Common "Black America Again" (2016)

Socially conscious rapper Common is back with another charged record thats very much relevant given the social climate and resurgence of black struggles in American society. With the title alone the topic is made clear and through the fifty six minutes he barely takes a step of the path. It's certainly the time for music to reflect the atmosphere but that doesn't necessarily define a good record. "Black America Again" fails on many fronts, mostly its religious inspirations and Common's unchanging approach. As a 90s fan of 90s flows, Common is one who's barely changed a lick, an old rapper with an old flow and unchanged rhyme style. He was never a particular favorite, he has gems in his discography but what mainly appealed to me was the positive, intelligent commentary of his persona in the raps.

There is a ton of subject matter I agree with on the record but the music is spoiled where biblical themes and words of praise come into play. With all the problems addressed he frequently turns to prayer and god as a solution to them. I appreciate the warm intention but for a person who see societal issues as systemic, the call for praise of Jesus over engagement or practical solutions infuriates me. Another difference of opinion grinds me on "The Day Women Took Over", a song calling for an oversimplified ideal that Women's disposition to empathy and caring would make them better leaders. Considering there are many women in positions of power around the world it would again suggest that our societal issues are systemic, related to power, wealth and its corruptible qualities. What Common has is simply utopian, poetic statement that lack any depth or substance beyond a nice but ludicrous idea.

Behind my indifference to Commons lyrics a rather sweet and soothing record exists in the instrumentals. Toning down the bombastic nature of the beats, soulful influences and roots of black music are given room to shine with occasional string sections bringing subtle crescendos too. John Legend's singing on "Rain" tunes out the drums for a stunning piano and singer song that only resembles a Hip Hop track thanks to Commons verses rapped without a beat. His raps are steady and mostly solid but its a style unchanging. On "Pyramids" a bit of technicality comes to fruition but otherwise hes mostly stagnating on a un-progressing approach that disappoints without the lyrics to match. There are good moments in the record and I have tried to love this record but large sections of the raps just didn't work for me.

Favorite Track: Black America Again, Pyramids, Rain
Rating: 5/10

A Tribe Called Quest "We Got It from Here... Thank You 4 Your Service" (2016)

Its been eighteen years... and I doubt anyone saw this coming. The legendary ATQC, innovators of Jazz Hop and creators of one of Hip Hop's greatest records "The Low End Theory", played their last ever shows a few years back and with the sad passing of Phife Dawg earlier this year the groups fate seemed final. Turns out they resolved their differences after the runion tour and decided to record a new record in secret. So imagine the astonishment I felt when I got an email announcing its release, more so at how good of a record it is and what a blessing to hear Phife on the record. How much of this was created with out his input I'm not sure but he came up with the title and the rest of the group aren't quite sure of its meaning.

I can't help but think its a tip of the cap to show the old traditions still have value in today's music. ATCQ sound like a group in the moment, flowing in the waters of inspiration and reinvigorating their identity because "We Got It" feels as if their is no absence. No greasing of the gears, no rough edges, they are in sync and doing what they do best. This is no nostalgia trip though, fresh production ideas and choices dominate this record without deterring from that warm hearted Jazz Hop soul the group always had. They also bring a star studded set of features, from Kendrick Lamar to Kanye West. Andree 3000 of Outkast and even their old friend Busta Rhymes. Speaking of old friends, Jarobi White is on the record, who only took part in the groups their first record.

Split into two sides of eight tracks the record flows effortlessly as a sixty minute piece, due much to its drifting from traditional song structures into artsy organic flows of creative sampling between the verses and chorus's. Some of this manifests with bold intrusive sampling, electronic Kraftwerk alike noises beep away in the start and end of tracks as well as snippets from Willy Wonker and the classic Thriller evil laugh in the records opening track. Q-Tip's production has no boundaries, its as if hes unbottling held back creativity and so many of his choices work. On "Lost Somebody" he lets the drum machine rapid fire like its glitching out. Bold, off key and different. The song even cuts to silence before some guitar jamming noises through into the next track. These experiments are fantastic but between them a set of solid and expressive loops, from the boom bap beat of "We The People" to the Reggae Dub grooves of "Black Spasmodic" Q-Tip finds all shades of Soul, Jazz and R&B to keep the flavors flowing from start to end.

Much of that bottled up creativity speaks to Phife and Jarobi who toy with afrocentric accents between sets of inspired raps. Q-Tip is also on point as the group talk to many relevant issues in the wake of Trump's election, "Muslims and Gays, boy we hate your ways". Id have to hand verse of the record to Kendrick Lamar who drops a impassioned rap on "Conrad Tokyo", his words come so fast with so much weight I feel like each listen adds a new dimension to the wieght of his words. The rest of the track meanders in the echo of his words while a keyboard solo jams away. Its a fantastic choice to let the instrumental take steer of the ship for the rest of the song.

The record rounds up with "Donald" a Phife Dawg track, layered with sampling and snippets of news presenters saying the president elects first name. I can't help but think the songs design is a tip to Phife's classic line "I cash more checks than Donald Trump". It an remarkable record and more so for its exceptional circumstances. One things for sure the substance is there and we have been gifted a wonderful album that must be respected, fans like myself would love more of this I'm sure but the reality is this is a send off, a twilight special and how blessed are we to hear it. One things for certain, the tribe can kick it! Yes they can.

Favorite Songs: We The People, Solid Wall Of Sound, Conrad Tokyo, Ego
Rating: 8/10

Kendrick Lamar "Untitled Unmastered" (2016)

Where does an artist like Kendrick go after the monumental "To Pimp A Butterfly"? Well playing it down with a "bonus material" type of record is a smart move, calm the hype and feed hungry fans some material that didn't make it to TPAB, you can't go wrong... well, you could but thankfully these leftovers are interesting, rich with ideas and quality execution (at times) that gives me a greater respect for TPAB. Its grown on me over the year, at first I saw its brilliance but It wasn't clicking, however as the year grew those songs would resurface in my mind. What I realized about the music is how much Kendrick pushed the instrumentals in favor of its Funk, Soul and Jazz influences. Often the Hip Hop ideal dominates over a selection of samples, however with hired musicians he steered the ship to a far more neutral territory, "Untitled Unmastered" further highlights this artistic balance. For a group of outtakes that are simply dated, rather than named, we get an unsurprisingly unfocused experience but those 34 minutes flow by smoothly. For this one we will break it down track by track.

First we have a darker, grittier instrumental reminiscent of the RZA production style from early Wu-Tang records. Low-fi strings and soft piano samples over dingy, grimy beats. Kendrick spits with a lot of energy on this one. Second we move into a moodier atmosphere with spacious beats and deep brooding baselines, Kendrick playing with his softer voice and dropping in infectious rhythmic delivery. Third song we get a fruitier, upbeat, almost tropical track with fantastic instrumentation, a rigid organ sound comes into the track later on which didn't quite charm. Fourth song Kendrick starts off with a harmonized duet, whispering questions the two reply two in voice. Has potential but the song fizzles out.

Track five reminds me so fondly of DJ Shadow's "What Does You Soul Look Like", a hefty warm baseline plodding under a crashing ride cymbal. Six has a faster vibe and is the records most TPAB track, sounding like it could slip itself into the track listing. Seven, the longest at eight minutes, plays with the gangster side, dizzying trap instrumentals and provocative lyrics lead into a couple of half baked ideas that end in Kendrick taking the mick out of Michael Jackson's "Don't Stop Till You Get Enough". Eight has a strong disco dance vibe with a snappy clap in the beat and unusual synth lines grooving around between the deep swooning bass grooves.

Its easy to see why some of these songs didn't make the final cut, they are not quite on the same wavelength, but that's not say they couldn't of become something great, they just don't quite line up with the mood of TPAB. This record is fantastic and an glimpse into the depth of inspiration Kendrick brought to his record. Whatever direction he chooses to go in next there is no doubt he could make another fine record with these musicians at his side.

Rating: 7/10

Bohren & Der Club Of Gore "Sunset Mission" (2000)

 If ever there has a case of instant appeal, then Bohren and his "Club Of Gore" are a prime example of a sound Ive been waiting to hear, as soon as it graced my ears it all made sense. Known as Doom Jazz or Noir Jazz, a far more suitable name in my opinion, the sophisticated atmosphere of Jazz is taken to the dark side with a seductive persuasion that lures you in with its passive presence, soothing, gentle yet drenched in night time blues. The band are a four piece group from Germany who have been active since the early 90s and "Sunset Mission" is their third full length.

The setting for the groups music is quite simple, soft choral synths lightly grace the backdrop as deep baselines plod and blunder in the distance, the slow ride cymbal sets a crawling pace as it softly strikes and shimmers the tempo into existence. Variations of these set the atmospheres on each track for the saxophone, organ and rhodes keys to lead us through a tangent with their dark and brooding leads. It warms to the eerie and mystical but is rooted in an urban environment. Danger is always near, as if you walk the smokey alleyways of a crime smothered city where the sun never shines, a murder detective, who in a search for justice is burdened by the weight of the horrors they see. Its the soundtrack to a romanticized crime novel of dirty streets, shady criminals and alcohol addiction.

The record stretches on for 73 minutes and is more about atmosphere and tone than making an impact with any particular moment. On "Pain-Less Street Angels" there is a fiery level of emotion from the sax but asides from one standout moment much of this records charm resides in its ability to hold the mood without any visible intensity. There's a fair few peaks and distortions felt in the mix, nothing much to bother but its far from a remarkable production. It does enough to let the music do what it does so well.

Rating: 7/10

DJ Shadow "Endtroducing..." (1996)

DJ Shadow is an American producer from California who's debut "Endtroducing..." has landed on many "top lists" in Hip Hop music. Credited for establishing Instrumental Hip Hop its often held in high regard as an important and influential record. Having not given it much attention beyond one or two listens in the past I decided to give this one a go again and after much time spent enjoying it I have to say retrospect has me at a disadvantage.

Being familiar with many of the characteristics this record may of helped to shape and inspire, there are a few traits its posses that I might take for granted. The instrumental aspect was a first at the time and many of the techniques used in production are so commonplace now you have to put yourself in the mindset of 96. DJ Shadow as a lot of unorthodox sample material throughout the record, even including Metallica's "Orion" on "The Number Song" and scaling back from the accompaniment of an MC he pushes for daring and unique sounds leaning towards Jazz, Soul and Psychedelia.

The sampling, cuts and arrangements are captivating and progressing lucidly with a free flow as DJ Shadow lets the sampling art-form do so much more than the stagnant repetition were used to. With many layers of samples each song can journey through an idea while changing form and evolving thanks to the intricate detailing of sounds and shifting between different samples which fade in and out of the tracks effortlessly, creating organics through traditional rigid music.

A quote from the record itself, something along the lines of "The music's coming through me" summarizes the record in a nutshell. Whats so remarkable is how lucid and organic the chemistry in the sampling is. Hip Hop has often sliced great moments, or reinvented them with new words and a new groove, but here on this record the original songs are barely reconcilable as the choice arrangement and reconstruction takes new forms that don't resemble the origin.

Despite now "getting it" I feel that the records diversity in theme creates some less favored vibes and moments. In the jazzy chilled out, laid back Trip Hop moments there are timeless tunes. In other songs the mood shifts rigidly into less engaging songs that break up the flow. Its a loaded gun with plenty to offer, but some of that just wasn't quite on my wavelength. Its also interesting to read about how well this record was received in the UK considering this record breaks down Hip Hop in similar ways to Trip Hop which was flourishing at the time. Anyway, terrific record which I can really appreciate, I'm hoping the less favored moments will grow on me with time.

Favorite Tracks: Changeling, What Does Your Soul Look Like, Midnight In A Perfect World

Rating: 7/10

Wayne Shorter "Speak No Evil" (1965)

 American Jazz saxophonist Wayne Shorter may not be as well remembered today but hes one of the music scenes most acclaimed with an astonishing ten Grammy's in his belt. Hes been at it since 59 and is still making records today with releases spanning a whooping seven decades. "Speak No Evil" is his sixth release and one of four in the year of 65. Seeking another Jazz record to enjoy, this comes from the recently discovered list of "Jazz Classics".

It starts of as a harder hitting album with an ambitious, striking saxophone singing out hooks over mellow, laid back piano and drums before delving into a typically improvisational avenue that lets the saxophone take lead with a variety of scales, usually drifting between flat and conventional melodies. Its atmospheric, chilled out but fairly uneventful. The album takes a while to get going with the title track brightening the mood with orchestrated leads that brings the piano to the forefront with the two dancing around one another in tandem in the songs opening construct. The last two tracks really pick up for me with milder moods and slow, steady leads that are much more telling than the first half. When coming at a steadier pace the words and feelings are in the saxophones voice. There's much sadness and sorrow in "Infant Eyes" with an observant tone, as if caught in the aftermath of tragedy with acceptance in mind.

Much of Jazz is hard for me to put into words. I enjoy it, as much as I enjoy whats mysterious and distant about it, the free flowing drums and soothing nature of their relation with the pianos create a pleasurable canvas for a lead to glide and pale through on its own accord but somewhere in that chemistry I feel rather at the mercy of my own ignorance. Despite listening to a lot of Jazz in recent years and very much enjoying the vibe it brings, I struggle to find the words as I did with this one and as I'm sure i will with another Ive been listening to frequently. Enjoyable record with a few "go to" tracks for that particular mood.

Favorite Tracks: Speak No Evil, Infant Eyes, Wild Flower

Rating: 6/10

Grover Washington Jr "Feels So Good" (1975)

American saxophonist Grover Washington Jr was born and raised in New York City. From a young age he was taught the sax and for his musical output in the 70s is considered a pioneer in the world of Smooth Jazz. Like Return To Forever's "Romantic Warrior", this is another record from the "Jazz Classics" that quickly defined itself as a calmer, smoother, soulful record that cruises through relaxed, chilled out numbers and grooves that bring a spicy of funk to an obvious Smooth Jazz vibe led by Grover's steady leads on the sax. This record and "Mister Magic" released the same year remain as his commercial peaks on the American billboard charts.

Smooth around the edges, this record actually contains a fair amount of funk and energy between the calmer, atypical styles of Smooth Jazz. The opener, "The Sea Lion" has a powerful narration from the string section which fades in from black to brew the bolder moments, seemingly jumping it at will to emphasize the point. Never as ever present, it drifts to the background for the rest of the record which jives and jams its way through colorful themes of class and style from a now retro past. "Moonstreams" is an exception as the records sleepy number that slowly drifts down the river as a gentle lead guitar plucks a mellow, tender soul.

The last three tracks delve deeper into the Funk and Smooth chemistry as tight chunky baselines strut under soulful saxophone leads that feel their way through the jam. The drums are there throughout, accommodating the flow but feel damp and contained in a mix that gives the aesthetic a lot of clarity for the other instruments. Its a record thats engaging, but far from memorable. It suits a mood but fails to leave a melody or moment in my mind. 

Favorite Tracks: Knucklehead, Hydra

Rating: 5/10

Herbie Hancock "Thrust" (1974)

Herbie Hancock is an American Jazz pianist from Chicago who has played alongside such legends as Miles Davis and Donald Byrd. His career of solo records started in the sixties with "Takin Off" at the age of twenty-one. He has since release over 50 albums across five decades. Along the way hes received critical acclaim for a handful of records. "Thrust" is not one of them, but simply the record that pulled me in and got me listening.

The opening track, "Palm Grease" is a laid back jam fest of perpetual funk bass grooves and spacey, outlandish jives that dance and play around the unfolding groove that moves its way through ten minutes of free flowing improvisational unraveling after a cow bell drum break in the beginning and mid section that I have heard sampled on a fair few older Hip Hop tracks. This opener shows a lot of funk flair, but the next three tracks elevate to a higher dimension as the funk grooves hammering on the bass play second string to the keys that take the helm with layered compositions of airy, organs like keys and layered synths as the drums get heavy on the ride symbol and flow into the Jazz improvisational style. "Butterfly" gets soulful with a strong, moving tenor sax lead from Bennie Maupin that graciously sees us in and out of a calmer number that amplified with Herbie's mid song leads climaxing with oozing synths.

Its an exciting listen for the newer elements I'm being exposed to, but it does often drift into the background a little as some of Herbie's leads worm around themselves without conclusion. Bennie's feature was the most congruent moment on the record, and despite the excitement of being new to the Funk-esq Jazz feel, I felt a lack of focus or direction left some gorgeous sounds, aesthetics and musical ideas drift into unconscious territory. Very enjoyable listening experience that will have me seeking out more Jazz-Funk.

Favorite Tracks: Actual Proof, Butterfly

Rating: 7/10

Return To Forever "Romantic Warrior" (1976)

Having browsed my way to a collection of "Jazz Classics" with new names and thematic album titles I unknowingly stumbled into the later era of the sound, known as "Jazz Fusion", a more "accessible" style with strong rock influences and funk groove. Of all the new records to discover this one quickly grabbed my attention with its opener "Medieval Overture", jiving keys, adventurous drums and riff based guitar work instantly clicked with a Progressive Rock vibe as the song shifted and swayed through musical ideas in a typically Progressive style. Although listed as a Jazz Fusion record, my familiarity with Prog Rock had me listening from that perspective and at many times simply sounds like a Prog record with Jazz influenced instruments and tones. Either way it captivated my attention, and I'm keen to retrospect on this record as I listen to more Jazz Fusion.

The albums cover art and opening track make no secret of the albums theme, however the music wouldn't distinctly strike one as Medieval. The music is bright, playful and uplifting. It very much romanticizes the era in its own vision, rather than a recreational sound or atmosphere. It also has a slightly alien, unknowing, mysterious sound with some of the keyboard leads used on occasion. The finer details of theme are irrelevant though, the music is captivating and has little to prove.

The records clarity and warm sound are an indulgence, an impressive, balanced production that lends to the freedom of the progressive music that dances and weaves its way through connecting passageways and reoccurring themes that climax with soft atmospheric piano led breaks and blazing Prog Rock solos in the faster paced moments. Its an excitement, a theatric performance of evolving music that all instruments contribute too. The drums shuffle, roll and groove in a free flowing unraveling of complimenting force. The bass rocks a steady mood, occasional grooving into the forefront with some funk and the keys are a delight, bright layered sounds that sparkle and glisten with the synths underneath. The guitars rock subtler grooves with a tone fit for ripping leads and crafted, subtle riffs, theres also some beautiful Spanish guitar tones thrown in the mix aswell.

As I think through the instruments it only occurs to me now the instrumental nature of the record. With so much energetic and colorful music jamming away it barely gave me a second to think about the absence of a vocal presence, which was never needed. The music says so much, it paints a canvas with colorful renditions in the mind. Great record, has to be said the last two tracks hold it back as they dull the mood from the energy of the first four. Either way I loved it and looking forward to more Jazz Fusion on my playlist.

Favorite Songs: Medieval Overture, The Romantic Warrior, Majestic Dance

Rating: 7/10

Kendrick Lamar "To Pimp A Butterfly" (2015)

To Pimp A Butterfly has undoubtedly been the most interesting record I've heard in a long time. I've pondered on its meaning and message, loved its courageous instrumentation and felt frustrated with its pacing, despite the beautiful artistic construct. Its being raved about universally, hailed as potentially being the album of the decade, and an instant classic. I've given myself much time to consume and digest the record, and for all I love about it I'm not quite on the same level with it. I've been anticipating this one since discovering Kendrick's 2012 classic "Good Kid, M.A.A.D City", a stunning Hip Hop record, and in the three years since hes been hard at work on his third record, a undeniably strong one that has certainly not disappointed.

Kendricks expressions and vision is unrestrained on an unconventional and free flowing approach to the album experience, breaking down the conventional Hip Hop format and uniting a concept through a recited poem that features on many tracks, unfolding as with each recitation. The lucid nature of the record takes a step back from itself and reinvents the instrumentation with a closer connection to Funk, Soul, Jazz and even Disco, music thats had an undeniable influence on Hip Hop sound and culture. These songs let the power of the grooves, melodies and Kendrick's expression flow and evolve from track to track thats filled with interludes, poetry and transitions between the tracks that focus on the expression thats not all about raps. Spoken word and poetry reciting, Kendrick gets emotionally raw with his voice on "U" and other numbers that have classy instruments keeping the dramatic tone moving.

The expression is a point I've touched on a few times, and obviously its a racially, emotional charged concept that reflects these times where the racial inequality and police brutality is boiling in Ferguson Missouri. Its the specifics that are illusive, the indirect, poetic language thats powerful, and yet unclear. Kendrick reflects on many historic and cultural figures in black history in vague references that are tied to emotional stress and guilt, delivered with impacting force for thought. The most mysterious of which, "Loving you is complicated" where he ponders on a figure of reach who money made complacent and misused his power and influence. The song "Mortal Man" concludes the poem recital for the last time, leading into a conversation with Tupac who I believe Kendrick is drawing parallels with at a time where racial tensions are hot and he is a racially aware voice in Hip Hop similar to Tupac. Lines like the "Thought money wouldn't change you, made you more complacent" makes me think of Tupac's rise and fall from being the voice of the "young black male" to parading the bling bling image on MTV with gold chains, hot tubs and models. There are many racialy charged lines to ponder the meaning, "My heart is as black as an aryan", and most of "The blacker the berry". Although the specifics may feel blurry, its undoubted that Kendrick is fueled with anger and passion for his people.

When the end of "Mortal Man" rolls around, Kendrick recites a second poem, describing his world. A beautiful metaphor using the caterpillar and the butterfly to express the relation between artists like himself who escape the ghettos to be exploited for it. "To Pimp A Butterfly" comes together in this moment but still leaves a lot to think on as Tupac speaks no more, leaving Kendrick without an answer to his question, that this record might simply be.

The instrumentation and production is sublime, as mentioned before it has a lucid quality and focus on organic chemistry, breaking the sampling and drum machines with a live band feel that let songs grow, shrink, twist and turn with a freedom that looped instrumentation can't achieve without immense construction. A wide array of styles and instruments move in and out of focus and my favorite element, the drumming, is slightly subdued, laying down solid but subtler grooves that are gentle and powerful, bringing a lot of energy without any boombastic presence, its a classy touch and ones that at no time uses any cheap thrills or catchy hooks, this is all substance and style.

Theres a lot to love here, a dense album musically and conceptually which grows fonder with each listen, but my one gripe are the interludes, despite being expressive and theatric and an essential part of the record, they come at a pace that continually breaks up the songs and stagnates the flow somewhat. Theres more I could talk about, but by now id be nit picking specifics, where the album as a whole speaks volumes. I can see exactly why its being hailed a classic, but on a personal level it may take me a bit more time to feel it that way.

Favorite Songs: Institutionalized, These Walls, Alright, How Much A Dollar Cost, The Blacker The Berry, Mortal Man

Rating: 9/10

Bill Evans "The Bill Evans Album" (1971)

For as long as I can remember I have always been fascinated by Jazz music, not for just its soul, but its fade into the shadows over time. Jazz evolved and developed over several decades at a time where information and ideas moved slower. Over this time many styles, ideas and "sub genres" formed before its eruption in popularity in the 50s. This era gave birth to a lot of classic records which have since been forgotten by current generations following its rapid decline through the 70s and 80s. The emergence of Rock music and TV changed society in a big way, so much so that you can barely feel its legacy in modern music. With this disconnect it can be hard to find the right records for you, considering the substantial back catalog of Jazz thats available it is a sea of forgotten wonder to wade through, and its always a pleasure to find something to digest. "The Bill Evans Album" was certainly something I can dig my teeth into, having never heard of this musician before I had no idea what to expect, but alas here was a record I could dive into.

I find it especially difficult to differentiate the deeper artistic expressions in this music, for it is wildly different from modern music. Jazz is classy, bright and sophisticated. That may sound cliche, but its true. This music doesn't revolve around melodic hooks, repetition, beats or sing along lyrics. Its an entirely different construct of sound thats artistically inclined towards free flowing expression and atmosphere. Despite my love of this music, its one I struggle to articulate. Jazz is mysterious and felt beyond words, its as if a higher sense of self is reached through sound that strives for so much more than what we are. What I'm trying to say is despite my enjoyment of this record it doesn't leave me with much to say.

"The Bill Evans Album" is another liquid record that gracefully jams through lush fields of indulging Jazz as Rhodes keys, bright pianos and a walking bass groove vibe back and forth from one another as the kit guides them with gentle timbering ride cymbals, gracious snare fills and sensitive tom rolls. The pianos dances fluently with intricate melodics that glide through scales with a effortless free flowing spirit, signs of a great pianist at work. The bass is often a quite mode of groove, hammering away behind the Rhodes and piano, it occasionally steps into the limelight as all instruments do at one point or another. Its a warm record to feel good with a touch of introspection, more so that acceptance. With no hooks or obvious "moments" to point at, its a fluctuation of feels that wash over at their own desire, occasionally the Rhodes and piano chemistry peaks as captivating melodics overlap in brief instances. Another record in my collection, but nothing on par with the classics.

Favorite Tracks: Funkallero, Re Person I Knew

Rating: 6/10

Foetus "Gash" (1995)

Starting from zero, the opening track "Mortgage" slowly progresses through a grudging beat that pounds as pounds as instruments and abstract sounds pile into the mix one by one. Narrated by musician J.G.Thirlwell the song evolves into a noisy, dissident dystopia of sound colliding together with strange harmony and balance. Its says much of this experimental record which juxtaposes all sort of musical styles with the ever-present noisy Industrial backbone in a chaotic fold of sound. Foetus is the main project of aforementioned Australian Experimental musician  J.G.Thirlwell who has built a large body of unique music over the years, under multiple pseudonyms. As well as developing connections with some prolific artists in the 90s, his own work has never seen much commercial success or critical acclaim but has certainly carved him a niche that sees him active to this day. "Gash" serves to be his biggest record, the only one to ever make a release on a major record label, Sony, who can be seen on the album cover, possibly intentional.

A lot of what is established in the first track is elaborated on throughout the album, noisy, Industrial tracks with a less intensive focus or vibe. Underneath the hard shell the guitars play out some Rock / Metal like riffs with minimal intensity, they often compliment leads and melodies brought in an array of instruments and styles that seem to consistently pull from different sources track to track. After moments of intense noise abuse, and eerie synths the album finds its way to a Swing / Big Band number "Slung", its jiving swing leads and clamorous undertone meld and stroll into a lengthy jam fest that returns to the main theme across eleven minutes. The track that follows couldn't find itself further away, a screeching, dark number. Thirlwell's vocal performance give this snarling shock rock track a Manson vibe. The bizarreness continues as a Classical, theatrical war like composition leads us into a quite genius dramatic piece that utilizes the progression of its noisy oddities with a peaking string number. Its an album of surprises and experimentation that doesn't fail to get your attention.

With the good often comes some bad, and this record would tip the scales in the wrong direction with its production which served to really hurt its potential to be great. This album is also produced by Thirlwell who's worked with big names before, but here on his own record his production style has held back everything great thats at work. I've listened to my fair share of Avant-Guard, genre blending music, and more so than often the unusual ideas presented need to be complimented by decent production. The guitars on this record are muddy, foggy and loose their impact in this messy production which fails to facilitate the needs of each instrument. The drums are thin and flat, the bass is a low fuzzy growl that occasionally gets noticed for something other than a loud rumbling, and for all of the extra instrumentation that comes and goes, none of it comes into the mix without clashing with something. Noise may be an important aesthetic here, but it can come from the layers of strange noises and instruments without clashing. With so much going on in the same space the low fidelity makes it difficult to absorb without focus and effort. Track after track throws down fantastic ideas, riffs and leads that are buried amongst one another and serve to suck the moment dry with lackluster fidelity. Its been a while since I've heard a record so hurt by production, but its a reminder that good musical ideas are not everything.

Rating: 5/10

Favorite Tracks: Mortgage, Mighty Whity, Slung, Steal Your Life Away, Mutapump

Guru "Jazzmatazz I" (1993)

In my exploration of Hip Hop music I'm somewhat bemused that I missed this record. Guru being one half of legendary Gang Starr, the fusion of Hip Hop and Jazz being a favorite of mine, this record somehow managed to elude me until recently. On this record Guru lays out an interesting approach to the fusion, brining in other established and respected musicians in the Jazz scene such as Donald Byrd to accompany him on the record. Initially I anticipated the Jazz aspect to take a bigger role in the direction of this record because of these collaborative artists, however it turned out not to be so.

The Hip Hop formula is prevalent here with drum loops, samples and verses carving each song into 4 minute tracks with the commonplace verse chorus formula. Many of the Jazz instrumentals feel sampled or looped, with only a few spare moments for the guest musicians to take the lead, not quite what i initially expected, but certainly not a problem, this is an enjoyable record, but one that utilizes the vibes and styling of Jazz into the Hip Hop mold.

Guru is average by his standard this record, theres many enjoyable verses and moments throughout, but nothing that quite sparks and sticks in the mind like some of his raps with Gang Starr. Theres also a great guest appearance from French Rapper MC Solaar. Despite not understanding a word he says, his voice and flow are indulging. The shine on this record comes from the beats and relation to the Jazz element, with the memorable tracks made by the instrumentals. Overall a very enjoyable fusion of to style I'm fond of, but far from being anything exceptional.

Favorite Tracks: Down The Backstreets, Le Bien, Le Mal

Rating: 6/10