“My shit is Martin Luther. Your shit is Martin Lawrence.” – Black Milk’s commentary on hip hop in 2010 on “Deadly Medley.”
Everybody who eats, sleeps, lives and breathes music has their favorite savior of backpacker hip hop. Mine are the Brooklynati representatives Tanya Morgan, but as it turns out, the one that everyone loves more than most is Detroit’s Black Milk. Therefore, his latest, Album of the Year either was a hit before it came out based on hype alone, or it is carried to that greatness buoyed by the hopes, dreams and aspirations of a cadre of true school hip hop fans ready to force feed Wacka Flocka his iced out Fozzy Bear chain until he sputters, chokes and loosens his grip upon the mortal coil of the universe. In the face of that pressure, I’ll borrow again from Mr. Flame and state that Black Milk went “hard in the paint” on this release and absolutely succeeded in crafting a top hip hop release of 2010.
On Black Milk’s pedigree alone, Album of the Year was a guaranteed success. On a mainstream level his opulent and jazzy “Give The Drummer Some” was a standout of 2008 and opened many eyes to his gifts as both a producer and rhyme spitter. Having worked as a producer with the likes of J. Dilla, Canibus and Pharoahe Monch, he certainly has an ear to the cerebellum of the streets, a weight hear bears gladly. He isn’t a conscious rapper though, as is the wont of many who fill this role. He doesn’t have a drink and a twostep, nor is he smoking herb, sticking up fools for chains or blowing suckas away with Uzis. This is a great listening rap album by a solid rapper with excellent rhymes and tremendously on point percussion.
In chronicling the last year of his life, (hence the album title) Black Milk employs a retinue of major league level live recorded kicks, hi hats and snares. If he gave the drummer “some” on his last release, he gives the drummer “all” here, alongside a plethora of other orchestral gifts. The sound is not as brightly jazzy here as it was on 2008’s Tronic, as it’s almost as if you’re going from Charlie Parker as an influence to Miles Davis’ Kind of Blue, reflective of the thoughtful introspection of the tracks upon which the album is unfurled. In having total creative control as both emcee and producer here, it is completely important to regard the precise emotive quality of the rhythms here with the same weight as his rhyming.
The album is an easy listen from beginning to end. In eschewing all typical crutches for mainstream credibility, the top overall tracks on the album from both a rhyming and production standpoint are the singles. There are no trance synths, pop stars on hooks, twelve tracks with guest appearances or songs sampling indie rock darlings. This is real hip hop for people who believe that the term real hip hop doesn’t require quotations or soft shoe prose. “Deadly Medley” with fellow critically acclaimed Motor City rhyme assassins Elzhi and Royce da 5’9″ kills, each set of bars couched as a stand alone paean to each emcee’s lyrical dominance. “Welcome (Gotta Go)” is excellent as well, solid emceeing with drums programmed so high in the mix it feels like the percussionist has wrapped your skull around the kit as a skin and is wailing away. Infectious and solid, it’s a winner. The aptly titled “Black and Brown” collaboration with Danny Brown excels in both rhyme and production as well and really showcases the skills that make Black Milk a name of appreciation and rising renown in hip hop.
In final, it is most intriguing that Album of the Year was released on the record label of the legendary Fat Beats Records who recently closed their last remaining brick and mortar stores in New York and Los Angeles. However sad and telltale as it may be that underground hip hop has been marauded by the failing American economy, Black Milk’s release in many ways carries on the store’s legacy and retains the importance of the store’s mission in this release. Solid, inspired, intelligent and well crafted, real hip hop, even when it appears to be one second away from flatlining, a bass drum kick makes its lifeline an EQ, and proves that it will never die.
4.5 OUT OF FIVE STARS
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