12.06.2011

Crew Cuts

C'mon, like you didn't expect this?


Doomtree. No Kings. 


What more does a guy have to say? I've been all about the 'Meatcleaver tied to a Shotgun' since Just Riley turned me on to P.O.S. back in 2005. Since then, I've been as obsessed as any of their fans, clamoring for more material, the long awaited crew album, attending the (now week-long) Blowouts in First Ave. So when word dropped earlier in the fall about No Kings, I was super excited. The teaser tracks were killer, crazy stuff. I was gonna give you a full run down on why you should pick up the album (if you hadn't already) but it looks like the local City Pages beat me to the punch. That's the rub of a one man operation - I can only do so much. They did a fantastic job breaking down the release of the second full-crew release, so what more could I say? 
My own perspective, of course. While I certainly agreed with everything they had to say about Doomtree's rapid, hardworking rise to the top, it was interesting to see certain views and assumptions confirmed or denied. For example, my suspicions were correct, it seems, that the title and theme were completely coincidental in the context of the Occupy movement and the release of the Jay-Z/Kanye album. The crew had always had a 'make your own life' aesthetic to it, this album distilled that ethos. Additionally, the nature of the collaboration and presentation of the album was much more unified and cohesive when compared to their previous group effort. While I loved that album as a symbol of accomplishment and a statement on where they were, it was very diverse, almost scattered. No Kings, instead, is incredibly cohesive. Every song feels like part of an album instead of a showcase for each artist. Songs aren't individualized but more like limbs to a monster. 
The amount of growth each member of the crew has shown is also remarkable. The ideas and themes they put forth have always been lurking in the unspoken spaces of Doomtree hooks and lines. It's only in the last two years or so that the rappers have fully blossomed into the incredibly nuanced and articulate wordsmiths they are here. You could spend pages unpacking individual couplets, only to realize there would be more than one or two interpretations. Sims becomes more introspective and conversely more light in his delivery, feeling ever more alive and alight when he raps. P.O.S. refines his social viewpoints and desire to reform his world as he sees fit, all while gaining more verbal dexterity. Mictlan's word-collages grow evermore diverse and bizarre, creating murals with wordplay that hinges on free-association dadaism. Dessa has fallen into a dangerous pocket, retaining all her artistry she wielded on A Badly Broken Code, only now she finds herself completely lock-step with the rest of the insane crew, rather than being a stand out. Cecil Otter continues to make me question my own justification of using the same language he does. How can I claim to craft a sentence when he not only produces beats but creates some of the smartest, most cutting lyrics you've ever heard?
Yes, yes, hyperbole, I know. What I'm saying is prove me wrong. Listen to this album and tell me its not the most talented crew out there, working as one horrifyingly talented whole. The collective vision is so masterfully crafted and delivered, it almost puts anything else they've done to shame. All the shows at First Ave this week are sold out, but maybe if you know a guy, you can get in. They own their own world. We only get glimpses of it when they drop albums like this.