterparts. Muggs approach usually consists of ambiguous airy ambiences eerily lurking between the obvious instruments. With attentive ears much variety in that region, most notably cold icy pianos return frequently, playing upfront melodies but sometimes lingering in the distance. The mystic cultural vibe makes its mark here with the inclusion of the Indian sitar to bring about esoteric vibes between the beats. It builds up the unique feel of the record as well as the mythic terminology referencing the albums title and tracks like Stoned Raiders.

I will always put B Real in my top five, he is a phenomenal MC and criminally overlooked in the discussion of Hip Hops greatest. Every line on this record is fire, no filler. His nasal tone adds a sharp spice to his flow, giving his microphone persona a streak of attitude that requires no boasting. Its in the air tight delivery and variety of flows that keeps the goods rolling in from one song to the next. His ability to slip into half-sung hooks and killer refrains is timeless. His flows stealthily change pace and on tracks like Locotes they find a groove of their comparable to the beat itself. With Sen Dog chiming in and double tracking the best rhymes. His voice and lyrics hold up all these years later, still vicious and vigorous.

I'm not sure how many verses Sen gets on this record but as always his presences is illuminating, a great compliment to B Real. His roll as a backup man is never overplayed and easily underappreciated in the Cypress formula. No Rest For The Wicked has the group fire back at Ice Cube for stealing their hook and B Real is just an absolute monster with every line, from start to end. Its a savage diss track, almost on par with No Vaseline which he references with the line "No Vaseline, just a rope and a chair and gasoline". Brutal. Wu-Tang Clan's RZA and U-God turn up for some verses on one of the records dingy, dirtiest beats. A fitting match.

The record isn't all dark and shadowy, the lyrically ironic Boom Biddy Bye Bye lifts the mood with a memorizing piano melody looping over a warm, inviting baseline. The classic Illusions may sound a little nicer but its lonely atmosphere and paranoid lyrics quickly dispel the easy listening. A few beats do lean to a brighter degree but lets face it, its a darkened record. Strictly Hip Hop rests as a fairer beat setting a firm tone for the Hill to send out a clear message on the commercializing of the music. The lyrics read like biblical verses as B Real preaches some of the hardest truths on the business consuming the art form. Its my favorite song on the record and all these years later it truths hold up and Cypress Hill have proudly stuck by their integrity. A truly classic record, one of my first tens and perfection for my taste.

Favorite Tracks: Spark Another Owl, Throw Your Set In The Air, Stoned Raiders, Boom Biddy Bye Bye, No Rest For The Wicked, Killafornia, Locotes, Red Light Visions, Strictly Hip Hop, Everybody Must Get Stoned
Rating: 10/10

Sunday 7 October 2018

Cypress Hill "Elephants On Acid" (2018)


I've been eagerly awaiting this record. The legendary Latin American Hip Hop group Cypress Hill have returned with their ninth album after an eight year absence. They were my first "favorite" group, as a young teen I became rather indulged and obsessed with their music. Binge listening and making copies of their records borrowed from the local library, I quickly came to know all their music very well and hold them in the highest regard. To this day I frequently return to their best records, Temples Of Boom being my favorite as the dark, spooky, mysterious Gangster Rap record with killer lyricism and timeless hooks. Going into this new record I had little in the way of expectations. It has been some time and anything can happen.

Elephants On Acid is a reasonable effort that does a fantastic job of establishing a distinct vibe and maintaining it. Cypress always had an exotic twist about them, using Latin lingo and inflections in the vocal department. At times their choice in sampling naturally leaned to Southern American and Eastern cultures, a niche characteristic. This record homes in on the latter with its sleepy esoteric atmospheres born of slower drum grooves, deep muddy baselines and the sprinkling of Eastern instruments to affirm an air of mysticism. In its second half the instrumentals start to brood in darker places. Locos, Insane OG, Warlord and Blood On My Hands Again unapologetically explore the creepier avenues of a dangerous vindictive world.

It is B Real who gives this record its merit. After eight years off the wax I had feared he may of aged but much like his live performances, he seems youthful and fully capable with a tight grip on the mic and his craft. Hes rocking the same nasal style, delivering lean raps with a weight of rhyme and wit that reminds me again how criminally over looked he is in the Hip Hop community. We may not hear his best here but he capably drops in plenty of steady flows, smart rhymes and one cracking line referencing Silence Of The Lambs. At his side Sen Dog seems unfortunately absent for many of the tracks, he is one to elevates the music with his unique chiming in. Even with a just small and simple roll he seems missed.

As discussed this record achieves a vision but unfortunately its a rather tame one even if distinct. The pacing is sluggish. Half baked instrumentals serve as brief interludes making up a quarter of the tracks. The main beats themselves are often indulged, brooding on atmosphere and the drum grooves rarely land with much intensity. Its obvious Cypress were going for this tone but the records best song, by no stretch of imagination, is Locos. The beat lands, its banging, the atmosphere serves it well and B Real is backed up by a mean sounding Sen Dog who throws in his aggressive call outs that land like threats. It the traditional formula and it works better.

It doesn't feel like there is much more to be said beyond going into specifics. Deep into the record hides Crazy, a song clearly trying to recapture the Insane In The Brain spark. To be fair its a fun track but once again the drum break just doesn't land with any intensity or groove. As much as Ive enjoyed these songs I really don't see myself coming back to the project to often. I commend Cypress for attempting to do something outside the scope of what you expect from a Hip Hop record. Its certainly nice to hear consistency and vision but if it doesn't bang its got to get something else right and I'm not sure what that's supposed to be on Elephants On Acid.

Favorite Track: Locos
Rating: 5/10