Outkast "Idlewild" (2006)

On this music blog we have covered all but the legendary Outkast's last album. 2015 was marked by my discovery of a group who had always been there in my youth, on MTV and in the sound tracks of games but I never made the connection. Going through their albums one by one introduced my two the journey of two very talented individuals who brought a wealth of brilliance to the Hip Hop game. I lost my steam after their double solo records and given the negative press on this album I let it pass by but this year I want to fill in some gaps and tie up loose ends with artists who's discographies are incomplete to my ears.

Idlewild is unsurprising with its direction given the duo have steadily broadened their horizons. Andre's role as a producer continues to push the boundaries of Hip Hop but this time the duo take a leap into a specific vision nestled in the roots of Swing, Jazz, Soul and Blues from the first half of the century, bringing in a fresh pallet of instruments alongside is drum machine. Its tang and flavor comes on so strong that for most of the record the Hip Hop aspect seems secondary as crisp, sharp tightly fit drum arrangements hold a tempo for the retro theme to shape the tone, however with heavy use of electronic synths it too is pulled in slightly alien directions at times. I'm exaggerating a little, the raps hold in firmly in territory but instrumentally its vibe is persuasively retroactive.

A sense of theme is obvious musically but lyrically and thematically there are hints of narrative that come in from different angles. Is Idlewild a film? A tale? Its a DVD being bootlegged according to one interlude track of which their are many on this twenty five track stretch. Its a scattered idea that Idlewild is more than just the setting for the duos emotional, self expressive raps as the lyrical themes occasionally sync up. Its a typical flurry of topical raps that offer food for thought, Andre on "Mighty O" stabbing into systemic racism and the war on drugs yet on "When I Look Into Your Eyes" we are whisked back generations to piano heavy Swing with a very contrasting tone. The consistency should be a minor indifference but seems important given the high bar Outkast have set for themselves.

With their ambition and innovations for Hip Hop firmly proven, the album plays like two geniuses falling into a routine. Despite its successful attempt to circumvent norms and stylistically define itself with a vivid, romanticized theme, the album falls short of feeling as necessary and urgent as they once did on Stankonia. They have little to prove and so the duo flex their skills again for a charming, indulgent, mature experience. With the best tools at their disposal the artistry is gleaming but the fire behind is dim. Its a fickle thing to explain but a great album falls short when expectations are so high. Idlewild is a stunning place, a gorgeous listen but one without that spark to drag you back.

Favorite Tracks: The Train, In Your Dreams, Greatest Show On Earth
Rating: 6/10

The Reign Of Kindo "Play With Fire" (2013)

It's been a while since a band has immediately grabbed my attention, having me seeking out their records based on one song, but "The Reign Of Kindo" did exactly that. One of my first thoughts was pondering if there was once a time I would of turned my nose up at this. Where I've taught myself how to appreciate more varieties of music, Ive learned to hear what the artist is expressing, as opposed to what I want to hear. Kindo's aesthetic on an initial impression is poppy, classy and far from the feast of anger and aggression I'm used to. Through that aesthetic I hear a mighty and fierce musical force of expression projected with true intensity and energy that I may of once not heard.

But enough about my experience, Kindo are an American five piece band from New York who describe themselves as "Makers of music". Their rich and illustrious songs elevated by a range of studio musicians who accompany the five, giving them an arsenal of instruments and styles to pull from at any point. Kindo will be no oddity of sound, but their style truly distorts genre boundaries and expectations despite feeling so grounded and "regular". Drawing their main structural influences from Jazz Rock, Pop and Progressive Rock, the band dazzle with an array of subtle influences that creep into the various tracks, so much so you can hear inklings of Indie, Alternative, Soul, Swing, Big Band and even Latin in the layers of instrumentation that back the core group. Whats charming is how intelligent and natural the compositions are, and how much they put into a track yet leaving a big space for singer Joseph Secchiaroli's stunning, powerful voice to fill. Its a chemistry of musical perfection, delivered with a timeless pop sensibility.

The record is a solid one, variety, flow and consistency run from start to end (almost), yet the group set a very high bar with the ferocious opener "The Hero, The Saint, The Tyrant, & The Terrorist", delivering the albums best riffs, moments, build up and exquisite vocal hooks. The rest of the record doesn't quite reach the same intensity but their is plenty to enjoy and a few calmer numbers that personally I don't think catch the same spirit and charm as the upbeat songs. The production is fantastic, so much so I had at no point given a single thought to it, every instrument is audible, balanced and mixed to give and easy listening experience that carriers a lot of weight.

The final three tracks fizzle out a little for me, "Romancing A Stranger" making a meal of an obvious infatuation and "I Hate Music", really good instrumentally but lyrically it made be wince a little, I feel its pointless to make broad sweeping judgments on pop culture and whats played on the radio. The frank and blunt lyrical delivery just furthered the lack of connection to the point of view. Great record, the band have huge potential and I look forward to hearing their next release!

Favorite Songs: The Hero, The Saint, The Tyrant, & The Terrorist, Sing When No One's Around, Feeling In The Night, Sunshine

Rating: 7/10

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