Chewing Pine

Dump Truck of Funk

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dälek – Gutter Tactics (Ipecac, 2009)

Between Blu releasing Johnson and Jonson recently and Gutter Tactics arriving in my mailbox, I’ve had a good amount of the boom bap to get through. Luckily though, Gutter Tactics is as strong as any other Dälek release thus far.

The Real Dälek

Beginning with a righteous screed by Rev. Jeremiah Wright, where he perhaps goes a bit over the top, the disc shapes up to be even more overtly political – or at least aware of the political nonsense that goes on around us everyday – than previous work. That doesn’t mean that every lyrical tidbit is agreeable, but at the very least dälek has obviously remained entranced by the social workings of the country since Abandoned Language.

One of the reasons that each of Dälek’s releases is so strong is because of the overall unity of each track production wise. While occasionally, listener’s can loose track of what song their listening to or even which of the duo’s discs they have in the cd player, that kind of forethought and planning serves the group well. But also, that disallows stand out tracks in the same way that other release may feature them.

Subtitle & dälek – Live Freestyle

A rarity though on “A Collection of Miserable Thoughts Laced with Wit,” is the laid back beat that crops up. There still isn’t a real melody, but an assortment of jangled instruments and swelling drones is a welcome break in the often abrasive music that Dälek features. On this particular track, dälek’s voice is set deep in the mix, as if he’s telling you something from the next room. But the relaxed and relatively quiet musical setting properly accompanies his witty thoughts.

There’s no place to find fault with Gutter Tactics. And while it’s not perfect, it’s another step forward for the group, for hip hop and hopefully visibility for an act that has of yet to be generally embraced by the rap cognoscenti.

dälek – Abandoned Language (Ipecac, 2007)

To begin with Dälek could actually be outer-space mutants comprised of metal objects. Seems’ pretty nasty. But in this world, Dälek is a rap duo that releases albums on a rock/metal label.

Beginning with the brightly colored and seemingly happy album From Filthy Tongue of God and Griots, this group has enamored and confused left-field hip-hoppers. Being matched with Patton’s Ipecac label is actually a sensible concept, much like Sage Francis or Eyedea signing to Epitaph. There is a white audience for this music and every group can take steps towards reaching out.

While the other acts mentioned have a bit more of a palatable sound, Dälek is loud and disturbing both musically and lyrically. On Abandoned Language, dälek (the emcee as opposed to Dälek the group) continues his unique criticism of American culture and the people that have constructed it.

In other critiques of this new disc, some have commented upon the fact that the group has toned down its’ trademark noise-some production. But luckily, the horns on “Starved for Truth” sound as if they have been culled from either Beefheart or Pere Ubu for inclusion on the track. This release seems related to El-P’s last slab in the sense that the commercial concept of music is present; dälek is reaching more people than before, but he seems at odds with it. Once he prods, “Sales are the mark of the illest emcee”.

Even more than all of these tirades on politics and the games we play, the idea of human communication is broached over and over again. The verse of dälek’s on “Bricks Crumble” is looped and played against itself, creating a disquieting form of interruption. He still speaks the same words, with the same meaning, but now there is the possibility of hearing something, a certain intonation perhaps, that escaped the listener before. Again, in “Tarnished,” the verse that dälek expounds is muffled and low in the mix, making music a more prominent and immediate form of communicating. In that same song though, the listener receives the thesis of most underground hip-hop screeds; “the core of man is tarnished.”

A History of Stealin’

There are probably more beautiful songs. There are songs that more people can probably sing along to. But the way in which “Stealin’” was written and has subsequently been performed makes it an American standard. Of late it seems to have been getting its due as well.

Recently, Bonnie ‘Prince’ Billy took to the stage in NYC and luckily enough the folks from Aquarium Drunkard were there to capture the performance. During the set, BPB and his cohorts included a few versions of old tyme classics – “Stealin’” was one of them. You can find the tracks here.

But if we’re to look at where “Stealin’” has ended up culturally, then we need to go back to the source. There is some argument as to who actually penned the tune originally, but most frequently the song is associated with the Memphis Jug Band who recorded the song in the late ‘20s. Will Shade (1889-1966), the man here credited with the composition, has seen that song in the hands of countless other players and assimilated to a vast number of genres.

The Jerry Garcia version, recorded for the 1996 album he put together with David Grisman, finds “Stealin’” being kept rather intact seventy some years after it was initially recorded by Shade and the Jug Band.

Jerry Garcia and David Grisman from Shady Grove

And while the Garcia and Grisman version is a beautiful and lilting rendition, with the vocals sounding brittle and vulnerable, there are some more aggressive renditions of the tune as well.

The Mojomatics – Live on Radio Onda D’Urto

The above punk version obviously deviates from the other performances discussed herein. But the Mojomatics, hailing from Italy, actually serve to illustrate the point that “Stealin’” is a song that everyone can understand. Everyone can relate to the simplistic and common story being revealed through the lyrics. And beyond “Stealin’” just being good music, its power to connect people across the world is what actually matters – not who wrote it first.

Answer Riddim Mix Pt.1

Straight from the Firebladerr1.

Wu-Tang Clan – 8 Diagrams (Street Records Corporation, 2008)

“Wu is for the kids.” -ODB

The recorded life of the Clan began more than a decade ago and covers innumerable solo efforts, mix-tapes, soundtracks, bootlegs and full length efforts. Beginning with 36 Chambers, a stated point of trajectory was made and has ostensibly been carried out. Method Man, during an interview, included on their debut, figures that this group works “to make a business outta this” so that their “seeds got something for theyselves [sic].”

For this to be included on their first album speaks to the forward thinking positioning that the Clan took from the onset. They weren’t in it for some fast money. Each of the nine, now eight members, have branched out to all types of media creating a massive back log of accomplishments. But outside of the gushing enthusiasm that Wu may inspire, if a listener missed everything between 36 Chambers and 8 Diagrams, they would be, understandably disappointed. Not to say that their latest album doesn’t possess extraordinary moments, but between the beginning of the ‘90s and current recordings there is a marked difference.

What needs to be kept in perspective is the sprawling work of the RZA, including his recent appearance in American Gangster. Figuring that he has produced the five proper Wu albums as well as a large portion of the Clan’s solo work, in fourteen years the RZA has easily produced hundreds of tracks. For there to be a consistent level of work, that could well be referred to as the RZA cannon, easily astounds.

An apparent difference between earlier work and 8 Diagrams presents itself in the musical focus of the album. In many places, this disc more closely reflects its’ time than earlier Wu discs. “Campfire” sports a beat that would be almost unthinkable on an earlier Wu full length. The immediate soul vocals coupled with the overtly dance oriented beat is eventually saved, by what sounds like a foreboding 21^st century version of the Clan. However, the best beat from these folks in the past recalled dank dungeons, whereas that feel is disappointingly absent from a majority of 8 Diagrams. The samples here too seem distant from previous releases, choosing to utilize more guitar oriented fare as opposed to bubbly, funky keyboards.

Already obvious on the first track is the ubiquitous singing though-out the disc. With the absence of ODB, somewhere along the line a body made the decision to invite various soul related singers to an overwhelmingly large portion of the tracks. This decision might be related to the maturation of the crew, but it also removes a significant portion of the comedy inherent in a number of other Wu offerings. In the case of George Clinton’s appearance on “Wolves”, the funk ne’er do well only distracts from a track that, even with his presence, pulls a bit of a western sound atop of a well crafted beat.

With Badu following suit on the interpolation of the Beatles’ “My Guitar Gently Weeps”, the cover (I suppose that term can be applied) not only sports a bizarre line-up with George Harrison’s kid and RHCP guitarist, John Frusciante, but a decent bit of violence being blurted over a Beatles beat. Even more bizarre is the caterwauling Badu stating, “We’re just babies,” perhaps referencing Digable Planets. This quoting of past raps is recurrent and in a way exerts Wu’s standing in the hip-hop community as torch bearers and keepers of history.

If there was to be a hit single, which historically hasn’t been a problem for the Clan, it should be “Rushing Elephants”. Even with the “yea, yea, yea, yea” lasting too long at the head of the track, the beat has an MF Doom quality to it – or does Doom recall Wu? Regardless, “Elephants” is easily enough digestible for the listening public.

With 8 Diagrams introducing the Clan to a newer, younger collection of heads, despite the luke-warm sales, it asserts their standing as figure heads of a movement. Forget Jay-Z, who oddly made a record based upon a movie featuring a Wu member, forget Bun B or whoever else you may see on a billboard if you roll through the ghetto. This 8 man crew still is rightful ruler of this genre and have to begin to function as such. Wu is for the kids, but how will they enthrall them in the future? Maybe there’s a kung-fu concept album or a disc focused on the teachings of Bruce Lee brewing. There will assuredly be more albums by the Clan as well as endless solo efforts. Whether or not they continue to measure up to the past remains to be seen…er…heard.

The Paste Top Albums of 2008: A Refutation

This photo was cold-jacked from Zack Arias

Allow me to say that I really enjoy reading Paste. I, however, hate year end lists more than I hate wearing tight pants in general – but specifically after a huge meal. Anyway, Paste, much like every other media outlet in the world has compiled their favorite discs from the year 2008.

Considering that the way in which human beings arbitrarily defined time, year-end lists seem ridiculous. But also, considering the fact that Psychic Ills, WAVVES and dälek amongst others have already swamped the press with soon to be released 2009 discs, I feel like any list compiled now would contain glaring empty spaces with those discs not included.

These are my points of contention with Paste and its list.

#15: Nick Cave and the Bad Seeds – Dig!!! Lazarus Dig!!!: I’ve really tried to like the music of Nick Cave. I probably should, but I can’t. And watching him release this disc as well as Grinderman, really just aggravates me ‘cause I won’t be listening.

#12: Of Montreal – Skeletal Lamping: These folks might be the biggest hoax currently being perpetrated on the indie-record buying public. You know who’s got cooler out fits? KISS, that’s who.

#06: Fleet Foxes – Self Titled: What qualifications do any of these bands have to be touted as great? All I know is that I’m pretty sick of seeing this band’s name everywhere I bloody look.

#03: Vampire Weekend – Self Titled: Seriously?

Instead of compiling some noxious list of ephemera, I just asked the folks in the Psychic Ills to give me a list, any list, of stuff (or even things) that they’ve enjoyed over the last year. This is what they got back to me with. And if you’ll notice,  Santogold are glaringly absent.

Tres Warren (guitar):

La Monte Young live at the Dream House, June 20th, 2008.

Juan Atkins live at Studio B, June 21st 2008.

Jimy SeiTang (guitar):

Omar S. live at the Beach (Queens), July 16^th, 2008

Elizabeth Hart (bass):

Burial – Untrue

Excepter – Debt Dept

The moon on December 12th. It is the closest it has been to the Earth in 14 years!

The Welcome Wagon – Welcome to the Welcome Wagon (Asthamtic Kitty, 2008)

Photo by: Stephanie F. Black

Made up primarily of Reverend Thomas Vito Aiuto and his wife Monique amongst various collaborators like Sufjan Stevens, The Welcome Wagon differs greatly from what might be expected from a short glance at the album cover.

All those initially expecting simple country and folk tinged songs of salvation are going to be surprised – not necessarily disappointed, but judging from the Reverends attire, a horn section was not to be presupposed. Even including those horn players, this slab is really just a solid indie outing with overt religious connotations.

First appearing on the Asthamtic Kitty compilation To Spirit Back the Mews in 2001, W.W. continued writing simplistic songs, mostly based upon its devotion, but tossing in a few covers sporadically. The music on Welcome to the Welcome Wagon can be considered folk based, but with a vastly expanded orchestration and a cache of musicians to assist the duo. Sufjan Stevens arranged a great deal of music to help W.W. perfectly express its bright and optimistic music.

Variety might be a bit lacking – a great many of the songs are in a similar tempo and utilize choirs to get the chorus across. That isn’t meant to disparage the album’s tact and push to remain cohesive, but when “Jesus” kicks into the chorus, the album moves from a pretty album, to an almost transcendental clutch of worship music. The Velvet Underground cover amidst an disc specifically designed to pay respect to G-d takes on a greater overall meaning.

Lou Reed and the Velvets were known for their associations and personal proclivities as much as their music. Alotta stories that get passed around about substance intake and the like is hyperbole to an extent, but the cultural import of the band is stuck to those rumors. The inclusion of “Jesus,” should remove doubt by you secular music fans about the quality and the intent of this disc. Music should make you feel something – good or bad, it’s there to provoke emotions. And this group of Brooklyn Presbyterians does that.

COMIX: Kramers Ergot (No Apostrophe)

Do you like comics? I do.  Kramer’s is a compendium of new narrative art (comic art?), so ignore their lack of punctuation tact and check ‘em out.

Kramers Ergot

I Dub So My Children Won’t Have To

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