MIA’s "Vicki Leekx" and the nature of medium, technology, censure & disappointment

Upon the release of MIA’s latest mix Vicki Leekx, I advocate that it’s time for MIA to stop talking. The “bad bitch who came from Sri Lanka” (tip of the hat to Nicki Minaj) has had a troublesome transition from being an agitated indy pop princess to being a mainstream pop diva. Her raucous brand of rabble rousing politics have proven to have nearly disastrous effects on a public relations front, as from calling out Lady Gaga and Justin Bieber to advocating for political freedoms while eating french fries dipped in truffle oil, she has become an inauthentic advocate for everything from artistic freedom to civil rights. Her third, and most mainstream release MAYA suffered from this, as, when she crossed over to the public at large as a  faceless voice on  film advertisements for pot comedy Pineapple Express, or sampled deftly as a preaching point on the swagger of Lil Wayne, T.I. and Kanye West, she was a winner. She was foreign, strange and pop friendly, a 21st century Kajagoogoo or Question Mark and the Mysterians, three minute cut out bin memories of mindless youthful glee. Unlike MIA, we heard from both of those acts only once in the American public, and they both faded away. MIA, still very much here, and doing a disservice to herself, art and music at large, and needs quite simply to shut up.

DOWNLOAD THE OFFENDING “VICKI LEEKX” AND JUDGE FOR YOURSELF

This is not to say that silence is a golden negative. Maya Arulpragasm is a wonderful artist. At the beginning of her rise, she was an aspiring clothing designer, graphic artist, filmmaker and last but not least, singer. It was her ability to wield music as a weapon of artistic design that attracted me to her. In aligning with producers like Blaqstarr and Diplo, she was able to use their colorful production styles to paint vivid images of lifestyle and politics. Her early output was the kind of art that inspired a generation of open minded free thinking youths to accept modes of intellectual freedom they felt were not there. However, somewhere along the way, it feels as though the messenger has become encased by her medium, and in doing so, has outmoded herself.

Cyberterroristic electronic dance music is something that absolutely never EVER needed to happen. It’s not because of sonic style, as MIA is always surrounded by the finest progressive pop minds in underground music. It’s because of access. Large portions of MIA’s latest creative output deal with the nature of government control of social media. From Facebook to Wikileaks, she advocates an uprising against the system. The only problem is that it’s no longer 2007 where “Paper Planes” was an artist having a relevant take on a fresh issue. In 2011, we’re at a point where between Twitter, Youtube and Facebook alone, the entire universe is able to comment, repost, @ reply and like a statement or newsworthy occurrence within seconds of it happening, thereby going from intellectualizing and contextualizing a response to crafting important knee jerk responses. The vocal quotient of Wiki Leekx is null. From a production standpoint, it’s quite excellent. From the inclusion of the work of Baltimore local DJ Pierre, to a Nicki Minaj shoutout and new Blaqstarr tracks, it’s dance ready. But if you listen to the words, it’s a classic case of sound and fury unfortunately signifying nothing.

Patti Smith. MIA’s creative doppelganger.

In final, I equate MIA most often to Patti Smith. In both being progressive, creative, of a punk mindset and undoubtedly talented, MIA may want to consider the following:

Between 1967-1977, Patti Smith released volumes of incredible punk rock artistry as a woman who used music as an outlet of her poetic excellence. After an unfortunate accident in 1977, she took time away from music to reassess her life, and from 1979-1996, she released virtually no music, and instead enjoyed marriage, painting, travel and writing poetry. Her output during this period is just as emotive and noteworthy, but in not being musical allowed her incredibly creative senses to sharpen.

Between 2000-2009 Maya Arulpragasam released volumes of incredible progressive dance artistry as a woman who used music as an outlet to illustrate her socio-political view of humanity. After outing herself to the mainstream as well, an avant garde artist instead of a pop diva, she needs to take time away from music to allow Rye Rye, Blaqstarr and the Sleigh Bells, acts far better equipped to be mainstream pop icons to advance her cause on NEET Recordings, her Interscope distributed label. Enjoying marriage, motherhood, clothing design, graphic design and film making as creative outlets for her politics could prove just as emotive and noteworthy as music.

In summation, MAYA and Vicki Leekx are a lyrical void, and proof that MIA needs to cease recording music for the time being. As an artist of importance to this generation, her recent musical output is a vast disappointment, and immediate censure of that creative outlet is an absolute necessity.

ALBUM REVIEW: Duran Duran – All You Need is Now

Mark Ronson is likely having more fun than all of us. Combined. 2010 has positioned him as the true master of reclaiming the legendary art of the past and making it available for consumption in the present. It was his Grammy award winning work in 2006 with Amy Winehouse that opened the eyes of the universe to his note perfect reclamation with an eye towards invoking the past without disturbing the present that made him a superstar. Now, here’s where the fun begins. On 2010’s Record Collection release, Ronson began the deliciously tedious process of pulling down the curtain to his multitude of artistic impulses, with rappers like Spank Rock and Q-Tip, alt-pop divas on the rise like MNDR, and 80s British legends like Boy George and Duran Duran on the same album. Ronson truly cashes in as a producer, which for us as a listening public gave us an unfettered by a drive for mainstream success view into Ronson’s impeccable creative vision. On Duran Duran’s latest All You Need Is Now, Ronson appropriates a little bit of “Rio” and a little bit of “Ordinary World” to reclaim mainstream superiority for legendary Brits who deserve an eternal place in the sun.

http://www.youtube.com/v/A7Er5TsQrGg?fs=1&hl=en_US

This album is an easy listen. Duran Duran have been playing as a band for nearly 40 years, and  when music was cutting edge and heading into the pop world, they were at the forefront. When music was melding with the visual and video was the necessity, they were at the forefront. When everyone thought they had lost their way and were irrelevant, 1991’s Wedding Album showed restrained auteurs more concerned with substance but with inimitable style crafting an ace release.again, putting them at the front of music. This album satiates the desires of a modern pop audience that they were entirely responsible for creating. Lead single “All You Need is Now” is an excellent retro-fit, taking the soaring guitars and propulsive drumlines from 1984 and making them feel completely comfortable in 2010, the now expected Ronson standard. It’s not as if Duran Duran forgot how to play their instruments, they just got away from what they were doing when they were playing their instruments with the insistence of youth or a desire to be superstars as their guide. Ronson marshaled a kinetic energy here that really focused Duran Duran, as the lads really are back at classic form.

http://www.youtube.com/v/JyqQtZVjy2w?fs=1&hl=en_US

The album actually falls short when Ronson attempts to add his signatures of melding generations. The inclusion of Kelis on “The Man Who Stole a Leopard” is likely more of a nod to the label misunderstanding Ronson’s genius Versions concept and opening a budget to the collaboration. Just like with Ana Matronic as well on the superb “Safe (In The Heat of the Moment),” they don’t detract, but add absolutely nothing of note. Duran Duran don’t need new fans. They have two generations of a record purchasing public that adore them. Opening them up to younger fans is decent and noteworthy, but ultimately unnecessary.

If wanting to hear classic Duran Duran but not wanting to hear classic Duran Duran tracks, this is a perfect album to achieve that goal. Mark Ronson is a rising legend. In getting to cash in on his genius with projects of this ilk, he ascends to a new level of stardom, and begins his climb that hipefully ends at the levels of the Rick Rubins and Phil Spectors of the world. Recapturing the essence of Duran Duran’s legacy? Certainly not difficult, but in being successful at it, absolutely noteworthy.

ALBUM REVIEW: David Banner & 9th Wonder – Death of a Pop Star

Veteran emcees, tired of the nature of industry politics, have now unified against the dumbing down of hip hop for mainstream consumption. Hip hop’s pop turn has apparently offended the likes of Jay-Z, Raekwon, Ghostface Killah and a plethora more. Their response? A decision to release into the atmosphere classic hip hop, stripped and devoid of autotune, heavy synthesizers, pop samples and other tricks meant to gain Billboard love and Clear Channel spins. The latest and possibly most intriguing entrant into the fray? The combination of Mississippi hip hop hero David Banner and legendary NY producer 9th Wonder for the no frills, self released lamentation on the destruction of the true music superstar ideal, Death of a Pop Star.

http://www.youtube.com/v/HKLOeDJcQv4?fs=1&hl=en_US

This album is a bizarre mash of styles that likely five years ago in the careers of both men wouldn’t work. Banner is a heavyweight both in the studio and on the mic. This is the exact same David Banner whose exquisite synth and 808 workout “Rubberband Man” guided Tip Harris into the mainstream. This is the exact same Daivd Banner whose biggest mainstream hit was the filthy sexual come on “Play,” and the completely ridiculous though stone cold rhyming on “Like a Pimp.” This album is a rap veteran in repose, a man who has become wealthier than his expectations relaxing with tracks and attempting to advance his craft. 9th Wonder is a North Carolina transplant to NYC whose love of chopped up samples of old soul records has made him a neo-soul and underground hip hop mainstay with high credibility. This is a partnership that is successful because of talent meeting patience and success as the outcome.

http://www.youtube.com/v/LoIXcXNoVI4?fs=1&hl=en_US

Banner’s decision to have as the only mainstream impulse on the album a noticeable attempt to drop his southern drawl and fully enunciate syllables is noted. As well, he is a great emcee, and over 9th Wonder laying out a bed of soulful yet understated melodies,we really get to hear Banner as wordsmith, storyteller and true appreciator of hip hop  for the first time in his career. Radio friendly single “Slow Down” takes an R & B sample and blends with with Banner’s baritone for a hard rhyming tale of caution. Tracks like “Silly” featuring Erykah Badu and the excellent “Stutter” buoyed by the robustly soulful voice of Anthony Hamilton are solid yarns about performers being unable to truly access their dreams because of their desire to sell their soul as artists before even getting to take their first step as hip hop contenders.

This is an undeniably great album. It’s a potent listen filled with eleven earnest sermons on the failure of hip hop music to protect its young in the face of the rapid decline of the music industry. However, David Banner pimped the very system he now stands against to achieve his wealth and status, and 9th Wonder has successfully avoided the spotlight and made his way. For these two men to stand and deliver against the deplorable actions of the music industry is akin to robbing a bank to become a millionaire, accumulating knowledge from disassociating yourself from fellow thieves and then talking from the position of clouded hindsight not being 20/20 forgetting how you became rich. If you divorce message from messenger, this is a terrific album. However, if you look at this with a 360 view, it’s both entirely great and entirely hollow at the same time. A hip hop album in 2010 is filled with the same soothsayer logic of my grandfather in 1990. Do as I say, not as I have done. Wisdom passed through the generations is forever worthwhile.

CONCERT REVIEW: Bell Biv Devoe – Liv – 12/19/10

Photo borrowed courtesy of the always impressive Ms. Victoria Ford

Sometimes a concert is more than a concert. There are rare acts in music that are unifiers of culture. By this, I mean that there are few acts who captivate the minds, bodies and spirits of an entire generation. For the 30-40 year old urban trending set, no act better defines our generation than Ricky Bell, Michael Bivins and Ronnie DeVoe, the Boston natives who in 1990 took the childish courtship, then teenage dating appeal of New Edition and created the very adult and very sexual Bell, Biv, DeVoe. These arbiters of the raw romantic impulse of our now very grown and very sexy generation played Washington, DC’s Liv in a V. Smith Entertainment produced concert last night to a largely sold out venue that had a particular expectation. We wanted to hear our childhood, we wanted to relive those memories, and we wanted it to appear as though those memories would never die. At 43, 42 and 43 years of age respectively, you would just hope that BBD could hit some of the same notes and maybe pull out a dance step or two, and that they’d sing “Poison.” Last night blew such a low expectation out of the water, and instead was a jolt of inspiration, a discovery of the fountain of youth by all in attendance. In putting a glide in the stride and dip in the hip of attendees who likely lead very pedantic adult lives, it was an overwhelming success.

We waited two hours and 30 minutes for this opportunity. If it were any other act, there likely would have been a riot, but, this is BBD, who were the teen idols of attraction for every woman in this room. And what a room it was. Decked out largely to the nines, fancy females (nails done, hair done, errrythang did) all appeared as though they were finally meeting the men of their dreams for a fleeting moment of joy. Guys in the room stepped back, and there wasn’t a screwed up face or grumble, as, well, this was Bell Biv DeVoe, live and in the flesh, and none of us would’ve tried to wear Carhartt jackets and Timbalands and swear we were the epitome of cool without them. Finally, warmup act DoItAll Dupré, formerly of 90’s hip hop legends Lords of the Underground hit the stage and rocked “Chief Rocka.” It appeared to be a last second addition, but, it was a welcome surprise that had the dudes in the room flowing along bar for bar, and the women fully aware that once this song was done, the centers of their adolescent lust would be present.

In 45 minutes, BBD had more energy, stage presence and provided more sheer excitement than any act half their age. The group came from an era prior to 360 deals, Youtube VEVO, guest spots on “Gossip Girl” and placement of tracks on commercials. Reputations were built on the live show, and providing past the expectation of one’s entertainment dollar. They hit all of the BBD hits. “Do Me” was of particular note, as the trio stopped mid performance to allow the DJ to drop the remix, and yes, they broke out the precise choreography from a video that is 19 years old. Even further, their brief foray into New Edition included “Mr. Telephone Man,” “Is This The End?,” and “Cool It Now,” and for songs nearly thirty years old, they still retained every ounce of their exuberance. Hearing a crowd hit every note of Bell Biv DeVoe’s giant hit ballad “When Will I See You Smile Again?” was huge, a feel good moment that was a frozen moment of memory of the moment you had in teenage love, where, like the Slick Rick song with the same name, you promised to never hurt your loved one again. The night ended with “Poison.” This should shock zero readers, but it was excellent. All of the key vocal moments of the iconic classic were extended into sing along breakdowns by the DJ, and yes, revelers were invited on stage to break out that choreography, as well as crazy 90s dance steps that included, but were not limited to the Roger Rabbit, MCM, New York Wop, Butterfly, the Cabbage Patch and yes, The Worm.

This show was a never ending feel good moment. Great classic music fills the soul with emotion, and creates fondness and joy. To see great classic music presented with note perfect precision in a live setting is one of the truly exciting moments of pleasure in humankind. On a musical and humanistic level, this was easily one of the best performances in Washington, DC of 2010.

CONCERT REVIEW: N’Dambi & Zo! & The Sunstorm All Stars – Black Cat – 12/10/10

On paper, a night featuring heralded underground soul songstress N’Dambi and local DC cause celebre with national trending aspirations Zo! (government name Lorenzo Ferguson) sounds like a recipe for success. The two artists represent the twin hopes for traditional rhythm and blues style in the 21st century. N’Dambi, a former backup singer for Erykah Badu, carries forth the Nona Hendryx meets Nina Simone style artistry of her mentor, music as art, art as music, a funky melange of rock and soul. Zo!, alongside his Foreign Exchange Records supported “Sunstorm All Stars” supporting cast is a producer, composer and songwriter par excellence, a little bit of Isaac Hayes, a little bit of Smokey Robinson, with a spoonful of Ramsey Lewis tossed in for good measure, a feel good sultry blend of adult contemporary music. He’s not concerned with popping bottles, he’s concerned with getting deeper into the heart of the matter. However, on this night in Washington, DC, what was drawn up on paper, failed to materialize, as a night with the best of intentions fell short of their destination.

This is not to say that it was a night that was without spellbinding performances. Zo and his Sunstorm All Stars are the best live act in soul music today. Having witnessed their live show twice this year, it’s easily the best ticket in the genre. It has everything you’d expect from the more mainstream side of R & B, just not wrapped in a broadcloth of tawdry behavior. This is classic music by extremely talented musicians who know what that means. Lead single from Zo’s latest album Sunstorm, “This Could Be The Night” is a sensual jam with a George Benson swing, meaning that for more modern ears, it recalls Montell Jordan’s “Get It On Tonight,” in that it’s grown and sexy without being debased. The set features the ever dapper Ferguson behind a dual decker keyboard and organ, a consummate band leader, leading his charges through a tightly produced set that highlights exquisite artistry. Though Monica Blaire was not present, Deborah Bond’s take on the 11 minute suite “Make Love To Me” was absolutely magical. The song is a moody jazz winner, allowing for a virtuoso female vocalist to improvise and reach an orgasmic peak under the blanket of restrained elegance. If not aware, it is the year’s finest soul performance, and absolutely worthy of consideration for achievement.

This is not to say that the performance by the Grammy nominated N’Dambi was by any means without merit. She’s a toned statuesque rock star with great presence and a glorious red dyed afro/mohawk. Her album Pink Elephant is a heartfelt, earnest and well meaning melancholy burner of a soul record. Owing a great deal more to a bohemian aesthetic than the uptown swing of Ferguson, the performance was not entirely well received by a crowd who had been inspired to move, groove, get turned on and turned out by the Sunstorm All-Stars. If she followed a more muted performer, the likelihood of an entire room being captivated by her would have occurred, however this was not the case. Opener “L.I.E.,” a tale of a cheating male who travels to his lady loves along both ends of the thoroughfare is excellent, as was the single most responsible for Pink Elephant‘s success, “Can’t Hardly Wait.” In  abiding by a performance standard that involves a loose band performance, and an insistence upon intimate discussion, for the N’Dambi loyalist, it was an ideal environment. However, if looking to be blown away by a performance, that would appear to not be her strongest suit as a live artist. Adopting some of the more captivating aspects of the live performance of her mentor Ms. Badu is an absolute necessity.

Overall, this was a phenomenal evening of diverse styles of soul music. However, in slotting the honed and crafted Sunstorm All-Stars in front of the thinking woman’s sensual bohemain jam session of N’Dambi, the night was a study in styles instead of a fully realized total night of complete entertainment.

ALBUM REVIEW: Ghostface Killah – Apollo Kids

You normally don’t associate Ghostface Killah with being a paragon of virtue. However, hip hop’s favorite stream of consciousness emcee turned 40 this year, and it appears that everything has changed. There will likely never be another Ghostface Killah. I mean this to say that there likely won’t be another rhymer in a generation who will have the ability to meld a bizarre world view with top notch production to create instantaneously memorable hip hop moments. Apollo Kids’ cover art is a composition book of rhymes with a Ghostface and Wu Tang sticker. I’m presuming that 30 years ago, Ghost had one of these as well, possibly emblazoned with a drawing of Run-DMC’s logo, the name Rakim in block letters, and a picture of kung fu icons Bruce Lee or Sonny Chiba taped to the cover as well. In remembering that hip hop has to both advance and preserve, this may be one of 2010’s best releases, and in Ghost having the notion in putting this record together that he’s now teaching school, class is absolutely in session.

The foremost concept of this record is the nature of the duet or posse cut. 3/4 of the 12 song album feature guest emcees. It’s a concept that’s always been in hip hop, being utilized a great deal as of late by the XXL Freshman crew, where the lyricism feels more like kids struggling for attention from a hip hop public that they feel is a parent debating whether or not to give them a spanking. Black Thought, Busta Rhymes, Raekwon, Redman, Method Man, Game, Jim Jones and a plethora of others don’t need validation from hip hop. Rather, hip hop demands them at their finest hour, and they succeed. In veteran emcees showing up and doing the work of professionals, this album truly succeeds. While it lacks the flashy 21st century production bells and whistles associated with top selling hip hop albums, in being a great classic hip hop record with old dusty soul samples and people dropping bars for the love of rhyming, it’s a complete success.

http://www.youtube.com/v/Zd7kkzMKe5k?fs=1&hl=en_US

Pete Rock’s here on “How You Like Me Baby?,” a typical and vociferously boastful hip hop production from the classic era. However, on a production standpoint, the crew of producers includes every top producer in the game influenced by his work. From former G-Unit beat smith Jake One to Wu Tang tour DJ Scram Jones, and yes, Puffy’s Hitmen of Sean C and LV, the gang’s all here. The rhymers make these tracks feel like a comforting blanket of hip hop adoration. Track “Black Tequila” features Trife, a Latino emcee that makes you do a double take in making you think Big Pun is still alive. Joell Ortiz and Game hold down “Drama,” a crime related yarn that involves Joell Ortiz being a master storyteller and Game stating that “how I be killin’ the pussy should be a hate crime / Got a Blackberry was gettin too much face time” along with what is a continuation of the Compton emcee possibly being the hardest spitter in the industry at the moment. The album’s best is saved for the end, as just like on Biggie’s Ready to Die, it’s a low key boom bap track with Method Man that seals the album’s fate as being tremendous. On Redman’s latest, he’s plagued with sounding entirely anachronistic. Even when rapping with Bun B and Meth on a track, he sounds bored. Of course, on “Troublemakers” with Raekwon, Meth and Ghostface all spitting legendary fire, the emcee perks right up and adds to the fray.

http://www.youtube.com/v/Zd7kkzMKe5k?fs=1&hl=en_US

In final, this is a standout hip hop moment. As the genre develops and advances, it is completely important to not forget the building blocks of solid hip hop. To cop an adage from sports that feels apropos to this album as it defends solid craftsmanship, it’s always important to remember that defense wins championships.

ALBUM REVIEW: Michael Jackson – Michael

One can only hope that this is the first and last posthumous Michael Jackson album release. One of the key components of Michael Jackson’s career that made him the most iconic man to record music in the modern era has extremely little to do with his dancing or falsetto. It’s in his development of an album as a body of work, a likely very personal journey in which he wished to, in choosing certain producers, collaborators, engineers and mixers to create a sound and advance messages that he felt were necessary, timely and important. This album, in featuring none of that is not a true Michael Jackson release. Don’t get me wrong. It’s great as a compilation piece. There’s some work that doesn’t aspire to the level of MJ’s best, but it’s absolutely not his worst. If wanting to purchase this album to have a feeling of some of the tracks that he had beating around in his basement waiting to be compiled for two, three or four releases down the road, it’s a great compendium for any Jackson collector. But as an album, it’s a slap dash Christmas marketing ploy to fill Epic’s corporate coffers. Prostituting THE man’s legacy is a terrible error, but not a surprising fact. Divorce business from pleasure, Michael Jackson will rest in peace, and does so on this release.

http://www.youtube.com/v/-oCCnxBos10?fs=1&hl=en_US

The name of the game on this album is to cast Michael Jackson vocals against the canvas of familiar sounding productions. 1994’s “In the Closet from Dangerous was the first time Jackson worked with Teddy Riley, so, on “Hollywood Tonight,” Jackson scats over a muted kickdrum yet again to success. “Monster,” the track most expected by Jackson purists to be a sonic slap in the face due to the involvement of hip pop gangsta 50 Cent? Produced by Riley into a toothless “Scream” recalling angst anthem with fifteen bars from the noted 21st century top selling rapper. The-Dream collaborator Tricky Stewart goes after “Heal the World” on “Keep Your Head Up,” and on a simplistic sounding keyboard driven track, Jackson sings yet another solid plaintive ballad.

Ne Yo collaborator and two-time Grammy award winner Neff-U contributes edits of previous Jackson release “The Way That You Love Me,” as he uses a clip of Jackson explaining the drum line of the track to intro the track originally on 2004’s Ultimate Collection. It’s little studio effects like this, alongside familiar styles and typical Jackson themes of love, peace, kindness and paranoia that make this album fall flat, as nothing can compare to the late era Jackson originals largely but forgivably plagiarized. Lenny Kravitz’s addition, “(I Can’t Make) Another Day” starts off with an epic sample of Moby’s “Porcelain” with a gong that recalls “Classic Queen,” but dissolves into tepid guitar stadium rock. Tepid is the call as well on Akon single “Hold My Hand” and leaked first single “Breaking News” which was a lot more fresh when it was tracks “They Don’t Care About Us” and “Leave Me Alone,” the tracks it so slavishly mirrors.

On an album release that involves solid and expected work from one of the most iconic voices in the history of the universe, a group of producers afraid of attempting to denigrate the legend of the “King of Pop” do their best interpretations of his greatest moments. On a certain level, there’s absolutely nothing wrong with leaving well enough alone. That being said, this is an ersatz and schmaltzy Michael Jackson celebration. You’re likely better off listening to Off the Wall and checking out Youtube. On this album, it feels like everyone else did too.

*Guest Review* ALBUM REVIEW: Daft Punk – Tron: Legacy Soundtrack

Troy-Jeffrey Allen is probably in the ten percent of creative people I know in the world with a truly limitless creative imagination. He’s an aspiring filmmaker, blogger and present comic writer, his independent comic Bamn!, the tale of a washed up pro wrestler who helps a crew of backyard wrestling teens overcome bullying and understand life is terrific fun and absolutely worth checking out. But what I most appreciate about Troy isn’t just the fact that I’ve been his friend for a decade. No, it’s a lot deeper than that. Many creative types aren’t true intellectuals. Troy is, and in blending a fertile imagination with a mindset that allows him to learn in order to allow his mental creations to have physical manifestation, he’s someone I feel is always worth reading and following. Do so at his @troyjeffrey Twitter, the Bamn! website, and his blogs Android Massacre and film review site Typographic Era. Thanks, Troy!

When TGRI tapped me on the shoulder and asked me to review Daft Punk’s score for Tron: Legacy, my first thought was that — despite a crate-diggers obsession with film scores — I don’t know shit about music. Period and end of sentence. But when Marcus Dowling explained to me that my film knowledge might be of benefit, I instantly knew where to start. You see, I am a card-carrying member of The Guild of Film Students Who Never Made It, an exclusive union with no benefits and a hard-earned degree in “Woulda, Coulda, Shoulda.” I spent most of my college career in film classes and therefore my brain is loaded with filmmaking details just weeping away in the realm of uselessness. Little tidbits such as this nugget that was bestowed on me by the bearded, Spielberg-hating, film teacher that learned me many years back:
“Film scores should set the mood and never call attention to its presence. It should be an assist in the shift in tone or underline emotional moments, but it should never become another character in your movie.”

http://www.youtube.com/v/_6Afc2uzw4g?fs=1&hl=en_US

Now, personally, I never graduated to that level of snobbery (clearly), and so I’ve always preferred the big swooping orchestral numbers to the timid mood music theory of my professors (I grew up primarily on the pop influenced works of John Williams and Michael Kamen). Needless to say, when I heard that Daft Punk was scoring Tron: Legacy I eagerly anticipated two hours worth of speaker-thumping track-age. This is probably why I’m not a filmmaker, because while an entire film that sounds like “Around the World” would make a fun album, it makes next to no damn sense when challenging an actor’s dialogue. Fortunately, Daft Punk takes a careful yet head-swaying approach to scoring the film (you bang or bop to most music, but you sway to a symphony), occasionally digressing into ambient sounds, yet always frothing with epic ambition.

While my knee-jerk reaction to the Tron: Legacy soundtrack was that it sounded suspiciously like the works of Hans Zimmer (composer of The Dark Knight and Inception). However, a second go-round allowed me to identify the stylistic similarities between the French duo’s house productions and this particular film score. I’m not just referring to a few passing electronic cues, but the actual use of classical instruments. Surprisingly persistent, violins and horns are utilized with an electro-pop sensibility. That is to say, the 85-piece orchestra constantly bubbles to a crescendo, much in the same way house music builds to an explosive bass. Tracks like “CLU” and “Outlands” really hit this home with hurried cellos raising suspicion at every turn.
For those of you who don’t Ipod Shuffle with your pinky out, there are quite a few strictly electronic numbers to slake you, but those elements are best when aiding Joseph Trapanese’s arrangements or punctuating them (at least, that’s what I gather from the exclusive edition I copped, various incarnations may warrant a few additional surprises).

Normally, fusing pop with a film score breeds boring background music (sorry, but The Dust Brothers on Fight Club is dull to actually listen to) or musical contributions that embarrass all involved (John William’s cringe-worthy Lois Lane rap song for Superman: The Movie). Somehow, Daft Punk has defeated the odds and, simultaneously, found a useful commonality between their catalog and the language of film. Fans of their body of work won’t feel alienated and failed film students, like myself, have a perfectly defiant example to sit in front of their Production 101 teacher and shout, “Go fuck yourself.”

ALBUM REVIEW: Redman – Reggie

I still remember the first time I heard Redman kick a flow. It was 1991, and I was an fan of EPMD because on three separate occasions, being able to rap they lyrics to “You Gots to Chill” saved me from getting picked on. I was a nerd, and a giant one at that, straight from central casting, and EPMD were just the kind of dope emcees to get behind to save myself from insult. So, when I heard “Hardcore,” and there was a fresh voice on the record, a high pitched charlatan with a troublesome edge, I was a fan. I later knew the rapper as Redman, and was a perpetual admirer. I know all the words to “How High.” I still lift in the gym with “Time 4 Sum Aksion” getting me amped. The Blues Brothers greatness of the video for “Whateva Man” or the humor of the “I’ll Bee Dat” clip keeps me in stitches. “Da Rockwilder” is one of the most underrated songs of the hip hop decade, and his crossover one Christina Aguilera’s “Dirrty” gave her the boost she needed to make that era of her career legitimate. All that being said, Redman’s seventh studio album, Reggie, in featuring nothing of the artist I always respected, is a boring failure and lesson to new school emcees in a digital age.

http://www.youtube.com/v/kFp2CK0D16k?fs=1&hl=en_US

If you are an out of touch over and over 40 fan of hip hop, this is the best album of the year. It legitimately features a duet between Redman and hip hop legend Kool Moe Dee on “Rockin’ With the Best,” a straight up solid hip hop record discussing the place that the man who dared to ether LL Cool J and the Funk Doctor Spock will always hold as lyrically proficient emcees with chops honed in the golden era. “That’s Where I B” features DC go go legend DJ Kool, and is fantastic, but in the realm of “cabaret DJ trying to bridge current norms with classic style” way. It’s a fun throwback with modern elements, and is the exact essence that this album should have aspired to. Rockwilder produced debut single “Def Jammable” is the classic trunk rattler and party rocker of Redman’s past, but gone is the immediate angst of his past and instead the giant track is rocked with a well worn enthusiasm that comes from years of comfort with his persona. As with everything on this album, it’s not a release by a man who needs the money, it’s done by a man still in love with the art of hip hop.

http://www.youtube.com/v/dX4B92uYDeA?fs=1&hl=en_US

Redman feat. DJ Kool – That’s Where I B

He has all hands on deck here.Pete Rock, Just Blaze, DJ Toomp and Don Cannon alll contributed beats to this project. However, all of these producers are in time with providing immediate, intricate and entertaining beats that blend the classic kickdrum power of 1995 with the synthetic blast of 2010. However, Redman just isn’t the same rhymer he once was. Possibly the most depressing track on here is his collaboration with Method Man and Bun B, the weed anthem “Lite 1 Witcha Boi,” which while featuring top hip hop veterans falls short because it’s not Bun B mentoring Wale and trying to stay relevant, and neither is it Meth delivering a classic rhyme and leaving you in awe. It’s three veterans recording in a studio and passing around a spliff, and it feels stale and reticent. It’s unfortunate that “Tiger Style Crane,” which is just a lyrical throwdown closes out this release, as after listening for 40 uneven and underwhelming minutes, it’s solid excellence is muted.

This album is the hip hop equivalent of Michael Jordan’s Washington Wizards career or Brett Favre donning the 4 for the Minnesota Vikings. You get glimpses of magic that you want to extrapolate into legendary moments on par with a legendary past, but it just doesn’t quite work. This is good, but it can’t be great. When an artist capable of the superhuman becomes complacent in the trappings of success, rekindling that fire is a nearly impossible gambit. This album, while still a reminder that Redman is lyrically proficient, falls woefully short on a multitude of levels.

THREE OUT OF FIVE STARS

ALBUM REVIEW: Deadmau5 – 4 x 4 = 12

Joel Zimmerman is an intentional enigma. It’s his desire to craft an obtuse presence in the very bizarre world of electronic dance music that makes him both an annoying and iconic figure. Yes, he wears that blasted mouse head. It’s likely the one thing that draws the mainstream’s eyes to him even more so than his music. However, when the mainstream’s eyes do turn to him, he’s proven to be more than capable. In spite of everyone, he’s an enormous international superstar, his blend of house, electro, dubstep and trance a deep and expansive sound meant for large systems able to handle heavy sounds. This isn’t the upbeat juggernaut of David Guetta or the Swedish House Mafia. It’s still an expressive sound, just one borne of a world of a computer nerd turned unlikely dance music superstar. On his first mega major label release 4 x 4 = 12 on juggernaut Ultra Records, we get more of the expected same from the man in the glowing rodent helmet. However, in attempting to meet the standard of reaching this career plateau, he falls short in his expansion. In creating his own unique lane, Deadmau5 is a success. In staying true to that creative ambition he succeeds. In exceeding his comfort zone, he has much to learn, making this album a tepid yet successful venture.

http://www.youtube.com/v/vmfAZazJKXI?fs=1&hl=en_US

Deadmau5 has always excelled when dealing in the realm of minor chord synth progressions. He’s completely aware of this fact as well, hence the album opens with the cold dub chill of “Some Chords.” It’s electro dub sound has both depth and dance floor motivation to it, and alongside the epic “Ghosts N Stuff” and “I Remember” really are the three ultimate tracks of his career as a producer. As with many big names in dance music, Zimmerman works with female vocalists on this release to middling success. Unlike the perfection of Katy B working with the Magnetic Man triumvirate, something falls terribly flat here on current single “Raise Your Weapon,” as Deadmau5’s productions still are too loud and too hard to really feature the female vocal of Greta Bach to the best of it’s dimensions. It’s something simple that mastering will fix, and possibly bespeaks a necessity for an executive producer or more experienced engineer on his next album.

Wolfgang Gartner’s obsession with syncopated breaks and hight energy breakdowns makes his contributions on “Animal Rights” obvious but incongruous with Deadmaus5’s sound. It’s a clear collaborative effort to make his sets a bit more populist friendly and it succeeds, but feels woefully out of place on this album. Depth and darkness reign on this release, and “Cthulu Sleeps,” the track that recalls a mythical cosmic terror is the most minimal yet still most aggressive track of Deadmau5’s career. Dread fills the empty spaces between the bleeps and synths here and the track is a great evocative listen and entry into a wormhole of dark and progressive house in Deadmau5’s monolithic live presentation. “One Trick Pony” featuring SOFI has deep elements of UK grime, but feels like a nod to the rise in popularity of the sound rather than a studied interpretation. Again, necessary filler for a mainstream project, but again a mere par effort on an album that deserves more.

Because of his ability to wrap himself in the typical pop superstar accouterments of enigmatic presence, iconography, controversy, and populist appeal, Deadmau5 has arrived. Yes, he rarely speaks to the press, produces cold musical fusion that turns his crowds into near Teutonic headbanging and fistpumping masses, but that’s the point. In taking his own road never travelled, he arrived. If on this album he continued along that path, it would match as a critical success the commercial monster it most certainly will become.

3.5 OUT OF FIVE STARS