Reviews – Grown Up Rap

Why the Wu’s Once Upon A Time in Shaolin is ridiculously smug

The decline in music sales over the last 15 years has had a huge impact on record companies and artists. For us listeners though, it’s been great. We can stream whole albums and listen to millions of tracks for free, we get treated to a constant selection of new music on Soundcloud, and get to enjoy the various other new ways music is now distributed by labels and artists hoping to squeeze at least a tiny bit of sales revenue from us. None of this was available in the old world, where we still actually purchased millions of records.

And then there’s the RZA and the rest of the Wu-Tang Clan; those aging Shaolin monks, desperate to keep the lights on in that old crumbling Wu Mansion. In a perfect world, the group that made such innovative music 20 years ago would return to innovative yet again, re-forming like Voltron to save the industry.

Instead, they’ve presented us with the prospect of a one-off, million-dollar album. Nice one guys. Well done for supporting the music revolution, where the listener is always meant to be king.

The entire concept of Once Upon A Time In Shaolin might not come across as quite so smug and conceited if it was being pitched by artists who are actually relevant. The Wu haven’t made a good album since Wu-Tang Forever, and that was poor in comparison to classic debut Enter the Wu-Tang (36 Chambers).

In the midst of the hype surrounding the ‘secret’ album, the group dropped A Better Tomorrow, another lacklustre offering, which, unsurprisingly, failed to shift many units. If they can’t even put in the effort to make a commercially available album good, then why should we believe that Once Upon A Time In Shaolin will be anything other than Wu-by-the-numbers? At this point it’s probably damn near impossible for the group to make a good record. Complacency set in years ago, with even the most talented members happy to simply phone it in, probably literally (you didn’t think they record these things in the same room at the same time anymore, did you?).

Millions of dollars were offered up for the mythical album during the peak of it’s media coverage, and this week, as the album is about to go up for auction as a piece of ‘art’, news has arrived that if someone does manage to buy it, they would need to wait a quick 88 years until the copyright expires and copies can be made. Again, incredibly smug. It looked at one point as though the entire thing may have been a gimmick to promote A Better Tomorrow. But that has come and gone, while the secret album story continues to grow.

What RZA and the rest of the clan should do is liberate the album by giving it away for free. Time it nicely as a freebie in the run up to the release of a decent new Wu-Tang album, or maybe as a bonus edition. That way, the music gets to be heard, and no one has to spunk millions of dollars for it. That would be innovative.

UPDATE: For what its worth, Method Man agrees!

Fatgyver – ‘Talk to Strangers’ feat. Blu and Raw Poetic

Helsinki-based producer Fatgyver has released this track from his upcoming album ‘Talk to Strangers‘. The beat is nice and funky, and features Raw Poetic and the always-reliable Blu. Check it out below.

Our fears for the new Cannibal Ox album

Cast your mind back to 2001. Years before Run the Jewels, El-P was already a hero of New York’s underground hip-hop scene. Four years had passed since the release of the seminal album Funcrusher Plus from his group Company Flow. But in the short years since then, the group had disbanded, and that late-90s golden era of independent hip-hop labels had started to die fast. Bobbito’s Fondle’em Records was on its very last legs, and even Rawkus, the label that had released Funcrusher Plus and so many other incredible records in such as a short space of time, was in decline.

El-P was doing everything he could to keep the spirit alive though, and by now his Definitive Jux record label had built up solid momentum as the new flag-bearer for all things quality indy rap. In the next few years, Def Jux would release a run of incredibly creative hip-hop records that would gain critical praise and cross-over appeal, and breath new life into a sub-genre that tended to get pigeon-holed rather pointlessly as ‘alternative hip-hop’.

The line-up of talent on the label was a mixed-bag of new voices and established ones, often bringing out the absolute best in artists like Murs, Mr Lif, Aesop Rock, RJD2, and El-P himself. Def Jux would eventually shut up shop less than a decade later, but the legacy it left is still felt today, especially in the spirit of modern independent hip-hop labels like Rhymesayers and Mello Music Group.

Back to 2001, where Def Jux put out their finest release of all; Cold Vein, the debut album from Cannibal Ox. A genuine game-changer, it was a record that embodied everything the label stood for, and was about as far as you could get from a commercial rap record. Fans loved it, critics loved it, and it was instantly hailed as a classic.

And then, nothing. We’ve since had a handful of impressive solo albums from both group members, Vast Aire and Vordul Mega, but no full length album post Cold Vein (we aren’t counting the live album from 2005).

We all got pretty damn excited then when it was recently announced that the group would soon be dropping Blade of the Ronin, a brand new album at last. Our hopes were crushed again however, when it became obvious there would be no input from El-P.

It’s unfair to say that El-P’s production was the best thing about Cold Vein, but it was certainly the driving force, and the most overtly refreshing and unique element of the album. There is no doubt that Vast Aire and Vordul Mega are incredibly gifted artists and writers, and the hip-hop scene has been itching to get more records from both of them. But take El-P’s soundscapes out of the equation, and it will be hard for the new album to make anywhere near the same impact as Cold Vein.

Blade of the Ronin does have some good things going for it. For starters, and as already stated, both members of the group are superior rappers. The guest list also happens to include spots from Elzhi, Artifacts and a certain MF Doom. But on the leaked credit list, there’s still not a single mention of El-P anywhere. Production duties seem to be resting on the unknown Bill Cosmia instead. And with all due respect to Bill, when we read that, our hearts sank even further.

To try and make another album like Cold Vein would of course be a mistake anyway, and even if they did get El-P, his sound has changed dramatically since 2001. But without him at all, we fear this may be one long-awaited return that might just disappear without much of a trace. We hope to be proved wrong, and that come March, you’ll be seeing us eat our words.

UPDATE: The group recently previewed the MF Doom featuring track Iron Rose. It’s pretty good, so those words we hope to be eating may be consumed sooner than we thought.

Blade of the Ronin is set for release on March 3. Pre-order now.

Random YouTube man puts pictures to Dilla’s classic Donuts

Hip-hop music videos just ain’t what they used to be, and they weren’t that great even when they were. They still have a place though, but what do you do when you want to put pictures to a work that never had videos, years after the fact?

If you are video maker Houston Loves J Dilla, you make your own video by stitching together hours of random footage. But when the music you are working with happens to be J Dilla’s Donuts, one of the most revered albums in hip-hop, you have to tread carefully. Thankfully, the boy has done good.

Coming off more like a short film, the clip illustrates the entire 43 minutes of the Donuts album, gifting us a respectful and skilful pastiche of an absolute classic. Watch below for yourself and let us know what you think.

Here’s why 2015 will belong to Action Bronson

It’s that time of the year when everyone looks back at the best albums from the last twelve months. It has been a stellar year for hip-hop, but we prefer to look forward, and predict that 2015 will be the year of Action Bronson. Here’s why.

Firstly, obviously, there’s the music. Bronsolino is one of the most talented rappers to break onto the scene in the last few years, finally managing to distance himself from those early Ghostface Killah comparisons to emerge as a unique and brilliant artist in his own right.

If all goes to plan, early 2015 will finally see the release of the long-awaited Mr Wonderful album. Details are still short (save for a recent tracklist announcement from the man himself), but if the epic, cinematic single Easy Rider is a sign of things to come, this could well be an instant classic.

Some would argue that Bronson’s music is too much gimmick; full of dumbass tales and stupid shit. In reality, his songs are the work of a master storyteller, weaving intricate narratives in a way matched only by the likes of MF Doom, Slick Rick and Ghostface himself. It takes a sharp delivery and advanced writing skills to do this type of hip-hop well, and Bronson has cracked the formula.

The music isn’t all craziness and shock tactics either. Bronson’s lyrics can often take us down darker and more serious streets, like on Alligator, from the incredible Saaab Stories. What starts out as casual snippet of the life and times of Bronson and his girls, then moves on to something more sinister, covering everything from abortion, cancer and death, to how baby turtles make their entrance into this troubled world.

Music aside, its Bronson’s personality that stands out as the other reason why he’s likely to be huge next year (no pun intended). Like his music, on first inspection the way the man looks is misleading. A big dude, covered in tats with a wild beard isn’t exactly a classic hip-hop look (Rick Rubin being the exception).

When he opens his mouth though, it’s clear this is a complex thinker with many layers of intelligence. He’s also savvy, knowing how to pick projects in way that will ensure they go viral, like his appearances in the hilarious Fuck, That’s Delicious culinary tour videos for Vice, and those crazy live shows where he’ll jump on top of a truck or leave the venue to go get food, all while still performing.

Action Bronson the character then is almost now more important than Action Bronson the musician. But with both feeding off each other, in perfect sync, what we have is an artist destined to step out from only being known by those in the know, and breakthrough on a whole new level very soon.

This time next year we guarantee you’ll be reading about Mr Wonderful in the top albums of the year lists. We can’t wait to sit back and watch what happens in the meantime.

Review: Run the Jewels live in London

It’s no secret that we fucking love Run the Jewels and everything it stands for, and last night we caught them live in London for a show that sold out weeks ago.

The crowd was a healthy mix from every walk of life, proving just how many people Run the Jewels’ music is reaching. From classic-era heads who’ve been with El-P since Company Flow and Def Jux, to those just being introduced to the crew now – perhaps thanks to Killer Mike’s incredible commentary on the situation in Ferguson and beyond – the entire venue was charged with anticipation throughout the set from the warm-up deejay.

When El-P and Killer Mike took to the stage, the crowd went absolutely nuts, and the seasoned vets gave us exactly what we came for. That raw aggression we hear on wax translates perfectly to the live stage, with both rappers having enough energy to put artists half their age to shame.

All of the best tracks from their two already-certified-classic albums were included in the set, each one feeling as comforting and familiar as the kind of songs we’ve had as our favorites for years, which is all the more amazing when you step back and remember we’ve only been blessed with music from Run the Jewels since 2013.

Good live hip-hop shows are few and far between, but this was one that no doubt left a lasting impression on everyone who stepped out into the freezing cold London night when the show had ended, still buzzing about what they has just witnessed.

RTJ2 is out now on Mass Appeal. Read our review here, and our thoughts on the incredible upcoming Meow the Jewels project here.

Watch Raiders of the Lost Art, Part III

The latest installment of the PRhyme documentary series Raiders of the Lost Art is out now, with DJ Premier and Royce da 5’9″ inviting us further behind the scenes of their new collaborative project.

What impresses most this time is just how serious both artists are taking the social media and promotion, even going as far as personally setting up meetings with some of the most important companies in the world.

Younger artists know just how important it is to get their shit together across Twitter, Soundcloud and YouTube, but its refreshing to see a vet like Primo at the cutting edge too. Compare that to others from the classic era who seem to think its fine not to have an online presence, and it isn’t hard to figure out why they are fading fast into obscurity, while Premier is as popular as ever. We also get to see highlights from the photo shoot that gave us the dope album cover, again thanks to the perfectionism and entrepreneurial spirit of Primo.

Watch the video below, and buy the PRhyme album from December 9.

Album Review: Ghostface Killah’s 36 Seasons

While everyone else was talking about the Wu-Tang Clan reunion album, the most talented member of the group modestly announced that his latest solo record would be dropping exactly one week after A Better Tomorrow.

36 Seasons is Ghostface Killah’s eleventh album, and its another decent addition to an almost impeccable back catalog (the less said about Ghostdini: Wizard of Poetry in Emerald City the better).

Most GFK albums have some sort of loose story arc, but this one is billed as being a full-on concept album. In reality, the concept is pretty close to the same one on every other joint since his classic debut, Ironman, but this is no bad thing.

Similar to the 2013 Adrian Younge-assisted Twelve Reasons to Die, the music is something of a departure for Ghost, with different beats to what we are perhaps used to. Production is handled primarily by The Revelations, with some tracks nothing more than soulful interludes from the street drama happening in the narrative. Nice idea but hardly new, and after a while most of the beats start to sound the same. Intriguingly, Blood on the Streets is co-produced by The 45 King, marking a welcome return for one of the most iconic names in the game.

Surprisingly, and breaking tradition from other Wu solo albums, 36 Seasons doesn’t feature a single member of the Clan. Instead, AZ appears on five tracks, and veteran Kool G Rap features on three. The story behind how the album came about is unclear, but both are odd choices for this many features.

He may be one of the best to ever bless the mic, but G Rap’s heyday was a long time ago, and he’s lost the energy and flair of his many classics. AZ meanwhile has always been an underachiever at best, never quite living up to the promise of Illmatic. Both put in credible performances here, but we’ll take a Ghost and Rae collabo over AZ or G Rap all day long.

The poetry album aside, Ghostface has yet to make a bad album, but hasn’t made a truly great one since Apollo Kids. 36 Seasons won’t go down as one of his best, but an average GFK album is still miles ahead of most other artists, and its definitely a lot better than the long-awaited but lackluster new Wu joint.

36 Seasons is out everywhere, December 9.

Christmas, all rapped up.

Christmas is coming fast, and if you are anything like us, you’ll leave the present buying until the very last minute. At that point you’ll panic buy, and your loved ones will get the same old shit you got them last year. Again.

For those that like to get in nice and early, here’s some present ideas for the classic hip-hop fan in your life. And by that we mean you, because these are the things you should be asking Santa for this year. You’re welcome.

Check the Technique 2: More Liner Notes for Hip-hop Junkies, by Brian Coleman

The first Check the Technique book from hip-hop writer Brian Coleman was certified classic, bringing us the story behind some of the best albums in the history of rap. The follow up is just as good, with in-depth analysis and interviews covering the creation of 24 milestone albums, including Lord Finesse’s Funky Technician, DJ Polo & Kool G Rap’s Wanted: Dead or Alive, The Beatnuts’ Intoxicated Demons, Ice Cube’s AmeriKKKa’s Most Wanted, KMD’s Black Bastards and 3rd Bass’ The Cactus Album. It is well written and nicely put together, and if you buy from Rap and Soul Mail Order, you even get a special Smif-N-Wessun 7″ thrown in too.

Order from Rap and Soul Mail Order in Europe, or Get on Down in the US.

Dust & Grooves: Adventures in Record Collecting (Second Edition), by Eilon Paz

With vinyl sales back on the rise, interest is getting bigger. True hip-hop heads never actually stopped buying records of course, and we like nothing more than snooping through the vinyl collections of our favorite artist via shows like Crate Diggers. Dust & Grooves is a coffee-table book exploring the collections of hip-hop artists and beyond, with interviews covering how each library has grown, and its best gems. The updated Second Edition features new contributions, including a chance to see what Questlove has in his many crates. It’s by no means cheap, but is beautifully illustrated and presented.

Buy from the Dust & Grooves website.

Limited Edition J Dilla figure

Dilla Dawg was one of the greatest to ever do it, and a personal favorite of ours. Ma Dukes has been overseeing the release of several special products recently, and this one is nicely timed for the Holiday Season (although it may not arrive until the New Year!). The figure comes complete with Detroit cap and Stussy tee, and miniature Dilla is even holding his beloved sampler. There have only been 2,000 made, and they are already selling like hot ~~cakes~~ donuts.

Pre-order yours from Rappcats.

Album Review: Royce da 5’9″ and DJ Premier’s PRhyme

DJ Premier and Royce da 5’9″ have been steady working together since 2002’s Rock City, an album that featured the certified banger Boom. There have been hits and misses since, but when they announced a few months back that a full length collabo was in the works, it got everyone’s attention. After weeks of teasers and videos, the PRhyme album is now finally here, and its dope.

What hits you straight away is the production, and how Premier has managed to adapt to rappers with a style not typical of the artists he tends to work with. He’s produced for a range of different artists before of course, from west coast groups like Compton’s Most Wanted, to southern acts like Bun B and Ludacris, but the beats for those still had that classic Primo sound. What impresses most here is how easily the music changes to suit an eclectic mix of unique artists that includes Mac Miller (on Dat Sound Good), and Killer Mike and Schoolboy Q (on Underground Kings).

In fact, the entire album is a bit of a change of pace for Premier. There are still classic bangers, like U Looz and Courtesy, but also rich compositions that you wouldn’t necessarily know were Primo beats if you heard them out of context. It’s a refreshing new direction for a producer who, while unquestionably one of the greatest of all time, does tend to get stuck in their own signature sound. This is new-era DJ Premier, holding his own amongst the modern beat makers, with a little help along the way from Adrian Younge.

As for Royce, he’s stepped his game up, with the same sense of purpose and aggression we saw glimpses of on 2011’s solo album Success is Certain, and on his Bad Meets Evil side project with Eminem.

Other standouts include the Common-featuring Wishin, and To Me, To You, where PRhyme team up with the over-hyped but always-impressive Jay Electronica.

There’s a moment on U Looz when Royce points out how stupid it would be to suggest that by joining forces with DJ Premier, he’s trying to be the new Guru. The Gang Starr days are long gone for sure, but PRhyme is shaping up to be a group that over time could well end up achieving similar levels of critical acclaim.

PRhyme is set for release December 9.