2Pac "R U Still Down? (Remember Me)" (1997)

 

Decades have passed since I last enjoyed one of 2Pac's many posthumous records. I barely remember this double album, loaded with a hundred minutes of the iconic rapper going at it alone. Released thirteen months past his death, it reeks of a rushed release. A lack of vision or focus swiftly becomes evident, Pac's raps arrive from different eras on top of demo level beats that loop at a bare minimum. Even basic techniques like dropping instruments in and out to add some variety seem missing.

Disc one houses more of his 95 era flows. Fresh outta jail on a mission to record as many raps before his impending demise, these lively verses recycle so many of the tempos, tropes and topics of his All Eyez On Me double album. More thuggish, less thoughtful, many of them recorded in one take, Pac's motto at the time. Among them, cuts like Open Fire and Nothing To Loose from my favorite era, Strictly, are a delight.

 Disc two, my favored, mostly houses outtakes from then to Me Against The World. The instrumentals seem like the demo's from that era too. Hearing his pitch shifted raps return makes it clear why those takes didn't make the original cut. Do For Love and Nothin But Love hit hard, as do some of his verses heard elsewhere among a weighty catalog of posthumous material. The original verses of Changes are here too.

Its hard to acknowledge this as much more than a collection of demos. Without Pac's creative input, it feels hands off, the producers aiming to preserve original vibes. R U Still Down does have an eerie foreshadowing of his tragic fate lingering within the lyrics, not unusual given that perspective lurched in his prior records. Besides familiar bars used elsewhere, a few novelties emerged. Beats similar to Snoop's Gzs & Hustlers and Black Moon's Buck Em Down. Given all were released in 93, I wonder if these were instrumentals Pac passed up. Credits suggest coincidence.

Rating: 6/10

Clown Core "Toilet" (2018)

 

 

Predecessor to a similarly structured Van, Toilet's waning novelty grounds its impact, having listened Van prior. Elapsing from crunching bursts of garbled Grindcore mania into esoteric Jazz and beyond, the blaring toy horn, jolted timing stunts and frenzied ghoulish growls sadly fall short. On a joke turning stale, the moments of musical magic shy from a curious wonderment achieved in its successor. The many pivots into bass drum grooves or scenic Smooth Jazz interludes have charm but lack a maturity.

Toilet, possibly recorded in a porta-loo, reeks of youthful adventure. A bold plunge into a vision, mostly realized but leaning on its own oddities too much. Jarring synth noises and unhinged blast beats drop all to frequently, the counteracting moments of gratification only mediocre. Although I have hindsight tainting my perspective, it really feels as if Van is a rework of this piece, going back to the architecture for a redo.

Rating: 4/10

Eminem "Relapse: Refill" (2009)

 

 

As expressed on the comical Steve Berman skit, a returning from retirement Eminem had enough material for two albums. Refill suggests an overstatement, its nine cuts only treading water with Relapse's weaker tracks. Forever feels like a false start, Em tacked onto one of Drake's pop rap songs. The music starts out strong but gets goofy as Elevator trades a quirky rap romp with its elongated sung chorus. Em reveling in the astonishment that his mansion has an elevator. It's likeable but shy of greatness. Music Box & Drop The Bomb On 'Em drag on, both lack a cutting edge, going through motions, feeling like exercises in creativity that didn't live up to his standards.

 

My Darling goes dark and grisly, a flawed execution of an interesting concept. Wrestling with a demonic voiced Slim Shady, he lives up to the ills of the character that brought him fame. The back and forth echos what he tried to do on The Death Of Slim Shady at length. It rolls into Careful What You Wish For, another dance with the devils of fame, commenting on the hysteria around his rise and how his records have been revisited as classics by critics. These two tracks feel like foreshadowing of an artist unable to escape that monumental moment in time. Entertaining but the last time it will feel fresh. One things for sure, Encore will never be considered an Illmatic.

Rating: 5/10

Eminem "Relapse" (2009)

 

Returning to Rap after a short lived five year retirement, Eminem battles his issues with alcohol abuse and pain pill addiction. Using his rhymes as therapy, we venture upon topically focused tracks, lyrically animating the trajectory of his struggles with drugs. Reviving familiar grievances along the way, Em sees himself in his abusive mother, leading to the comical line, "this ain't dinner ,this is paint thinner". Medicine Ball takes more shots at a now deceased Christopher Reeves. Dark and twisted as ever, he undoubtedly courts controversy again with a slew of edgy humor insults.

Still drawing inspiration from negative sources, Em dips into unsettling imagery often, painting himself as a deranged serial killer in a murderous daze on opener 3AM. The violent, cruel imagery is a constant recurrence, leading to impressive strings of zesty rhymes and stacked rhyme schemes. Often entertaining, Insane goes over the top, taking a depraved turn. With foul stench, Em delves into disgust, painting sexual abuse stories through crude and vile wordplay. Its a rather difficult track to stomach.

Bagpipes From Baghdad blooms with fresh creativity. The squirmish Indian accent fortunately subsides into a wild rhyme ride of satisfying oddities over one of the records grooviest beats. Its an oddball and bagpipes are indeed included. Hello follows up with a cringey crush confessional, a strange divulgence of attraction that finds itself twisted into dark places, a recurring theme. After these ear catching tracks, the songs settles into an ample groove, entertaining on its way to grand finale.

With tense strings and the voice acting of medical professionals, Mr.Mathers paints an image of his overdose through the eyes of paramedics. Leading into Deja Vu, the broody instrumental tone and cinematic lyrics flips the perspective, unraveling the prior event through a deep struggle as Em lands one of his best sung chorus hooks. The subtle organ chords rising in the background gel so well with his voice. These lyrics are so open, tender and endearing, a vulnerable expression from sullen lows.

Beautiful stirs this energy further, wallowing in his pains, pulling another sung chorus that works on this inspired level. Introspective, gloomy with an air of uplift lingering, has him riffing more earnest lines off the chest. Its deep and real, however Crack A Bottle pivots to a fun rompy jive with a dull feature from 50 Cent. Things pivot again as Underground amps the intensity up for a angered ending as Em goes wiling off again.

 Relapse was slammed by critics upon release. I'm fifteen years late to what sounds like classic Eminem in his prime. Sure, many raps have a goofy streak, the crudeness can get sore. Throughout it all, rhymes and flow are sharp as ever. Its flawed but full of excellence. I can't recall the last time a seventy minute rap album held me start to end. Absent at the time of its release, Relapse has been a "what if" answered, more of an artist I adored in my youth, rapping that exuberance hes been unable to recapture.

Rating: 8/10

Fogweaver "Magelight" (2023)

Working with a typical set of Dungeon Synth keyboard tones, Its clear Fogweaver has mastery of the magic. With no surprises in wait, Magelight charms with its enchanting melodies. Located somewhere at the crossroads of soft esoteric murmurings, mystic natural beauty and joyous adventuring innocence, we arrive as a lonely wandering spirit, set to journey through these soothing sights of wonder, mystique and fantasy.

Amidst a meld of classic synths used by pioneers, familiarity paints itself within a luscious dreamlike production. Deep airy synths and apt reveb casts a mood inducing calmed atmosphere to melt into. Tranquil in spirit, yet cautiously animated, a layering of tuneful instruments and subtleties is delightful to indulge with. Arrangements feel inspired, meaningful, enriched by the visions guiding these artful compositions.

Venturing here after hearing Fogweaver on The Kingdom Is Ours, I found myself immediately persuaded and the magic persisted after numerous spins. Magelight has much to offer, from mystic melodies in scenic settings, to gloomy swells of bewitching fog. Its varying shades conclude with the ambitious Inien, pushing its keys towards noisy terror. A chilling reflection upon the same crashing waves it opened with.

Rating: 7/10

Clown Core "Van" (2020)

 

Sudden bursts of paranoid Cybergrind madness and muddled demonic screams on its opening pair of tracks may paint a crude, unhinged impression of these nightmare-fuel circus buffoons. Setting their intentional ugly, hellish jokester veneers aside, this anonymous Clown Core duo splice spicy Saxophone leads and lively, animated Jazz Fusion ideals between bizarre rhythmic renditions and comical timing antics.

Early on the pair toy with foolish bicycle horn jives, an oddity to spin in your musical favor. Progressing, stiff toned drum and snare grooves rattle out keen rhythmic wonders, driving the record along. Freakish synth machinations accompany, often in syncopation with the drums, these eerie, ghoulish tones lurch as Sax melodies take focus. A subtly unsettled soulful interludes finds home too, among its many anomalies.

Existence culminates all its elements to play a twisted descent, erupting mid-way to double down on its clownish madness for a peculiar ending. End then indulges us in smoky ambience on a roomy soft piano piece, only to pivot yet again as we embark on a cheesy, upbeat 80s daytime TV Show melodic romp. Somehow... it makes sense?

Van, possibly recorded live inside a van, is a musical outlier that just works. Twisting many strange ideas to its will, the seventeen minute ride still feels fresh after many spins. Its a gratifying experience, even if delivered through a distorted haze of strangeness, its grooves and melodies come through with magnetism, forging a unique and baffling realm to call its own, fit to entertain oneself with its odd curiosities.

Rating: 7/10

Rakim "G.O.D.'s Network Reb7rth" (2024)

 

 From the silence, a certified legend returns. One half of Hip Hop's golden duo, Its Rakim's lyrical artistry and unchained cadence on the mic that help transition those iconic stiff 80s flows into the jazzy poetic rap of the 90s. Some claim no one has contributed more to raps evolution, a compelling argument. Thirty five years on from his creative peak, there should be no surprise that Reb7rth barely makes waves. A fond, welcome return but nothings on display that will change the game again.

These seven songs mostly serve as a stage to platform a collective of talent, including fresh voices and fellow legends like Kool G Rap and members of the Wu-Tang Clan. Rakim himself offers up decent verses early on, then pivots to handle chorus hooks for the rest of the record. The mood plays a celebration of talent, his presence seemingly encourages all twenty plus guests to dig deep for their sharpest rhymes.

Instrumental construction lacks surprise, rugged grooves continue an exploration of fundamentals built in the 90s as modern production aids its sturdy tone. The backings complexity keeps loops fresh and animated. Brilliant beats to house an arsenal of cunning rhymes but nothing exceptional to break your brain. These OGs are doing whats proven to high standards, giving us a dose of what we've adored for decades.

For a fan, this is a familiar pleasure. Reb7rth plays a classy execution of fundamentals that hold up well. I would have preferred to hear more of Rakim but with so many guests you get a steady flow of unwavering excellence. I also loved B.G's feature, he seemed immensely humbled to be on the project, giving up a fantastic set of bars. That's what this record is, a celebration of the art form brought about by a legend.

Rating: 7/10

Dead Can Dance "Spiritchaser" (1993)

 
After a stunning stretch of remarkable records, the Australian duo ventured on-wards one last time before parting ways. Fortunately they would reunite nineteen years later with the well polished Anastasis. Spiritchaser is the last album I'd yet to hear, a critically well received departure I find myself indifferent too. Remaining within the tapestry of Worldbeat aesthetics, they seem to take a new approach to song writing.

 Gone are the emotive swells, gallant melodies and esoteric leanings. Instead, a focus on plain, steady tones. Allowing for simplistic instrumental notation and brief percussive grooves to drone in repetition on top of foundations. Its subdued, simplistic and supposedly aims to find a meditative atmosphere in unclutter compositions.

So to do vocal performances feel restrained, intentionally softened. The cultural roots of fresh singing avenues possibly explain why. With dialectic inflections and native languages I'd not heard prior, the pair appear to aim for a less dramatized tone and certainly achieves that. In the apt setting, it becomes soothing background music.

I've been critical, Spiritchaser is simply a different beast, lingering in the shadows of a luminosity that came before it. The record does little to offend. Its sensibilities are calm, gentle and drift upon lazy tempos on lengthy durations. Highlights reside later on, with The Snake And The Moon offering a beautiful campfire at night vibe fit for tribal chant and dance. Perry leads the first half, Gerrad the second, shifting energies.

The following Song Of The Nile plays deeply cultural and subdued but houses the albums most animated passage as bells chime and some exotic sitar alike instrument offers up a brief but striking swell of musicality. However the rest of the record failed to make much of an impression on me. Maybe more time would strengthen bonds.

Rating: 5/10

Dame Silú De Mordomoire "A World Of Shadows" (2020)

 

 Introduced via an operatic indulgence on Erang's gloomy levitation Despair, I had to seek out the French singers solo material. Dame Silú De Mordomoire is not just a powerful voice but an enthusiast of Dungeon Synth, composing vivid instrumentals, melding melodic Fantasy and weighty Neoclassical into a Medieval nostalgia. A World Of Shadows plays through diverse shades of imagination, venturing upon unique constructs shaped by deeply dramatic singing. Its a worldly experience tinged in a lightly Gothic veneer. unlike much I've heard before it. Perhaps the esoteric leaning Dead Can Dance arrangements with Lisa Gerrard may come close.

Its strengths are varied, Fantasy elements toy in the dance of bright, playful instruments exchanging melodies yet rarely a fresh delight. Its the brooding stretches of dark and empirical tunes that dazzle. Grim Banners a keen example of militant led percussion heard before yet her deep bellowing voice finds a fresh touch of magic. From heavenly and Ethereal, she descends into solemn emotions, epic, sorrowful and weighty. On occasion, even turning to ghostly apparitions and Orcish growls.

Given the albums diverse nature, moods do chop and change, pivoting between songs. Subsequently its special chemistry in voice and instrumental feel fractured upon the records flow. I'm left fascinated by the darkly compositions yet stumped with a sense that a higher grandiose lays in weight. A strange reaction to such a stroke of brilliance with a stale genre. Maybe it speaks volumes to my personal fatigue, or perhaps Erang plucked some of that yearning charm on their duo Despair.

Rating: 7/10

Labyrinthus Stellarum "Tales Of The Void" (2023)

  

Progenitor to Vortex Of The Worlds, this inaugural effort suffers the knowledge of its own infancy. In light of a stellar brilliance yet to come, this album rides high and mighty through the cosmos, somehow with the wind sucked from its sails. Lurching in the shadow of its successor, the precise mechanical rattle of stiff drum machines and shrill elongated howls paint an amateurish impression. Retroactive listening perceives blemishes to be ironed out, giving Tales Of The Void the impression of a demo.

Spending time within its galactic realm reveals a magnetic, indulging charm. Cruising song structures and epic astral melodies pull us adrift through the void without a care for reality. Leaning heavily on its exotic synth, striking me now as a xylophone drowning in reverberations, a leaner aesthetic makeup adorns these colorful songs. The crux of its magic emanates from these bright, steadily paced keyboard tunes, with the underlying rhythmic section driving intensities steady, grindy notation shifts.

With barely a peak or valley in sight, consistent mood stands a key strength. If any weakness is present, stints where synths step aside for other instruments often play dull. An impressive entry given its a narrower set of ideas playing out. The band establish their identity firmly at the offset. I can't help but feel I should of started here. As expressed, knowledge of the genius to follow tainted my view. Fortunately I've enjoyed this and have hopes the continue to evolve as musicians with a vision.

Rating: 7/10

Dead Can Dance "Anastasis" (2012)

Returning from a lengthy sixteen year hiatus, no fresh spark of light, or flash of genius awaits us. Instead, Anastasis plays as an amalgamation of the duo's best cultural aesthetics and voicings. All eight songs bestow simple, gratifying song structures. Luscious clear instrumentation enables layers of satisfying melodies to link together on introspective meditations. Mellow tempos, broody baselines and aromatic synths let an array of worldly instruments peruse on flavorful, exotic paths.

From the offset, no distinct sense of historical or societal vision for these songs emerges. The vastness of Worldbeat influence converges on unique spaces, almost fantastical in their pleasing persuasion. A steady flow of tuneful notation, funneled through the sounds of distant instrumental heritage, lets their natural songwriting strengths become a dominate force, leaving space for imagination to fill the gaps.

The duo's voices still charm a delicate delight, another dimension of worldliness mysteriously woven in. Gerrard is exceptional, her performances on Anabasis & Agape help sway a deserty Middle-Eastern mystique. Perry on the other hand, a delight yet lacking cultural unity with the instrumentation. At times it as if the modern, spotless nature of its production holds back a clear vision. Perhaps a little lower-fidelity aesthetic could of enabled some healthy nostalgia. Either way, I love this for what it is. Fantastic songs finding new spaces out of old ideals.

Rating: 7/10