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. 

Cut Loose

What. The Hell. Was That.


Doomtree have lost their minds.


You think you know an artist, having listened to them for years. You get a sense of communicated identity. You learn their inflection and tendencies, even more so when they're a local legend. Hell, in some cases, I've even kicked back and shared drinks with the odd member of the crew. You make assumptions, you feel safe, if not confident in their choices. The last crew release was a killer, a massive album that served as a landmark in the divergent Doomtree canon. When word of the available-any-second No Kings, I made the mistake of thinking "Oh sure, more of the same, but better and harder, right?"

Remember what I said about assumptions and sanity?


The leaked tracks should have been an indication. 'The Grand Experiment' and 'Beacon' signaled a darker, more nuanced tone from an already complex and dexterous crew. The video for the album cut 'Bolt Cutter' though...it's dark and disturbing. Not in the gory, over the top schlock Hollywood tries to force feed us. No, this is the kind of strangely unnerving imagery that one would think impossible to pair up with hip hop, let alone such phenomenally talented artists as these. Stalking the gritty, grimy corridors of abandoned buildings. Climbing over the walls. Dodging spotlights while looking like their minds are unhinging before your eyes. Doomtree have lost their damn minds.


It couldn't be better art.

The song itself, a multi-segmented beast of a track, is just as sinister. P.O.S. brings you into his world over frantic, broken beats. Sims lurches through ever more violent wordplay, brandishing a verbal knife in the shadows as speakers bust and distortion flairs up. Suddenly the song breaks and becomes a slinking little thing that Dessa bats around like a cat with a mouse. She owns it and dares you to take her toy away. When you think it's safe, the track breaks wide open and Mike Mictlan screams in your face over crazed dance beats, rapping face down on a dirty floor in the video. As the crew stalk the empty corridors, P.O.S. ascends a ladder into the night time city and the song continues shifting. All of this is horrifyingly cohesive.

By the time you read this, No Kings will be available. Go get it. Once you've listened to it, call the men with the nets and white coats. These rappers are a danger to society, in the best possible way.

Zoo Animal

Well, hello there!

Last time we spoke, I was waxing nostalgic about things long gone. How about instead of focusing on things that are a decade old, we look at something new and fresh?

In my last post about Minneapolis rapper Sims, I made a mea culpa for sleeping on his latest and greatest endeavor, the staggering and alarming Bad Time Zoo. To counteract the guilt and feelings of missing out on something so amazing, I want to use today's post to spread the good word about his latest offering. The thing is, Sims is heading out on his Good Time Zoo tour (see relevant dates and venues here). As a reward for coming to see him perform live he has pressed up physical copies of an EP he recorded with fellow Doomtree crew member Lazerbeak. The EP, titled Wildlife, serves as a coda or addendum of sorts to his sprawling and dangerous album that preceded it. Knowing not everyone will be able to attend the upcoming shows, Sims and co. went the extra mile and distributed the EP for free online, via this link.

 I can't tell you how fantastic of a gesture that is from such a hardworking artist. While Sims has been riding a wave of critical success, we all know the record business is a limping, potentially mortally wounded beast. So to offer fresh, original and (most importantly) high quality content like this is quite simply a gift on the artist's behalf. I'm very grateful, not only for the gesture but for the fact that this EP is just as amazing as the work that preceded it. Sims is on his grind and we are reaping the benefit.

 Musically, Wildlife falls right into line with Bad Time Zoo. The songs are at times, alive and manic, sprinting alongside the rapper as part of a pack. Other times they feel run down and full of history, like an old supper club with outdated décor. They sound, really, like they could be alternate takes of other songs on Bad Time Zoo, and I mean that in the best way possible. Often times an artist will plop out an EP simply to get some spotlight between albums - not so with Sims. These songs are of the same high caliber he always delivers, even showing further signs of growth in certain spots.

 At a mere five tracks, Wildlife is lean but not gaunt. There's just no fat on the record. 'Lighthouse' is an ephemeral track, one that gives the impression Sims is perched high above the Veldt he in which he describes the modern world, watching the chaos unfold. 'Mad Night', technically pulled from Bad Time Zoo, shows how far he's come as a performer. Not to patronize his or anyones rap game, but on this track he shows the strength of his vocals and the depth of his lyricism. It's a track with real flow, not only in the hip hop sense but as a writer polishing his craft. Listening to 'Here I Stand' its easy to conjure the image of Sims as a man on the hunt - monster approaching, the artist grabs bow and arrow and takes aim. When his verses unfold it feels as though he's taken chase, hunting wounded prey. See how effectively the rapper paints imagery with his lyrical themes? Infectious when done right. 'The Line' shows Sims flexing new muscles in his writing style, getting more personal than ever as he weaves a pair of narratives about broken people and the help the refuse. Its haunting and affecting storytelling.

 The final track on the EP, 'Jordan 5's', contains a line I think may encapsulate why he does what he does. In citing the mortal accidents of the King James Bible, he raps "The truth fades but the ink stains". This notion of the fleeting sacred truths held in ink and paper is not unlike his relentless grind. He is an artist with a message that is, at times, difficult to pinpoint. He implores us to be better people, yet cites the flaws of the world in our most animalistic tendencies. On the sliding scale of artistic intent and rappers spreading a message, Sims is definitely on the heavy end. Maybe we'll never know why he perseveres. I think this track at least gives an insight into his reason for being. Either way, I'm just grateful to have the EP to compliment his monster of an album. The Good Time Zoo is heading out on tour - see if you can witness the madness. 

Mea Culpa

I'm sorry, Sims.


I'm sorry I slept on your amazing, unparalleled masterpiece - Bad Time Zoo. 


I'm sorry I ever questioned the work you put forth, delaying the album until it was perfect, giving valid reason for any push back it might have had. 


I'm sorry for not being a better person, in the wake of the material you put forth. You're the kind of artist who puts out a body of work and the audience realizes their own shortcomings as a result. It's just that good. It's that well put together.


I first covered Sims in my week-long Doomtree Diatribe earlier in the year, wherein I wrote about his under-appreciated False Hopes 14 rather than jump on the band wagon that was rolling in on the heels of his second major release. Turns out I should have been paying better attention. While I was making an impassioned plea for the masses to listen to his stealth endeavors, everyone else was busy being blown away by what the artist is truly capable of.

Bad Time Zoo is the kind of album you use in text books to illustrate just what exactly is artistic growth. As amazing as Lights Out Paris was, it was well worn by the time his official sophomore release debuted. What the world received was the lyricism and insight of one of the most thought-provoking and hard working mc's out there. The working title had long been in the public eye as 'The Veldt' which set the tone conceptually for an animalistic endeavor. The final title of 'Bad Time Zoo' establishes more of a manic, stampeding and vital soundscape, one whose life force feels like a zoo run amok in the face of an oppressive society. The opening salvo of 'Future Shock' shows Sims to be all too aware of the isolating world we create with our omnipresent tech, while subconsciously summoning more human times with it's chanting and pounding drums. The sweaty worry of 'Burn It Down' feels frantic and inescapably energetic, pulsing with rhythms that grab you and shake you to wake you from your slumber. 'One Dimensional Man' brings to light the vapid air of the upper-middle and upper class' attempts at saving the world, one banquet benefit at a time. 

Showing a broadening of sound, 'When It Rolls In' stands out as a game changer for the artist. Producer Lazerbeak creates a brooding, haunting soundscape for Sims to run wild in. In what may be a first, Sims actually sings a bit on the track, whose poetry has never been more affecting. I would be remiss, though, not to mention the lava-banger that is the formerly eponymous track 'The Veldt', where the two create a melting world of animals out to get you, lurching one bleeding beat at a time. I've honestly not heard anything quite like it in a long time, even from anyone in  the Doomtree crew.

Sims' intelligence has the rare gift of making the audience feel sheepish for a lack of aid to society. I know I come away from spins of this album with a bit of languishing guilt, knowing I walk to my office with the mindset of being the best person I can be. His lyrics bring light to the world we live in, for better or worse. I'm grateful that I can work to do the good things I can, but being a good spouse and responsible citizen simply isn't enough. What I struggle with, though, is what to do with that guilt - what does Sims want from us? How do we save the world, then, if not by being more aware of what we do?


Perhaps I'm looking too deeply at this issue. Whatever your take is on this album, you can't deny it's craft. Immaculately assembled, Sims has set the bar staggeringly high for anyone else in Minneapolis, let alone the world of independent hip hop. Step up your rap game, kids - Sims is loose.

Double Down

Sound the alarms! Double post!


I had to throw up a quick note to alert as many people as possible. Plus I figure after two weeks off I can throw the occasional double post to make up some ground, right? Anyway - you want to hear this. It's been all over the music world in the last week, but in case you haven't heard - do yourself a favor and head over to Wugazi to hear some amazing stuff.

The title says it all. Wugazi is simply the best of both worlds - the inspired, cacophonous delta that forms when Doomtree member Cecil Otter and producer Swiss Andy set about laying the vocals of the legendary Wu Tang Clan over the similarly (but more overlooked) Fugazi. It's one of those things that shouldn't be able to exist, yet it works so well. If you've read some of the other articles on this site about mashups and the manner in which our culture re-purposes pre-existing material, you might have an inkling of how mind-blowing I find this to be. Hell, Cecil Otter's solo albums are heady affairs, worthy of their own dissection. But to take some of the most unusual, groundbreaking hip hop of the last 20 years and throw it over some of the most curiously intelligent hardcore - that's some sublime, inspired genius. There was simply no chance for a middle ground here - either be un-listenable or undeniable. To the universe's credit, we go the latter. 

I was lucky enough to snag it before the site crashed, but it may be back up as of now. The free (FREE!) album of remixes/mashups is available now, so if you have absolutely any interest in A - essential hip hop B - high quality post punk C - post-modern music or D - insane jams for the summer...go to Wugazi.com NOW and download it. Before someone's lawyers smell blood in the water. 

Local Love

Holy Hannah, people.


Super warm today.


Like, warm enough that there are real threats of thunder storms and bad weather. I love storms. Can't get enough of it. As long as it doesn't interfere with grilling, then it's all gravy. Spent the weekend getting things done. Paperwork, errands, cleaning, all that jazz. Spent last night watching Shaun of the Dead and poking around on my iPad. Fun way to watch movies, felt like I was researching it the whole time. But that's beside the point. The point, dear readers, is that you need, I mean NEED to know about Doomtree. These local musicians are masters at what they do. I went so far as to spend an entire week just breaking down their members and respective releases, all the while barely scratching the surface on what this amazing rap crew has accomplished. Talented to unfathomable depths, they comprise the best and brightest Minneapolis has to offer. Check out these posts to get a rough idea of who they are and what they've done:


Hand Over Fist - The unstoppable duo that is Mike Mictlan and Lazerbeak.
Ipecac Neat - A look back at the rise of P.O.S. and his debut album.
Sims' False Hopes 14 - The stealth release of a fantastic artist whose ethic is relentless.
Dessa's Scattered Interlude - An examination of the literary genius of song-smith Dessa Darling.
Rebel Yellow Deluxe - How multiple versions of Cecil Otter's superb 2nd album makes an interesting extended mix.
DJ for MCs - The sublime nature of Paper Tiger's False Hopes and why it moves me.
Meatcleaver + Shotgun - MK Larada's Break In Two and some other details of the crew's work.
Affiliyated - A look into Doomtree's re-grinds on the mind-blowing Gayngs album Relayted. Read it.


Thus ended the week-long Doomtree Diatribe. They're abosolute favorites of mine, whose work and crazy live shows I evangelize to any and all who will listen. They made a massive splash at SXSW this year and now Dessa and Sims are embarking on a national tour, so be sure to check them out. I'm gonna cut here, as the temp has dropped a solid 15 degrees and I have a dinner to grill. Gotta beat the rain, son. Shrimp's waiting.

Meat Cleavers & Shotguns

This is it, kids. End of the line.

Day 7 of the Doomtree Diatribe. I've covered the MC's and some of their best, if under-appreciated, releases. I've covered their devoted, multi-talented producers and beat makers. It's been fun rehashing their awesome body of work - I was introduced to their sound back in 2005 and they've accomplished tons and tons since then. They are the definition of hometown heroes, here in Minneapolis. They're a talented crew of devoted, boundary-pushing artists who grind away daily for the love of it, while inspiring the next generation to do something meaningful with their lives. To atone for the over-the-top sycophantic nature of that last sentence, let's take a step back and look at some tangential material, shall we? Just some details to round out the week, to ease off the medication, so to speak.

First up would be the excellent dance mix put out by waning member Marshall Larada, 'Break In Two'. Larada, known for his production and design skills, was at one time a formative and core member of the group, having taken a step back from heavy performance as of late. Released at shows and online, the album is, on the surface level, breakdancing music. Just a series of infinitely danceable beats designed to keep you going. Beneath that, though, is the reality - Larada designed an album of samples and beats from his childhood through modernity and it works as great party music. If you read yesterday's post on Paper Tiger's False Hopes, this plays the flip side to that expectation. You expect straight-up dance tracks, you get good times and mash ups and mixes galore. Pick it up and pop it in on a sunny Saturday while you cruise around the lakes this spring. 

Next up - the massive amounts of media the crew maintain on their site. Obviously in this digital age, the game has completely changed - MTV is almost entriely irrelevant to widestream publicity and radio is desperately trying to catch up to the shifting landscape. Doomtree's site has selected tracks to check out, as well as a collection of videos and shorts that are too numerous to list off here. Particular highlights, though, include their non-rap material. Turns out when some really smart musicians try their hand at humor it can really pay off. Check out their insane 'As Seen On TV', which sees the crew through the hyper-real filter of the TV junket. Others include the group of videos showing just how hard the crew is working. Check 'em out, they're good. On top of it, they have their bonafide videos available, as well. While they're all great, be sure to take a look at some of the best they've done, including clips for:

Half-cocked Concepts
Purexed
Optimist
Prizefight
Gameover
Dixon's Girl
Drumsticks
Traveling Dunk Tank
Burn It Down
One Dimensional Man 

One final note, probably most important of all. Sims is in the midst finishing a never ending tour in support of his phenomenal Bad Time Zoo and Dessa just announced her first headlining tour across the nation. If there is any chance that you could see either of these two when they come to your town, for the love of all that is good and sacred, go see them. They have phenomenal live energy and beats that make you move whether you want to or not. I did this week long series of posts because I wanted to do justice to their music and passion instead of a single blog post. Now I realize I could do this for every release they put out - they're that good. I'm sure other releases and events will warrant more posts, but in the meantime I got to evangelize about my favorite hip hop artists. Just glad to know other people appreciate them like I do.

Man On The MAke

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.   

Segue Way

It's raining, of course. It's March in Minnesota, so it's actually a nice change from snow. It cleans the streets and melts the snow berms, so I will gladly take it.

While I am enjoying the distraction of the weather, it's time I press on with Day 5 of the Doomtree Diatribe. Today's post won't just focus on the dusty guitars and rattling drums with which Cecil Otter supports his brilliance, it will also highlight a secret, mega album you can assemble Voltron-style via playlists. I'm gonna be a jerk and just assume you're using iTunes, but that's my choice, not yours, so you don't have to get in a twist about it. Point is, we can play cut and paste. But let's take a closer look at the contemplative poet, the George Harrison of the Doomtree crew - Cecil Otter.

Cecil Otter is another longtime Minneapolis resident, having met fellow founder P.O.S. in high school. In between skateboarding sessions he and P.O.S. got acquainted, beginning to make music shortly after. As I mentioned in the post about P.O.S. they collaborated often in their early endeavors, splitting EPs and producing beats for each other. When it came time for Cecil to do proper albums he not only enlisted former members MK Larada and Beautiful Bobby Gorgeous, but ended up creating his own as well. Cecil Otter's False Hopes served as a fantastic first album, establishing the palate with which he paints his soundscapes. Using a liberal amount of slowly creaking drum beats and broken-machine sounding samples, Cecil created a slew of wonderfully off-kilter and laid back songs, such as the epic one-two opening salvo of 'Atreyu And The Swamps of Sadness' and 'City Girl (Amuse Meant To Get Her)'. They show exactly the kind of art he would create - songs that convey his twisting and cuttingly witty wordplay in the train-hopping drifter attitude.

As any artist can tire of their own repertoire, Cecil Otter set about constructing a new album worth of material from the ground up. In both a surprising but hoped-for move, he also produced the album himself, crafting the songs from the ground up. Every dusty string, every sampled music box - they were all hand picked and arranged by Cecil himself. An advance copy of the album was completed surprisingly quickly and sold at the second annual Doomtree Blowout, held in First Avenue downtown. I was fortunate enough to pick up a copy and was amazed by the growth he displayed on just the advance version of his album. His lines were more intricately written, often times with several running and interlacing similes and metaphors that converge into one brilliant picture. The sparse, laid-back approach was more refined and unified, not simply being low-energy but a low-burning intensity that never loses its momentum. It was, though, an advance, i.e. not what was to be viewed as the final, polished offering. The actual album, Rebel Yellow, would be released just over a year and a half later with a revised track list and re-mastered production. Feeling just a hair more smoothed over and polished around the edges (and a more balanced mix), this version of Rebel Yellow was the proper album. Featuring a few key substitutions in tracks, it felt different than the advance - not worse, just a differing tone and sensibility when listened to straight through. What I began to ruminate on, though, is the merging of the two. 

I'm sure any artist would shudder at what I'm about to propose. No one wants an improperly assembled or illicit version of their work to be in the public spectrum. I understand. So, Cecil - on the off hand chance you read this, I apologize if this irks you, but the temptation was too good to pass up. Here's how it goes:

Take the final track listing for Rebel Yellow and stick it in a play list. Then, taking the tracks from the advance version, fill in the gaps on the official version, interlacing them where they would potentially have lain. There you have an expanded version. Now if you really want to be excessively nerdy take the individual tracks Cecil offered for False Hopes 13 and 15 and pepper those in. What you have, then, is the Voltron-esque Rebel Yellow that contains everything after his last album but before his next official release. A playlist would look something like this:

1999 
Poet is Rapist
Rebel Yellow
Sufficiently Breathless
100 Fathers
Untitled God
Firewalk With Me/Last Archer
The Archer & The Scarecrow
City Girl Prequel
Untitled
Forensics
Beat It Loose
Boxcar Diaries
Down Beast!
Little Demon Girl
Demon Girl
Matchbook Diaries
Le Factuer
Traveling Dunktank
Black Rose
Let Me Tell You
Duel
A Rickety Bridge

I love the idea of cut and paste albums (for evidence see my post on the conspiratorial OK Computer/In Rainbows collection). The resulting product when you make this mega-Otter playlist is a more detailed and fleshed out scene that Cecil may not have intended but illustrates his vision in a unique way. Hearing '100 Fathers' segued into the beginning of the mix gives it a new sense of relevancy to the other songs, like 'Untitled God'. The rawkus 'Black Rose' is a great follow up in and of itself to the single 'Traveling Dunktank'. The progression of the embryonic 'Demon Girl' right next to the finished version plays like a natural growth of a song, showing how ideas change over time. 

Cecil Otter is an unparalleled poet who can create a swirling mass of text around your ears that can make you weep while you raise an eyebrow at his puns. God forbid anyone is ever on the receiving end of his wit - his deftness can insult you without you even realizing it happens. So if you hear a verse about bloggers getting his albums all wrong, remind me and I'll simultaneously hang my head and shrug my shoulders. He's working on a few projects at the moment, in particular a new album and a collaborative effort with Lazerbeak where they swap beats and vocals. Do yourself a favor and keep an ear to the ground. 

Indie Darling

Happy Monday kids, another week to trudge through. 

Today is day four of the Doomtree Diatribe, which brings us to the verbose and loquacious Dessa. Dessa is the slow burning, ascendant member of the group. The only crew member to release a book of fiction, prose and poetry, the excellent Spiral Bound, she is also obviously the only female member as well. But you can tell by which characteristic I mention first is more descriptive of her role in the group. Rather than discussing the role of gender identity in hip hop ad nauseam (of which I'm sure I would do a terrible job) I'd rather spend today examining her methods of expression, which are far more prevalent in her artistic endeavors. While the music world has been abuzz with love for her latest album 'A Badly Broken Code' (and it is fantastic, you should buy it) I'm fascinated by the myriad of cuts that appeared between her first and latest offerings. 

Dessa, whom I'm guessing you already know at least a bit about if you're reading this, is another Minnesota native. Her entry into the rap world was a tentative one, having first sought out slam poetry and meeting members of her first group Medida, fellow artists Ronin and Yoni. While the group performed and recorded some material, they disbanded. When that happened Dessa was introduced to the raw and unfocused energy of Doomtree in its embryonic stage. After the crew had heard her perform and upon hearing of the demise of her group, Dessa was presented with the option of joining the burgeoning rap collective. She quickly said yes. What she brought to the table was a more refined, nuanced method of expression. Where as Mictlan and P.O.S. could volley back and forth on sheer frenetic energy, Dessa coaxed a literary sense of delivery out of the group, falling more into line with Cecil Otter's wordplay and Sims' insightful introspection. Her joining the group both influenced their delivery and writing style and hers.

Her first False Hopes EP shows this more subtle sense of song writing, with tracks like 'Kites' and '551' showing her divergent writing style. The first three tracks on the EP fall more into line with the group's ouvre, though - 'Press On' shows her rapping with the best of them, trading verses with Sims with ease. 'Mineshaft'  was a live staple for years after its release, her descriptive style displaying a depth of introspection rarely seen in the world of hip hop. Unfortunately a full five years would pass before she would offer a proper release. In the meantime, Dessa trickled out choice cuts and guest spots on her crew mates' albums. The Doomtree False Hopes, meant as a teaser before their long-awaited crew album, shows an excellent bit of her writing, the radio-ready 'Veteran'. It's such a great song with pop sensibilities that it's a wonder they didn't release it as a single - it really would sound right at home on any modern station. Knowing the Doomtree ethos, though, that would never happen. 'If And When' is a contemplative tune that almost marches forward with icy keys, a sign of where her album would go.

 When the full crew album finally was released we got a few great cuts from Dessa in particular, including the another team-up with Sims. 'The Wren' shows the two of them crafting a tale of broken hearts and trusts through the longstanding Doomtree bird terminology (a group of crows, etc.). 'Sadie Hawkins' sees her singing playfully over a funky piano beat, breaking into a Spanish rap halfway through the song. A guest spot on producer Paper Tiger's False Hopes EP has her singing in a strange new inflection, the eerie 'Speedmetal' slowly plunking along with haunting samples.  Interstingly, one of the tracks on Paper Tiger did for False Hopes 13 (with the Blowout DVD) later resurfaced with new vocals on top of it. Titled 'The Chaconne', it's a gorgeous, moving song that she has actually been performing with her younger brother accompanying her, as of late. At last year's annual Doomtree Blowout the group released another group False Hopes, this one being number 15(!!!). On it is one of Dessa's best, if over looked, tracks - the manic and confrontational 'Scuffle'. The song bears the unmistakable buzzing and stuttering guitars of a beat made by fellow MC P.O.S., and the soundscape created does indeed feel like a scuffle. Dessa displays some engaging and genuinely amusing rapping over the scrambled beats.

I'm just as fascinated by these scattered offerings as I am her staggeringly good album. Like I said, it's no surprise at all she gets such massive amounts of press when considering how talented she is, in particular the out-of-time and refreshingly genuine 'Dixon's Girl'. The video is an amazing piece as well. Still, I love that such a great artist will work to give her audience a fix, offering the occasional song to bridge the gap between releases. It reflects not only the work ethic but the changing landscape of the recording industry. While the album is still key, these individual tracks serve as a companion piece when compiled together, showing a cohesion of concepts. Dessa is one to keep an eye on, for sure. The national spotlight can't be far away.

Thinking Man's Blues

Good evening, welcome to the end of the weekend!

Additionally welcome to day three of my never ending Doomtree Diatribe. Today we look at the working man's/thinking man's rapper, your favorite bad ass and mine, Sims.

Sims is another Hopkins alumni, having met P.O.S. in high school. After buying beats off him, Sims began recording his music with P.O.S. and soon got rooked into the rap game with the newly emergent elements of Doomtree. Having released his own False Hopes EP early on, the fantastic and now out-of-print False Hopes 4, Sims released his album Lights Out Paris in 2005. Both a damning look into American culture and a call to arms to better our country and lives, the album was a fascinating glimpse into the mind of a man who is both frustrated with the world he lives in while simultaneously tries to improve it in any way possible. The album sees him digging into such diverse yet interconnected topics as the free market society, the daily grind & navigating rush hour, Bush's political landscape and his relationship with his father and the impact it had on him. It's no wonder the album received so many accolades, including the Strib's Best of 2005 list and gathering critical adoration in the online rap community.

 Unfortunately, the demand of both being a human being (working, paying rent, sleeping) and a member of the best damn rap crew around (touring, guesting, working on the highly anticipated crew album) kept Sims from the task of finishing his long awaited follow up, Bad Time Zoo. After all the pieces fell into place, though, it was finally released to the overwhelming approval of the local and national rap community. But while this album has been gathering a huge buzz, both online and via NPR (despite his understandable critiquing) what I find more fascinating is what happened between albums. To satiate the demand for his music and to satisfy his fans, Sims released an EP. Number 14 in the False Hopes canon, his EP is an interesting work in dynamics that really could warrant more love than it gets. Everyone is rightfully stoked about Bad Time Zoo, but we shouldn't forget about the EP that proceeded it.

Bearing beats produced by both members of the crew and a few outsiders, False Hopes XIV is an interesting peak into an artist in flux. At the time these songs were created, Sims was between the fury of his debut and the confidant consternation of his follow up. It essentially afforded the man an opportunity to exorcise some demons with the same demons plaguing the mood of a highly public release. While Lights Out Paris is full of clanging beats and despondent tones and Bad Time Zoo utilizes horns and strings to quantify man's plight, False Hopes XIV is a sparse, almost minimalist affair that serves as a playground for the artist fleshing out his ideas, seemingly painting as he goes. 'Like You Mean It' is a gorgeous, melancholic tune that is a fantastic warm up to the meat of the ten song EP. 'With The Fire In Its Palm' is a foggy, moody song that sees Sims spinning yarns about the people he's known, most movingly that of a soldier "who served and earned a medal - he made it home but the storm never settled". Sims is a man of the people and a heartbreaking story teller, capable of giving you just the right details to hook you in and see a real person in the lyrics. 'T C a G' utilizes a similar sharp piano loop as 'Like You Mean It' and the song shares the somber link of the tone. Showing further dichotomy to the ideas put forth, there are tracks like 'Rap Practice', where Sims shows he can still be playful and loose, not just focusing on societal strife. In it, he raps about jokingly and freely about how his "practice raps are soundin' better than your album tracks". 

There is no doubt that Sims is one of, if not the smartest rappers around. Who else would make a repeating theme, and song, out of citing Kurt Vonnegut's phrase "So It Goes"? He's the kind of man who dissects philosphy between carpentry jobs, seeing the wisdom and application in both. I'm so grateful he's getting the recognition he deserves, now that Bad Time Zoo is out. But while you enjoy his newest release, head over to the Doomtree store and pick up this fantastic, under appreciated EP.  

Living Slightly Larger

Saturday, day 2 of my multi-stage Doomtree diatribe. 

Today I want to look a little farther back in the canon and celebrate what was one of the first major outing for Doomtree, namely the first official album for P.O.S. - the curiously titled 'Ipecac Neat'. Released in 2004, the album was one of the first official records put out under the Doomtree banner and stands as some of P.O.S.'s best work, made all the more impressive by the fact that he was only 22 at the time. 

The Promise Of Stress (or Piece Of $#!% depending on his mood, born Stefan Alexander) is a lifelong Minneapolis native, having grown up here and attending Hopkins High School, where he met fellow crew members MK Larada, Cecil Otter, Mike Mictlan and Lazerbeak. Initially averse to rap and hip hop in general, in wasn't until a punk outfit he was playing with did a one-off gig as a rap-parody that the wheels turned in his head. Following the example of his friend Mike, P.O.S. took to rapping like a duck to water. He quickly became one of the best young MCs on the scene. For particular proof, track down a copy of his now-defunct group Cenospecies' first and only album - it's a fascinating look into the talented rapper's early work. His signature style is there, just not fully formed (it's a great piece of local history, if you can ever find it). When he began writing and rapping with eventual Doomtree crew member Cecil Otter they recorded and released a series of EPs, all under the title of False Hopes, not unlike, say, Nine Inch Nails' method for titling each release another in a series of Halos (Halo I, Halo II, etc.)  These Eps, (False Hopes, False Hopes Mega! and Cecil Otter's first solo foray, Hungover Seas) quickly established them as rising stars on the scene. When P.O.S. released his first full album there was no question about his talent and the potential that lay within.

The album, Ipecac Neat, is titled as such because P.O.S. wanted to conjure the image of "mental vomit" of which he identified his rapping - loose and free associating, yet personal and revelatory. Well played, sir. The album is definitely all those things and more. As an introduction to the astounding canon of material that would ensue, Ipecac Neat could serve as a primer for neophytes. Like any artist who is crafting their first album, P.O.S. drew upon the series of False Hopes eps for a couple choice cuts in addition to freshly penned (at the time) material. In particular the opener, Gimme Gunshots, is a fantastic illustration of personality contained within. The slower sections of verses show P.O.S.'s sly sense of humor and wit, cracking jokes and making winking references to the late Notorious B.I.G., even singing a bit, even if only in jest. When he switches up the rhyme scheme and tempo in the chorus we see his deft word play and knack for hooks - phrases fly by like shots and you can hardly decipher them before you're trying to catch the next line. I, personally, was hooked and blown away by the personal yet universal appeal of 'That One', an amazingly insightful song about the effects romantic entanglements. Just the opening lines had me enthralled when I first heard it "Gimme  a pen, a pad, a couch, a blanket, pillow and I'm out - I wrote this thing from 31st to Clinton foaming at the mouth, can I sleep in your den?" Those little details make his story telling very real and beleivable. The song is a heartbreaker, with P.O.S. spitting rhymes about suicide by cop and the moving refrain "I'm not waving, I'm drowning".

The whole album holds up as you listen through. 'Music For Shoplifting' is a speedy but sparse tune that makes a case for minimalism in hip hop. By crafting a beat around a broken kick-snare combo and putting just a hint of flamenco guitar on top, P.O.S.'s wit and wordplay get a chance to really shine through what is other wise a sonically dense album. Favorite line: "I'm not trying to save hip hop, I'm just trying to save my baby cousin from Jermaine Dupri". 'I Play The Matador' creates its energy and momentum seemingly out of thin air just from the beat, all snapping guitar licks and popping drums. The closer to the album, the personal 'Duct Tape', gives an even closer look into P.O.S.'s childhood and what he went through that made him who he is. The tales of home drama clearly made an impact but it gave birth to the passion on display here. Culled from an earlier ep, I'm guessing it was a natural choice for inclusion on the album. It's a moving, vivid piece of music that is quite affecting.

On a whole this is a fantastic album. I think, though, that part of the genius on display comes from the fact that P.O.S. had so much to prove when he was making it. Now, with three fantastic and varied records under his belt and all the critical adoration one could hope for, he may not have the same drive to prove his worth. On Ipecac Neat he had that desperation, the hunger of a young artist with the fire inside him. It's still there now, of course - he's tearing up the scene here and abroad, not only with solo sets and the Doomtree crew, but also with hardcore bands Building Better Bombs and Marijuana Deathsquads. He was also a highlight of the phenomenon that is Gayngs' album Relayted. all these cats are making huge waves at SXSW this year, so if you're not there, start with this amazing album and get acquainted quick, before you miss out. 

Hand Over What?

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!