Review Summary: Long Live El-Peezus
Unintentionally (or not - who knows),
Run The Jewels is a profound counterpoint to Kanye West's recent attempt at popularizing all that producer El-P has represented, created, and progressed for over more than a decade. Sputnikmusic's Channing Freeman observed that
Yeezus was rushed at the very least; at its worst it poses as a haphazard, sophomoric attempt at electronic-come-experimental hip-hop. Kanye's unclear intent more-so aligns with economic and popular culture goals, whereas Killer Mike and El-P's second formal collaboration lives and breathes this very culture he tries to popularize. And it's f
ucking free.
Run The Jewels is no exception to the group's preexisting cannon of groundbreaking releases. Last year, Killer Mike released
RAP Music; coupled with El-P's electronic-infused take on southern production, it redefined the genre's very envelope and expectations for the still young decade. Subsequently El-P released his third solo record with
Cancer 4 Cure - a discussion on existence, pulsating with varied amounts of pain, love, sorrow, and acceptance. Two of the year's most unique musical statements came within one month of each other, effectively pushing the regional boundaries rap fans have been known to identify with since its inception. While
Run The Jewels may not make the very same statements as its immediate predecessors, it effectively (and nonchalantly) combines the ambition of both records into something completely new and engaging with equal parts Atlanta rap, syncopated boom bap, and El-P's trademark synth driven sci-fi soundscapes.
Unlike a majority of rap records, some of the best works on both releases last year were the group joints. The passion that each artist put in, from Mr. Muthaf
uckin Exquire to Danny Brown on "Oh Hail No" to even Mike and El themselves on "Tougher Colder Killer" or "Butane" was fully evident. Pre-release single "Banana Clipper" (seriously, Big Boi on an El-P beat what the f
uck is the world coming to) set expectations properly, reigning in this energy and expanding on it, emphasizing this vibe throughout, nearly harnessing the very lightning in a bottle that was the combined
C4C /
RAP Music tour last year. "No Come Down" is a play on
C4C's "Stay Down", essentially removing the dark, atmospheric interlude come down in favor of higher quantities of ass-kicking lyricism, expanding on the familiar refrain in both rappers' verses, viz Killer Mike, "You know I get gone I'm a goner / In the VIP of the club where they strip with a zip and a boner / Girl named Mary looking like a black Madonna / Tell me I can rent her but I can never own her". This is in response to El-P's own self-allusion, a transition as natural as any classic NWA or even Cannibal Ox track. Mike brings the f
ucking fire, and even though it may not be the best example, his last verse in "Get It" completely dwarfs Kanye West's generic musing on the plight of the modern black man on "New Slaves" in only a few bars:
My name is Michael Render
And we are the new Avengers
We're here to tell you all your false idols are just pretenders
They're corporation slaves indentured to all the lenders
So even if you got seven figures, you still a nigga
This is surely a rapper's rap record, eschewing El-P's traditional atmospheric techniques for an equal tradeoff between hard boom-bap and scientifical beats. "Sea Legs" certainly steals the record's spotlight in these respects with it's [insert hiphop reviewing adjective] synths and epic hook. But El goes off on the mic possessed with a masterclass in lyricism; the guy employs internal, multisyllabic, and straight up complex, entertaining rhymes and alliteratives. Check out this discussion if you have no idea what these things are; it will probably blow your mind: http://youtu.be/ooOL4T-BAg0 - keep in mind that not only is El-P a master of this s
hit too, but he's exceeded Eminem in every single way imaginable since Y2K's
Marshall Mathers LP. Here is a brief snippet from "Sea Legs" that shows off his chops while in classic El-Producto fashion decrying the master-to-puppet relationship we have with all of our government, economic, or even personal control structures in place:
On the l AM in a hatchback blasting some rap shit, trying not to slam into traffic
With my feet on the wheel and my hands through the moon roof laughing
Let's crash this
See the truth from the womb is a fall-proof plan to be doomed while the damned do they dances
So I move through the room like an animal fooling a master
But I don't got love for the hand with the food, matter fact I am drooling at that shit
I don't only bite but I'm rabid
Try to pet my fucking head again and I'mma put a tooth through the flesh of the palm that you jack with
It's almost tragic that El-P can produce a handful of the world's best and most innovative records of all time, regardless of genre, yet still barely be lucky enough to make Pitchfork's illustrious best new music footnote. When Kanye West decides it's fuc
king brilliant to combine industrial and electronic influences with hip-hop, suddenly the music we've already been hearing since 1997's
Funcrusher Plus is bukkake-worthy. But instead of crying about it on twitter, Killer Mike and El-P (fu
ck boys, think about it) release a short, 33-minute record absolutely brimming with ten of the hardest bangers known to man. After blasting this sh
it on eleven in both my daily morning and evening jewel-runs, I've got sea legs. Peace.
