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| And that mind state was important
to accomplish this, as well as accomplish the paradigm
shift: put the turntablism at service of the beat
and of the song and the emcee. Don't put it to the
forefront. Don't make it too flashy. Make it like
you would do it with the ASR. That's why it's logical,
while not less unfair, that the emcees are a little
overshadowed by your intent to really grasp the
beats first. Emiliano and Ru-Ski still are good,
but maybe not incredible. Your chance to check them
out even better comes on the two live recordings.
On "Got That Feelin'",
we listen to the mainly flowing for flowing's sake
verses, that are entertaining still. The second
live track is "Clash
Of The Goats", where the song gets
harder and the scratching and lyrics adopt to that. |
| The scratching is more obvious
on some songs like "Avant
Garde Hip Hip" and the instrumental
"Assembly Line".
This is also the only track where a SP1200 is used
for parts of the drums. The only other instrumental
song on this record is a hidden cut, that's chaotic,
artsy, very long, and interesting to say the least.
"Thought Process"
and "Rock Wit Us"
struggle to really click, with this here being something
we are familiar with when it comes to turntablism.
The harder appealing background then gives the emcees
another chance to profit from the shifted attention,
with them giving us more poetic stylings on the
first, while getting the crowd hyped rhymes on the
latter. |
| On other songs the turntablism
is very well hidden, like "Journey
Thru The Levels", "Why
Wait For Science" or "Fellow
Constituents", that features an
incredible drum. So does "Pure
N' Wyze", where drum n' bass, as well
as head music chapter are opened, with Sense, Athene
and Nemesis of Diversoul Descendants adding their
vocals reciting poetry to one of the most hybrid
hip hop, but none the less, best songs on here. |
| When I read about what this album
is doing, I had enormous doubts that it will be
to my liking. Now I'm convinced. Because the balance
these cats find, between doing something that fully
sounds like a beat, and between still not hiding
the turntablism aspect of the songs, is impressive.
Of course sometimes they manage to push the envelope
further than on other songs. Nevertheless, the idea
of DJs and Rappers working together on this level
might be an obvious one. With the pulling the idea
off being just the harder. |
| review:
tadah |
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17.03.03
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