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| If you came across someone a few years back who'd never heard of Canibus you'd question whether they had any real idea about Hip Hop. But then things changed, and perhaps these days the name 'Canibus' might not garner so much recognition. No doubt some of those who've known about
him since the fateful "4, 3, 2, 1" days might even contest that this is a good thing. |
| Nonetheless, Canibus is an artist whose tempestuous history will have gained him a place of note in the story of Hip Hop, even if his music never ascends to great heights. His disappointing solo releases may have prompted numerous people to forget or simply dismiss the enormous hype
that surrounded him even before the Canibus vs. LL/LL vs. Canibus and Wyclef/Canibus vs. Wyclef, etc, etc days (I'm thinking back to the "Music Makes Me High Remix" and "Beasts From Da East" to give two examples), but some of us have been waiting for a long time for Canibus to fulfil
the promise that has effectively haunted him throughout his career. And "Rip The Jacker" might just be the answer we were looking for. |
| As the verses of "Genabis" combine a complex vocabulary with epic allegory, Canibus (with obvious reference to the Bible's origin story) is seemingly reborn over the track's haunting production, and a new chapter in his
story begins. Stoupe's ethereal choral vocals and a hard beat prove to be what has been missing from Canibus' previous solo work; production strong enough to compliment his venomous delivery. "Levitibus" then follows, and builds upon similar
foundations to become another track that's perfectly suited both to Canibus' presence, and the air of realised potential that seems to surround "Rip The Jacker" from the start. |
| While it's undoubtedly the tracks with the epic feel that best illustrate that of which Canibus is capable, the inclusion of "No Return", which is loosely based around a template of dub music, and "Indibisible",
on which the production is filled with Spanish guitar and Mariachi vocals seek to prove that Canibus' vocals will shine over any genre of good production. Even the comparatively sparse and less immediately interesting production on "Psych Evaluation" is made listenable because Canibus
and Stoupe seen to combine so effectively. |
| In line with the conventional wisdom of saving the best 'til last, "Poet Laureate II" is what closes out the album; more than seven minutes of Canibus spitting over a beat that switches up as it progresses. This isn't a
contender for most enjoyable track on the album, and may arguably (at least in parts) be exemplar of some of Stoupe's less inspired production, but Canibus' alternating between first and third-person narratives as he explores the difficulties of his troubled past demands both attention and recognition.
The word 'humble' is unlikely ever to characterise Canibus, and his stubborn arrogance may well have been a factor in his inability to achieve success in the past, but his lyrics on "Poet Laureate II" imply his concession that he's made some
bad choices over the years, and his intention to avoid such pitfalls in his future. |
| "Rip The Jacker" may not evoke the same response from all who hear it but, to my ear, it's the closest Canibus has ever come to shaking off the tribulations of his past and achieving what he's capable of. Although assumption of the title "Rip The Jacker" still
echoes that long-dead feud, the music Canibus has made with Stoupe renews hope that the lyricist whose verses initially gained hype for all the right reasons will someday discard the baggage he gained upon entry into the industry. In his own words, "today is what it is, but only because yesterday
was what it was"; in which case, events in the past should be disregarded both by Canibus and by the listener, so full attention can be given to what's happening now. |
| And if today's anything to go by, tomorrow could well be very bright. |
| review: cornerstone |
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