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| tracklisting |
| 1. Incoming (Interlude 1) |
| 2. Testimonial Year |
| 3. The Calling |
| 4. Dumb Enough? |
| 5. Illusionary Lines |
| 6. Tomorrow Will Do |
| 7. Laying Blame |
| 8. Simmy And The Gravyspitter (Interlude 2) |
| 9. The Nosebleed Section |
| 10. Down For The Cause feat. Hyjak, DJ Bonez |
| 11. Mic Felon |
| 12. Walk On feat. DJ Next |
| 13. The Certificate feat. Certified Wise |
| 14. Hilltop Hoods (Interlude 3) |
| 15. Working The Mic |
| 16. Outgoing (Interlude 4) |
| 17. The Sentinel (Bonus CD Track) |
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| When you listen to "Mic Felon" and you hear those horns, the mere sound carries you back approximately ten years. They are rather typical, they got the same copper sound and man were the days good back then. |
| The Hilltop Hoods are not the first to add a strong early 90s aesthetic to their music. They are probably not even the first Australian artists to do that. But it appears to be that they are the most successful at it. As this is Australia's 50 Cent. Oh, no not music wise. No, no.
Because the Hoods actually have skills. But this album here, Hilltop Hood's "The Calling" is the fastest selling Australian rap record in the history of Australian rap (so I'm told). It sold a lot more than the Hood's last release in less time. And that's remarkable, not because we are firm
believers in the more an album sells, the better it is. Again: no, no. But with this release, Australia is under one groove, also broadcasted by Australia's JJJ. Australia knows. Now it's time for the rest to catch up. |
| So a quick introduction seems to be in place. The hoods are together for over ten years, they roam Adelaide and they is actually the two MCs Pressure and (also producer) Suffa, as well as their DJ Debris. And if you want more of a biography, then you can listen to the previously mentioned
"Mic Felon", that offers you one kind of that even though it's presented as fiction (and if that's not enough, listen to "Testimonial Year" with a really nice piano sample). If you're not into knowing more about these
guys, then maybe you wanna start out your exploration with "The Nosebleed Section", which appears to be somewhat of a signature tune. It's not as much just praising the people in the 'front row', but it widens with duration to include
every real rap fan. It's in many ways one big thank you, especially once that sample sings "I fell in love with the people in the front row", which actually makes this song even doper. |
| And there's also a nifty little flute on this song, a blues guitar appearing at specific points and this song must be quite an experience at a live show. And I'm sure they perform it right at the end of it. If not, a good follow up would be "The Certificate". It also
contains an uplifting mood and here the fun sparks over (it's a posse cut after all). Because while everything on this album is done with a lot of respect, much is also done with a certain cool, where heart would be appropriate (heart that was poured over the beat box and rhyme offering "Simmy
And The Gravyspitter"). That's a hard thing to explain, but take "The Certificate" for the heart example and "Dumb Enough?" for a 'cool' example. Although it's mainly Pressure who gives this impression, as he rhymes kinda hard, while Suffa's flow is smoother
and more effortless. |
| This discussion however does not necessarily represent the relationship the Hoods have with hip hop. Which is discussed on the poetic exploration of "The Calling". Suffa goes as far as him defining himself through the art: "without it I'd roam the city with no
purpose / without the underground I'm a clown without a circus". These theme returns a lot on the album, that's giving a lot of rhetoric to the essential rap topics of braggadocio, you suck and hip hop is… |
| What's however also just a part of the strong respect to tradition of this album. What's also in the music. Which is, as explained before, built on a lot of jazz, done excellently on "Laying Blame" (this beat is butter), the combination of organ and drum on "Illusionary
Lines", the bass of "Down For The Cause", the general niceness of "Walk On" (a so called conscious song, as it's discussing the relations between Australia and the USA amongst other subjects) and finally
somewhat in the really nice singing sample of "The Sentinel". And only "Working The Mic" is really a bad beat, as that keyboard really doesn't do it. |
| With this review giving a lot of reasons on why this album is so successful and why it could be the one that finally gets the Australian scene some much deserved attention. Sure not all rap from Down Under is green. But at least in this case, the Hilltop Hood's grass is just a little
greener. |
| review: tadah |
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