Secular Stress
label: 2sick

producers: eligh, moodswing9, pj katz, g-dubb.

guests: l'roneous, student, jubei, twomp twomp, jon?doe, mars.
year of release: 2002
website: realistikk.com
 
It's hard for a woman to get attention in the mainstream hip hop field. It's not easier to gain attention as a women in the underground. How many are there? Yes, some. But that some is hardly many. That makes it the little bit more remarkable that Realistikk was able to draw the attention of the audience. But also of comrades of the art, as on her record you'll find Eligh and Moodswing9 on the production, while L'Roneous and StuDent appear on one song each. So Realistikk got those listening, she got us listening on the Acheeka Tribe's 4 Months Of Winter's "Music For Musicians" tape. Listen up.
As always the temptation to just cut to the tracks featuring the big name contributions is too big to fight. Therefore we first check out the Eligh produced "Supernatural" that also features Jubei. The beat at first appears to be bare, but the elements cluster with every second passing. But with some keyboard sounds, we know that the beat machine has shown better. The second beat by Eligh used for "Controlled Substance" is much better though. And with the voice alteration, you muse that Eligh was somehow present when the song was made. This is similarly scientific as the one sound on "Fornication". Here Moodswing9 proves that he might do few beats, that the ones he does are getting your neck going and feature an aesthetic not unique to him, but a little different to what someone else would do.

tracklisting
1. Intro
2. Hoboken To Oakland
3. From The Passed
4. Some Of Us feat. StuDent
5. Supernatural feat. Jubei
6. Parable Of The Wicked
7. Positivity Thru Elements feat. Twomp Twomp

8. Fornication
9. Brave New World feat. L'Roneous
10. Controlled Substance
11. Real Lies feat. Jon?Doe
12. Beyond Soulmates
13. Deat Of Privacy feat. Jubei
14. Real Lies (Remix) feat. Mars
The other beats (with the exception of the good and organy "Some Of Us" done by PJ Katz) were all done by G-Dubb. And that oftentimes is not necessarily a good thing, but instead even a bad thing. Like "Hoboken To Oakland" only starts to work remotely once the quirky sound makes it a Bay Area signature beat. The beginning and end is however very keyboardy in the worst of ways. "From The Passed" struggles too and "Positivity Thru Elements" is even horrible again. The same unfortunately has to be said about "Death Of Privacy" where G-Dubb proves that he can play the keys, but the sounds he chooses are just wack. The bass is also having us shudder due to it's artificiality that's not sounding right.
Thus the songs that work are "Parable Of The Wicked" where G-Dubb weaves keyboard sounds into long structures that are able to work complimentary rather than distinctive. The opera sample of "Brave New World" is also good as it makes less keyboard sounds necessary, while on "Real Lies" G-Dubb makes the instrumentation gritty enough in a Depeche Mode-ish "Pimpf" kind of way. And the remix opts for the same good beat, with additional words by Mars. And finally "Beyond Soulmates" is kept very smooth, with only parts of the sounds being weak and the other ones sounding like nourishing dropping dew, while the UK girl sings the hook.
So Realistikk has to save this record with her lyrics. She however speaks with a little girlish voice that struggles to have much presence. And Guru's bon mot that much is about the voice, rings very true for women too. Thus Realistikk might come with eloquent expressions of her strength on "Supernatural", she may brag on "Positivity Thru Elements" (with Twomp Twomp), she may discuss things on "Fornication" and with L'Roneous on "Brave New World", she may open her heart to us on "Beyond Soulmates" or come conceptual on "Controlled Substance". She may be as good as she's actually is, but for much of the album, you just want to hear her over different beats. Not because of stereotypes, not because you think these beats are un-female. But it's hard to shake off the thought, the knowing that she would just sound excellent over the right musical background.
So as much as I want to like this record, especially G-Dubb makes it very hard for me. It's a little bit like the beats are excessive make up you want to rub off Realistikk. You want to see her, and know who she is. And the make up (i.e. many beats) prevent you from learning that. They cover up what you expect to be under all the masquerade. And you, I, we find that disappointing in the most unfortunate kind of way.
review: tadah
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