Oh man. Snow storm again. It's late March, though. Won't last long.
In the meantime - we press on.
Doomtree Diatribe, day 6. In which we study Paper Tiger's first solo endeavor.
Paper Tiger, if you've ever had the good fortune to catch a Doomtree show in person, is the guy behind the turntables with the shades and (most often) cocked ball cap. As the group's resident graphic artist and turntable extraordinaire, Paper Tiger has had a guiding hand in both the sound and literal vision of the crew. Many of the designs for album artwork and T-shirts has come from Papes, as has some of the best cuts the rappers have performed over. Another Hopkins alumni, Paper Tiger knew the establishing members way back when, working early on with P.O.S., Mictlan and MK Larada when the group was just getting started. Taking residence in the legendary Doom house where the collective resided, Paper worked diligently at the boards and computer, honing his skills and mastering his craft. Whereas fellow DJ/P.O.S. touring support Turbo Nemesis would display a more aggressive, in-your-face approach, all chopped guitar riffs and slamming drums, Paper Tiger ran his table with more subtlety and bounce, showing his artistic approach to the musical space in which he worked. His creations were distributed throughout the crew and he often played behind the Doom crew at full shows, sharing responsibilities with Lazerbeak.
After years of supporting the amazing rappers and DJ'ing hundreds of shows (possibly more, I can only attend so many), Papes was ready to take the next step. At the 3rd annual Doomtree Blowout he released his first solo effort, titled False Hopes, naturally. The EP belies the normal conceptions one would have of a hip hop producer. Then again, if you've been paying attention, the Doomtree crowd are no strangers to defying expectations. Where as some DJ's could easily be pigeonholed into repetitive trance numbers or soulless samples, Paper Tiger displayed a real sense of creation and nuance in his work. While it is no doubt fantastic, powerful stuff on record, little of it would be appropriate for a nightclub or dance party. Actually, scratch that. If you're looking for incredible mood music for cocktails with friends or a chill house party, this EP is perfect. I find myself thinking of this gem as a soundtrack for life. What Papes has done here is boil down all the swagger and energy of his live shows and filter it through the vibe of his graphic designs. It's the audio equivalent to a chef's reduction - slowly simmering the ingredients down to their essence in a concentrated form. It just so happens that the artist in question is working with a full lab of equipment and a unique sensibility that sets him apart from the rap community.
The EP winds up the opening number with a snippet of live sounds in the intro. You can hear Sims talking to the crowd as Papes lays down some funky guitar chords over a sleepy dance beat. We quickly switch gears when heading into 'The Random'. The song is the first real indication of Paper Tiger's curious perspective and predilection for dark sounds and almost contemplative beats. The mood stays fairly consistent when moving to the next song, 'Cannonade'. It's a similarly somber, moving piece that features fluttering, almost broken snares beneath tweaked vocal samples. 'MAke-MAke' is just as moving, if set apart due to it's beautiful yet simple piano element. This track is my favorite off the EP - it's a gorgeous, slightly out of key affair that feels just a bit melancholic while uniting a group of disparate elements under one roof. This song shows how Paper Tiger's hip hop expertise matches up so perfectly with the ambient and atmospheric aspects of his work. It's quite affecting. The short, nary-a-minute long interlude that follows is also fantastic; I just wish it was fleshed out into a full song! It's a funky little ditty that would serve as a great backdrop for hep-cat spy caper film. 'Singer' is another moving piece that sets an evocative tone with it's bleak intro of only moving water and acoustic guitars. 'Send Help' is equally despondent but creates a more lush landscape, the wailing tones sounding like a winding-down distress call. I love this song almost as much as 'MAke-MAke'. Again, it's a wonder this is coming from the same producer who collaborated on the frantic and furious 'Game Over' with Mike Mictlan, easily the highlight of the crew album. The final track on the EP, the despondent 'Speedmetal', features the only true vocals, courtesy of the inimitable Dessa. It's serene in it's loneliness.
Really, this short, amazing EP is all killer, no filler. Unfortunately it would be two full years before Paper Tiger would release his debut solo album, Made Like Us. But that's a post for another day. I wanted to give this EP some love, due to both it's fore-runner status and my personal adoration of the feel and tone. It's an astoundingly well constructed affair that's perfect for a contemplative drive or a sneaking evening of drinks, laid back with swagger. On top of it, the guy makes incredible artwork, much of which we see without knowing it's his creation. Paper Tiger's talent apparently knows no bounds, so watch for your job if you see him around your office. He may just take yours to get some artistic insight.
In the meantime - we press on.
Doomtree Diatribe, day 6. In which we study Paper Tiger's first solo endeavor.
Paper Tiger, if you've ever had the good fortune to catch a Doomtree show in person, is the guy behind the turntables with the shades and (most often) cocked ball cap. As the group's resident graphic artist and turntable extraordinaire, Paper Tiger has had a guiding hand in both the sound and literal vision of the crew. Many of the designs for album artwork and T-shirts has come from Papes, as has some of the best cuts the rappers have performed over. Another Hopkins alumni, Paper Tiger knew the establishing members way back when, working early on with P.O.S., Mictlan and MK Larada when the group was just getting started. Taking residence in the legendary Doom house where the collective resided, Paper worked diligently at the boards and computer, honing his skills and mastering his craft. Whereas fellow DJ/P.O.S. touring support Turbo Nemesis would display a more aggressive, in-your-face approach, all chopped guitar riffs and slamming drums, Paper Tiger ran his table with more subtlety and bounce, showing his artistic approach to the musical space in which he worked. His creations were distributed throughout the crew and he often played behind the Doom crew at full shows, sharing responsibilities with Lazerbeak.
