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Das Racist: Sit Down, Man
The sacred, earth-shattering and soul-moving place that hip-hop once claimed has been so tragically distorted over the years by an artificial, commercial success of slim-bag artists; that it would have Grandmaster Flash and the Furious Five rolling over in their graves.
We've got artists from the Bronx to Dakar that not only stand by the principles of this beautifully raw culture; but also go to great lengths to keep it alive.
While we’re grateful for their work; finding fresh, quality hip-hop tunes these days can be extremely difficult, if not nearly impossible. In 2003, Himanshu Suri and Victor Vazquez formed Das Racist and began spinning beats in a dorm room at Wesleyan University, with no idea where their utter passion and belief in hip-hop would take them.
In 2008, their debut track 'Combination Pizza Hut and Taco Bell' hit the music scene, labelling them a fun and funky duo for their rapping about consumer identity in a rather goofy way. Despite its seemingly childish take on clever social commentary, their style caught on and they quickly became loved by underground hip-hop fans worldwide. Not only do they truly celebrate hip-hop music and what it’s all about; but their work is accessible and relatable in a way that reaches everyone everywhere from the toughest hood to the swankiest yacht.
With a fresh, brilliant and energetically moving style, the duo rose from their flat but successful debut track to finally release Sit Down, Man, a twenty-track album on September 14; and we couldn’t be more thrilled.
Featuring various styles and collaborations with Jay-Z and Quincy Jones, the album is also collectively produced. Produced by Devo Springsteen, ‘People are Strange’ has a cool, modern spin on individualism with spot-on rapping and crooning backing vocals. The lyrics never miss the target.
Hard-hitting ‘Fashion Party’ describes the coke-laden party culture with a serious dose of sarcasm. The psychedelic looping and sensual vocals lend the track an enhanced imagery of the sickening consequences of the twisted, ever-so-desired high couture scene.
Produced by Mike Finito, ‘Roc Marciano Joint’ is a heavier track that brings a sense of disconcerting anger; but it combines the anger with an urban funk feel and soul-felt awareness.
Sit Down, Man is the type of album that you’ll either love or hate. It’s compelling, refreshing and fun; yet socially conscious through a seriously tight and clever execution.
Das Racist are a duo to most definitely watch out for, and if there’s one thing that’s made explicably clear throughout the entire album; it’s this: Das Racist love hip-hop and they know how to rap about it.
It is next to impossible to define the sound of the Dirty Projectors. As soon as one tries to put their finger on any sort of genre or sound, it will have already transformed itself - either sonically or lyrically – into something else entirely.
For David Longstreth, the songwriting genius behind
the Dirty Projectors, combining filthy lyrical imagery, Mariah Carey vocals, a
classical brass section, indie rock ethics, minimal techno, Wizard of Oz duets,
and hip-hop beats, is a seemingly effortless task.
Over the past decade, Longstreth has released over ten LPs and EPs, all which prove that his band is everything that Dave Matthews Band and the Magnetic Fields try to be – witty, daring, intelligent, honest, weird; in other words, different. Swing Lo Magellan, maintains that tradition, though in a somewhat more welcomed and accessible way.
However, Swing Lo is still bizarrely weird.
While for the first time the majority of songs are built around verse/chorus
song structures - and it feels as if Longstreth has tried to keep his
experimentation bound to structure - every song still sounds like a musical
experiment in itself.
The Dirty Projectors are a band of six who are more or less based in Brooklyn, New York. However, in ten years the band has easily gone through twenty members, and a rotating cast – Longstreth aside – simply seems to be part of the essence of this band.
It’s difficult to define what each band member specifically does because there’s no formula, and so individual roles often change with each song. There is a huge variety of sounds – clapping, duets, guitar riffs, eastern and western beats, digital effects – captured and produced using both hi-fi and lo-fi means. Dirty Projectors have collaborated with both Icelandic singer Björk, and new wave hero David Byrne of the Talking Heads, which hints at the diversity of their styles and tastes.
The off kilter, catchy pop track ‘About to Die,’
evokes a weird, sort of dyslexic Maroon 5-type groove, whilst Longstreth
lyrically ponders: “How can I hope to seize the tablet of values and redact it?
Foolish, I know, but I’m about to die”, that is, unless he’s “already dead”.
The opening track ‘Offspring are Blank,’ plays with the idea of species propagation, of fertile parents giving birth to blank children. However, it’s delivered over hip-hop beats, r&b vocals and pop-punk rock choruses.
There are also beautiful, guitar pop songs, such as title track ‘Swing Lo Magellan,’ which combines acoustic guitar, beautiful playful imagery, and a sense of wonder and adventure. But even with this simple song, the production sneakily bombards the listener with two tracks simultaneously. If listened to with headphones, one finds that that the right speaker is delivering an acoustic, beat-less ballad, and the left speaker is a bluesy, drum and bass groove; when combined, the magic is delivered.
However, just when one begins to grasp what this
album is all about, the punkish, dark, Pink Floyd-ish track ‘Maybe that was It’
comes as an exploration of what it would lyrically and sonically sound like to
come off LSD – confused and disoriented.
It is almost futile picking tracks off of this
record, as they’re all beautiful and unique in their own way. The current
single is ‘Gun Has No Trigger,’ but whatever the listener’s taste, there is
definitely something, somewhere on this record for everybody.
The name Swing Lo Magellan is a likely reference to renowned explorer Ferdinand Magellan’s daring voyage under South America, where he ‘swang lo’, becoming the first person to connect the Atlantic and Pacific Oceans. In a way, that is exactly what it sounds like Longstreth is doing with this album: creating groundbreaking connections where most believed they would and could never be made. Swing Lo Longstreth, Swing Lo.
With no prior announcements of its making, save for a short film named “Jungle” released a few hours before it became publicly available, If You’re Reading This it’s Too Late was first released on iTunes Store, Spotify and Soundcloud, and quickly received acclaim – impressive sales figures followe.
So what’s the deal with this mixtape/album hybrid that boasts a massive 17-track track list? As a whole, it shows lyrical maturity on Drake’s side, as well as quite remarkable production. As is his usual, the Canadian singer’s fourth album blends the worlds of velvety smooth r&b and modern hip-hop.
The latter emerges in spirit on the album’s opener. ‘Legend’, in which Drizzy announces, “If I Die, I’m a Legend.” He continues on “No Tellin’”, warning “Please do not speak to me like I'm that Drake from four years ago/ I’m at a higher level.”
It’s a theme that runs through much of the album, with his often ridiculed but much loved romantic (hyper-) sensitivity offer taking a backseat somewhat. His position as a target of more hate that he probably should get drives him to unapologetically state, “I’ve got enemies//Got a lot of enemies,” over the eerie, monotonic piano chords in ‘Energy’.
Despite drifting into self-actualisation on ‘Know Yourself’, the Young Money prodigy still doesn’t go to the emotional depths fans have become accustomed to, rapping “I've always been me, I guess I know myself” and “I want that Ferrari, then I swerve” in one same breath.
With several guest collaborators appearing on the album, one of the highlights is ‘Star67’ featuring Lil Wayne; a song that sees Drake go full-on confessional, rapping about his struggle to financially support his mother, making it in the fickle industry and going from rags to riches.
He explores these subjects further on “You and the 6” – a track seemingly inspired by and dedicated to his mother: “She worry 'bout me from home//You know she raised me alone.” It’s on this song that he most harks back to what can only be described as his unique selling point – rather than gimmick – of breaking the urban music mould with a relative and digestible sense of sincerity.
Though many will argue that If You’re Reading This It’s Too Late presents little other than the familiar introspectiveness of Drake, it does go some way to prove that his musings aren’t exclusively affective in the context of chart-friendly, commercial radio. With excellent production values and a noticeably increasing lyrical maturity, this is possibly his best work to date; an album-come-mixtape that stands tall in a sea of hip-hop bravado.