Live From Japan - DJ Krush
Back in '95 the name Mo Wax was synonymous with quality. Early releases promised much and made the label a collector's dream: limited presses, fantastic artwork and most importantly, bangin' music. James Lavelle's outfit could possibly be cited as the originators of the 'trip hop' tag (a term that I despise) as the releases around this time were basically downbeat or more abstract hip hop instrumentals. DJ Krush fitted perfectly into this niche, producing brooding sonic landscapes routed in hip hop but with a futuristic and forward-thinking edge. For my money, 'Meiso' is his seminal work.
The album features both instrumental joints as well as some impressive mic collaborations. Black Thought and Malik B's verses on the title track are exceptional and CL Smooth comes correct on the album opener 'Only The Strong Survive'. I'm not as keen on the Big Shug and Guru track; the beat lacks the moody atmosphere that complements the MCs so well on the aforementioned cuts, and the overall vibe leaves me feeling a little cold. Still, the names speak for themselves: these are well written and expertly delivered rhymes that work well over Krush's accomplished production skills.
Worthy of a special mention is 'Duality'. This tune passed me by for a long time as the opening two minutes is some of Krush's less inspiring work. It simply doesn't carry the weight of some of the other tracks and lacks punch. However, everything changes after three minutes. Snares break out in an eruption of percussive noise before dropping into the DJ Shadow produced section of the song which is nothing short of sensational. Scratched horns float over rippling drums and the momentum is relentless. This is Shadow at his best: I could listen to this all day and my head would still be nodding as it hit the pillow.
Later Krush works become increasingly minimal and stray away from the drum heavy tracks that constitute the finest beats on this album. In doing so, he loses the sense of rawness that is so compelling on this release. Still, this is a powerful and at times gripping album that demonstrates that it definitely ain't where you're from, it's where you're at.
Meiso
3 comments:
yeah good stuff on mo wax.. i'm about to throw up another krush album.
btw, it was all ways just hip hop to me, but several years ago when terms like downbeat and downtempo and whatever genres/ niche/ categories were being invented, it just confused me, so i ignored it..
maybe you can school me/us with the science?
I agree Alley - it's all hip hop to me too which is why I resent the term 'trip hop'. I think this came about to fulfil a need to market instrumental hip hop to a wider audience and seems characterised by a mellow vibe + big drums. Of course, any sort of musical categorisation is somewhat limiting; Anticon and that stuff could probably be 'trip hop' although it doesn't necessarily fit the above model.
I see downbeat and downtempo as more of a house/electronica term and I think the difference comes from a more synthesised sound with a regular kick drum. Who knows man... these are fluid terms that although helpful are somewhat meaningless.
Shouts for the comment! Out.
perhaps a mowax blog??? There were loads of cool releases that were put out that conicide with moody beats by ditc and the like. i call it good instrumental hip hop. plain n simple.
Post a Comment