With his eloquence alone, Apathy should have little trouble collecting new listeners when his major label debut drops on Atlantic. But for now, he‘s still rocking on an independent and he‘s doing it well. On Eastern Philosophy, he dubs himself the “King of Connecticut,” making it clear that his cockiness hasn‘t faded a bit since his days as a shit-talking MC. But at least Ap has expanded his subject matter-he now rocks over quintessential East Coast productions about how he‘s done with being broke (“9 To 5”) and how his CT stomping grounds aren‘t as pristine as many would like to believe (“I Remember”). Not too complex, but far from run-of-the-mill, Apathy looks likely to help bridge the gap between the underground and mainstream.
Sound Providers Looking Backwards: 2001-1998
Though they‘re now known as a production duo, this compilation takes a thorough look back to the turn of the century when The Sound Providers were a three-man band. Profile, their now-absent MC, boasted one of the most distinct voices around; his slightly raspy tonality was perfectly complimented by Soulo and Jay Skills‘s easygoing jazz-and funk-driven beats. And while it‘s nice to hear anthems like “Get Down” and “Who Am I” (feat. Grap Luva) revived for this collection, in retrospect, Profile‘s “rapping about rapping” lyrical approach on these tracks seems a bit redundant. Maybe the SPs‘ slimming in 2001 was meant to be.
Vakill Worst Fears Confirmed
On his sophomore album, Vakill unleashes vivid, street-level raps without playing the role of the gangster or corner hustler like so many on the mic do. While his Molemen crewmates provide the dramatic instrumentals, this commanding MC unflinchingly rhymes for everyone in the struggle-especially in his native Chicago. When not warning listeners to avoid getting trapped by the ills of life, he throws in just enough bragging and boasting for good measure (see his scorching collaboration with Ras Kass, I”ntroducin”). With the strength of this record, Vakill‘s name will be one to look for this year.
The Bamboos Step It Up
It‘s been a few years since The Bamboos made ripples in the throwback soul scene with their two powerful 7 platters. Back to trouble the waters once again, The Bamboos shoot rapid-fire soul from the hip on their long-awaited debut album. Wedged somewhere between the Muscle Shoals sound and The JB‘s, this Australian sextet flosses through 11 slabs of lo-fi soul like nobody‘s business. Blue-eyed soul siren Alice Russell spices up the stew on both the title track and their take on Afronaught‘s intergalactic boogie excursion “Transcend Me.” Who knew the outback was so funky?
Ursula 1000 Here Comes Tomorrow
Alex Gimeno is a man with some serious personality disorders. Fortunately, when Gimeno steps into the studio as Ursula 1000, we, the listeners, get to benefit from his sketchy-at-best view of the world in general. Yeah, he‘s schizophrenic: check out the side-by-side Prince-esque shagger (“Electrik Boogie”) and Jamaica-‘66 skanker (“Two Tone Rocka”) for proof. But more importantly, Gimeno is solipsistic: whether it‘s retro-mod-inspired dancefloor action (“Boop”) or straight-up glam rock (“Hello! Let‘s Go to a Disco”)-not to mention Latin, hip-hop, etc.-Ursula 1000 makes genres his own, culling a cohesive album out of bizarro-world diversity.
Los De Abajo LDA vs The Lunatics
In order to secure a moniker for their inventive ska/Cumbia/reggae/punk aesthetic, Mexico City-based Los De Abajo coined the term “Tropipunk.” On their fourth full-length, they‘ve now mastered the style they created. This eight-piece outfit is able to swerve effortlessly between guitar-and trombone-driven ska to gorgeous acoustic and keyboard-tinged electronic music. The beautiful “Resistencia,” a head-nod to their continual social awareness (the track features a Zapatista leader), is worlds apart from the London-meets-Jamaica cumbia cover of Fun Boy Three‘s “The Lunatics (Have Taken Over the Asylum).” This is the world LDA inhabits, and it makes perfect sense.
Karsh Kale Broken English
On his third full-length, tabla player/drummer/DJ Karsh Kale keeps his progressive South Asian temperament intact while moving into rock, hip-hop, and broken-beat territory. Merely hinting at these styles on Liberation, we find a full assault of cross-cultural aesthetics merging into a driving soundclash. Cincinnati-reared MC Napoleon Solo adds lyrical depth to “Manifest” while Sophie Michalitsianos ensures that “Beautiful” lives up to its name, but Broken English‘s real strengths are ghazal vocalist Vishal Vaid and Kale‘s creative depth as producer. One listen to the anthemic “Rise Up” lets you know something new is brewing in global electronic music.
Tom Zé Estudando O Pagode
Brazilian vocalist Tom Zé has had a long journey, from helping to forge his country‘s revolutionary sound, tropicalia, to a recent career resurgence spurred by David Byrne‘s Luaka Bop label. Nearing 70, Zé continues what he‘s best known for: fighting a rebellion against gravity in the form of song. Estudando O Pagode, an unfinished operetta devoted to women‘s rights, borrows from rock and samba while weaving in kazoos, children‘s choirs, and a homemade instrument made from a ficus tree. Tiptoeing up to the taboo-and keeping deep subjects interesting, even enjoyable-proves to be Zé‘s lifelong legacy.
Public Enemy Rebirth Of A Nation
Revisiting old beats, rhymes, and theories and reinventing them anew, Chuck D here displays a confidence absent since Apocalypse ‘91, though Flavor Flav‘s giddiness is sorely missed. Public Enemy fans have waited 15 years for Rebirth of a Nation and with the addition of Paris, as well as guest spots by Immortal Technique, MC Ren, and dead prez, community is in full effect. Hearing Chuck rip through the rock-filled “Hard Rhythm” and Nation of Millions-esque “Rise” reminds us of his masterful poetics. This crew may not have another Black Planet in them, but this Rebirth can nevertheless instill fear in fake-ass emcees.
Gil Manteras‘ Party Dream Bloodsongs
Although I‘m as much a fan of “party rockin‘” and “settin‘ it off” as anyone, sometimes when an act tries too hard to be a good-time band, the result can feel contrived. Pop should write itself; Christina Aguileras and Black Eyed Peas notwithstanding, a catchy hook ain‘t catchy unless it‘s real. In other words, overproduction can‘t save the mediocre songwriting and male-diva posturing evident on this debut. In all fairness, the electro-influenced instrumentals themselves aren‘t bad, but the vocals kind of sound like outtakes from a Korn b-side. Oof.
