Review Summary: They're Miles ahead of you, you can sip their Bitches' Brew
In the modern hip-hop landscape, Run The Jewels are something of a unique group - steering clear of the trappings of contemporary soundcloud rap/trap trends that stick to fairly minimalist stylings, the duo have a single agenda: write aggressive, hard hitting, music and keep the spirit of hardcore hip-hop alive. The lovechild of rapper Killer Mike and rapper/producer El-P,
Run The Jewels 2 is their no-nonsense sophomore record, the follow up to their critically acclaimed eponymous
Run The Jewels. Building on the raw energy of their first record,
RTJ2 adds more in the way of complexity, especially in the instrumental department, whilst maintaining the vulgar, violent deliveries from the duo that really define their sound. The question is, does this critically acclaimed record live up to the hype, or does it stand in the shadow of the group's debut?
As you might have already garnered from the review score, it would be an understatement to say that it's a good record. In fact,
RTJ2 might just be one of the best rap records of the decade so far.
If you didn't know what Run The Jewels' deal was before coming into the record, the first track certainly makes sure you're filled in. 'Jeopardy' begins with Killer Mike threatening to "bang this bitch the f*ck out". Mike's anti-f*ck boy agenda-setting is backed by a lush instrumental, with a sultry bass line, punctuated by screaming horns as the track reaches a climax. El-P closes out the track with a solid verse, telling "monsters to suck our dicks", and if the crude humour and profanity is a little much for you, you ain't seen nothing yet. 'Oh My Darling Don't Cry' opens with a glitchy vocal sample, which drops back into a throbbing, spacey instrumental, over which the duo carry out their usual assault. The track is full of flourishes in its production, and carries on down the album's path of aggressive vulgarity, dropping bars about "running this sh*t like a chinese sweatshop". The hook is very strong, using chopped up vocal samples to spell out the song's title, and the harsh, abrasive beat under the closing section really splits the moody tension of the track down the middle, providing a satisfying end to the track's building tension. 'Blockbuster Night part 1' is another early highlight, oozing with bravado over a stomping beat, as the it leads into the lead single, and arguably the strongest track RTJ have put together.
If there is any song you should listen to on this record,it has to be 'Close Your Eyes (And Count To F*ck)'. Killer Mike and El-P's revolutionary diatribe against everything from the police to the legal system to the church is full of too many lyrical highlights to list in this review. Zach De La Rocha of Rage Against the Machine guests on the track, his vocals forming part of the hook as well as delivering an equally furious verse in the latter part of the song. To be frank, there's little to fault here; the track lyrically obliterates every target it sets it's sights on, and with a fat, bassy and aggressive instrumental backing it, the track is one of the most memorable cuts on the album.
Subsequent tracks 'All My Life' and 'Lie, Cheat Steal' are a little more low-key, dialing back the audio assault of the first 4 tracks, with the former's smooth vocal harmonies nicely juxtaposing the duo's slightly more muted vocal performances, providing some much needed respite and variety. The delicate, tense instrumental on the latter track gives way to El-P's strongest performance on the record, although this is undercut somewhat by a cluttered and over complicated hook instrumental that undermines the tension of the verses a little. Another change of pace, 'Early (feat. Boots)' includes some buttery smooth, rich instrumental interludes between verses, and Travis Barker of blink-182's appearance on 'All Due Respect' makes for one of the most complex, if not interesting beats on the record. The gang vocals in the hook are an invigorating addition, and Killer Mike's closing verse about riding back to America on the back of an Elephant is equal parts tongue-in-cheek and satisfyingly egotistical.
The raunchy 'Love Again' sees the duo get sexual, with Akinyele Black's guest verse matching their vulgarity, leaving the subtly empowering message of women owning their own sexuality and running with it. 'Crown' is probably the most low-key track on the album, and the only one that could really be called average, but the spacey and blissful instrumental does nicely switch it up, following 8 tracks of varying amounts of throbbing bass lines and hard hitting drum loops. Closer 'Angel Duster' caps off the record with a bit of everything; it's more laid back than the opening of the record, but runs with the same anti-authoritarian lyrical direction. Sweeping strings and a neatly distorted retro piano contrast the rattling high hats at the close of the song, leading the LP to an adequately grand close.
Sure, if you're not a fan of RTJ's egotism and depraved, aggressive lyrical direction, then 'Run The Jewels 2' probably isn't for you. But if you give the raw energy, complex and detailed instrumental tracks and sharp-as-a-bullet vocal performances on the record a chance, then you'll find a track list full of undisputable bangers. Sure, it's not as experimental and challenging as your average Death Grips record, or as cerebral and refined as a record like
To Pimp A Butterfly, but what Run the Jewels have crafted on their sophomore effort is truly commendable. Whilst not being entirely flawless, the energy and consistency from track to track is standout, minor imperfections doing little in the way of marring an altogether strong set of songs. Building on the unrefined fire of their debut, the self indulgent, feisty bravado of their second record is as addictive as it is entertaining, retaining the building blocks that make RTJ who they are, whilst adding polish and sonic depth that really puts the cherry on the proverbial cake.
