Holy Hannah, am I glad it's Friday.
As long as my week has been, one thing I can't stop obsessing over is all the amazing shows at SXSW I'm missing this year. Admittedly, I'd rather take a week off to go somewhere tropical and sit on the beach, but all that good music is too tempting. So I sit here in Minneapolis, reading constant updates about shows I can't see or movies I'll have to wait for. One thing I can console myself with, though, is the knowledge that I've had my fair shake at seeing Doomtree live. Knowing they're down there riding a huge wave of positive buzz and playing an obscene amount of shows makes me so proud of all the good things Minneapolis can create. I've dropped the Doomtree name in more than a few posts here and it's time I give them the full round of praise and explanation they deserve. Unfortunately it is literally a crew of people, so this will be no small undertaking. In order to keep this manageable I'm going to spotlight a release from each of the MCs and give proper credit to the beatmakers that make it all possible. I might end up hopping around a bit in the process but in the end there should be a nice collection of articles on the best hip hop to come out of Minnesota since Rhymesayers first made waves. First up - Mictlan and Lazerbeak's magnum opus 'Hand Over Fist'.
Mike Mictlan is the proverbial Juggernaut of the crew - a rapper who, once he gains the momentum, cannot be stopped by any obstacle you throw in his way. His lyrical skill is unparalleled, with the ability to construct lines that approach Dada-ist absurdism in their twisted linguistics, while still maintaining coherence through complex similes and references. A Cali transplant, Mictlan spent separate chapters of his life traveling back and forth between MPLS and LA, gathering friends and influences in both states while honing his craft. His first official album under the Doomtree banner, 'Deity For Hire', was excellent and a strong indicator of things to come, but his talent and sound quickly grew beyond the parameters the album established. The album was reworked and expanded, released under the title 'Deity For Re-Hire' but again time passed and fans wanted more. Working with producer Lazerbeak, the duo set about constructing something massive.
Lazerbeak, whom I previously wrote of in the Plastic Constellations post, was splitting time with both crews. From his time as a guitarist and vocalist in TPC he brought a refreshingly unique perspective to hip hop production, crafting beats and samples that displayed unusual musicality and sounds not often used in the genre. His songs show an affinity for real instrumentation instead of broken sounds - pianos, horns and guitars all serve as frequent backdrops for the tracks he creates. Beak and Mictlan were longtime friends and the collaboration came naturally as the two set about the long process of making the record together. What ensued is an album that is both heavy, full of banging drums and beats, while conversely musical and insightful, with Mictlan's lyrics delving into his personal life with intense candor.
To set the mood for the album, the opening, eponymous track sounds like a machine winding up in the first few seconds. When the song jumps to life, it's clear the energy is not a question here - Mictlan and Lazerbeak are going full steam, drums banging and Mike inciting the audience to hold up the signature hand signal of the crew, the bird gesture representing the Teeth & Wings of the Doomtree logo. Dropping references to ice-cold MN winds and rapping in his fluidic style, the track isn't even half over before we know exactly what the album has in store. The two lock into step and stay that way for the entire album. Tracks like 'Clam Casino' feature drop-in and out beats, with Mike bouncing along effortlessly. 'Shux' is a manic, barreling affair that features fellow crew member P.O.S. trading verses and double teaming the chorus. The song itself seems to follow the shouted instructions to grab a shovel and start digging, the beat digging farther and farther down. Maintaining the energy isn't simply a tempo trick, though. Tracks like 'Wolf Tickets' slows the pace but make up for it in the soundscape and ear-hook of the music. 'LA Raiders Hat' sees Mictlan talking about growing up in LA and it's a candid look into the rapper's life. It's easy to forget he's not solely a MN resident and his love for California is clear.
The real standout track, however, is the album closer, which has also closed more than a few Doomtree sets. The massive and epic 'Prizefight' is an absolute highlight of what Doomtree, and Mictlan and Lazerbeak specifically, are capable of. The song is a grandly structured example of the musicality and range of styles hip hop can embody. It's essentially Mike rapping about keeping his "eyes on the prize" even though he might not know what he'd doing. It's a rundown of his life and how the passion for rapping he possesses has kept him moving forward and how it's paid off. It's also insanely danceable. The piano motif is both striking and funky, a testament to Lazerbeak's talent. Listening to this song winds the audience up no matter the occasion and it's no wonder they choose to close so many performances with it.
Hand Over Fist is an amazing album that shows just what Doomtree can do - it's all passion and drive, bolstered by insane talent and joy for the grind. Stay tuned for more posts about the crazy good music this collective can make!
As long as my week has been, one thing I can't stop obsessing over is all the amazing shows at SXSW I'm missing this year. Admittedly, I'd rather take a week off to go somewhere tropical and sit on the beach, but all that good music is too tempting. So I sit here in Minneapolis, reading constant updates about shows I can't see or movies I'll have to wait for. One thing I can console myself with, though, is the knowledge that I've had my fair shake at seeing Doomtree live. Knowing they're down there riding a huge wave of positive buzz and playing an obscene amount of shows makes me so proud of all the good things Minneapolis can create. I've dropped the Doomtree name in more than a few posts here and it's time I give them the full round of praise and explanation they deserve. Unfortunately it is literally a crew of people, so this will be no small undertaking. In order to keep this manageable I'm going to spotlight a release from each of the MCs and give proper credit to the beatmakers that make it all possible. I might end up hopping around a bit in the process but in the end there should be a nice collection of articles on the best hip hop to come out of Minnesota since Rhymesayers first made waves. First up - Mictlan and Lazerbeak's magnum opus 'Hand Over Fist'.
Hand Over Fist is an amazing album that shows just what Doomtree can do - it's all passion and drive, bolstered by insane talent and joy for the grind. Stay tuned for more posts about the crazy good music this collective can make!
