Abuela Coca, grupo musical uruguayo de rock latino iniciado en 1992 por Alfredo Gianotti, el "Chole", (voz y guitarra) junto a los músicos Cacho Rodríguez (percusión), Javier Bonga (saxo) y Omar Santiago (bajo). Se caracteriza por un estilo musical que fusiona rock, reggae, rap y ritmos afro-latinos, entre otros.
Like a few other notable sophomore records from hip-hop acts (De La Soul Is Dead, The Low End Theory), Jurassic 5's Power in Numbers is darker than their first full-length; not as fresh and exuberant, but much more mature and intelligent. Granted, fans may not be happy to hear they've changed the formula so soon, or that the production doesn't play a starring role as it did on Quality Control. Instead, DJ Nu-Mark and Cut Chemist play it close to the vest, setting off the rhymes with a few well-placed beats and split-second samples (as well as the usual flute loops). Of course, allowing more room to hear four of the best rappers in hip-hop twisting tongues and telling tales has to be welcomed, and Jurassic 5 prove up to the added responsibility. Displaying a focus and intensity basically unseen in rap music during the past decade, the group practically bursts with message tracks; the skeletal first single "Freedom" finds Chali 2na and Akil delving into the concept as it relates to everything from Third World poverty to the American penitentiary system. "Remember His Name" and "Thin Line" (the latter with Nelly Furtado) are dark tales of urban passions, and they're a step forward in that it's not just the raps that are intricate, but the storytelling also requires a few listens to understand. The group still has plenty of time for a few old-school anthems like "What's Golden" and "A Day at the Races," with Big Daddy Kane bringing his alliterative ammo to the track. And the instrumental jam "Acetate Prophets" shows DJ Nu-Mark and Cut Chemist refining their skill for merging turntablism and excellent productions. Perhaps the best statement of Jurassic 5's purpose comes from the group itself, on "If You Only Knew": "What we do is try to give you what you ain't used to."
After a decade of underground recognition, New York-based producer/lyricist Mike Ladd has emerged since 1998 as the hip-hop scene's prime genius. Easy Listening 4 Armageddon put him on the map, the all-star Infesticons album put him over, and Welcome to the Afterfuture is the articulation of a musical vision. Whether it will pan out in the real future is another matter, but at least it stands a chance. Welcome to the Afterfuture is a blender of sounds and styles and epitomizes the search that is leading cutting-edge hip-hop further into avant-garde and non-Western musical traditions. "Airwave Hysteria" has a sweet Bollywood sample with a tight chorus broken up by some hypnotic scratching. The ring mod and time-stretched vocals on "Planet 10" are reminiscent of a Kid 606 album. There's a number of good tracks, but a few stand out, particularly "5000 Miles," where Ladd gets to display his lyrical skills ("I'm 5000 miles west/Of my future/Where's my floating car/My utopia") against fuzzed bass and organ figures. He gets props for entering the sci-fi realm without sounding like another Kool Keith carbon, although you might argue that it's simply more futurist than sci-fi per se. The most out track is "I Feel Like 100 Dollars"; it would be difficult to create more chaos at a slower tempo, for sure. There's some nice Air-esque jamming on "To the Moon's Contractor," and the title track features a crunked funk dissection of contemporary ills via Nova Express. Not so successful is the cut "No. 1 St.," which falls into all the pitfalls of trying too hard, with self-important rhyming. It's not often that album reviews name check Ezra Pound, Mogwai, and Run-D.M.C., so buy this album. If hip-hop should have a tradition, then this is it -- experimentation.  | 1 |  | 5000 Miles West of the Future | Ladd | 3:48 | |
| | 2 | | Airwave Hysteria | Ladd | 4:09 | |
| 3 | | Planet 10 | Ladd | 4:25 | ||
| 4 | | Takes More Than 41 | Ladd | 3:01 | ||
| 5 | | Bladerunners | Ingleton, Ladd, Meline, Smythe | 6:17 | ||
| 6 | | No. 1 St. | Ladd | 3:52 | ||
| 7 | | To the Moon's Contractor | Ladd | 10:36 | ||
| | 8 | | I Feel Like $100 | Ladd | 3:45 | |
| 9 | | The Animist | Ladd | 5:52 | ||
| 10 | | Red Eye to Jupiter (Starship Nigga) | Ladd | 3:50 | ||
| 11 | | Welcome to the Afterfuture | Ladd | 3:34 | ||
| 12 | | Wipe Out on the Wave of Armageddon | Ladd | 4:15 | ||
| 13 | | Feb. 4 '99 (For All Those Killed by Cops) [For All Killed by Cops] | Ladd | 5:15 |
A personal, unique project compared to Amplified (Q-Tip's first under his own name), Kamaal the Abstract fittingly sounds more like a solo album; whereas Amplified merely built on the digital soul of the last Tribe Called Quest album (The Love Movement), this one is wide-ranging and diverse, a relaxed, loose-limbed date. Q-Tip lays way back on these cuts, rapping in a quick, low monotone for the opener, "Feelin'," even while the song breaks into some restrained guitar grind on the choruses. Guitars, in fact, crop up all over this record. Setting aside comparisons to the contemporary record by N.E.R.D. (the rock side project of hip-hop super-producers Neptunes), Q-Tip crafted a record that pays homage to the last gasp of organically produced mainstream pop in the '70s and '80s, paying a large compliment to Prince and Stevie Wonder, even as he proves himself far more talented than D'Angelo (if not quite as soulful). The beats are pointed and clipped, to be expected on a Q-Tip record, but he allows plenty of space for the arrangements to speak, like the trim trumpet lines pacing "Even if It Is So" or allowing plenty of room for extended blowing from a flute on the warm, pastoral "Do You Dig You." The former is one of the best tracks here, Q-Tip introducing his story song with a fluid, ten-second speed-rap that says more about the plight of the single mother he adores than any other rapper could with an entire album. This wasn't the kind of record that lights up the charts -- which could account for the reason it didn't appear on the shelves in late April 2002, as expected, and only earned an official release in 2009 -- but in many ways it's superior to the released Amplified. [The 2009 release via Jive included a bonus track, "Make It Work."]| | 1 | | Feelin' | Fareed, Sholar | 04:32 | |
| 2 | | Do You Dig U? | Fareed, Kats, Sholar | 07:19 | ||
| 3 | | A Million Times | Fareed, Kats | 04:16 | ||
| | 4 | | Blue Girl | Barrett, Fareed, Sholar | 05:20 | |
| | 5 | | Barely in Love | Fareed, Kats | 04:03 | |
| 6 | | Heels | Fareed, Sholar | 03:07 | ||
| 7 | | Abstractionisms | Fareed | 05:19 | ||
| 8 | | Caring | Fareed, Sholar | 01:40 | ||
| | 9 | | Even If It Is So | Fareed, Kats, Sholar | 05:30 | |
| 10 | | Make It Work [*] | Fareed, Rosenwinkel | 03:59 |
Before he was signed to Rhymesayers, P.O.S. recorded and released a full-length with his own label (and collective) Doomtree. It was, in fact, upon hearing that album that Rhymesayers offered him a deal, and it's easy to see why they were interested. Ipecac Neat is an energetic, angry, intense record with dark, engaging Aesop Rock-like beats that incorporate guitar and strings loops, purposeful drums, and ominous scratches. The melodies and harmonies switch from song to song, but there's a consistency in the production, so much so that it, along with the heaviness and anger, begins to sound a bit repetitive and even weighs down the album. Clearly, to some extent this is P.O.S.' intent: he presents himself as a brooding, thoughtful, and emotionally vulnerable MC who's not afraid to say that he's frightened or upset, and his rhymes all deal with pain and misfortune. His images are as violent as anything from Wu-Tang, but are more intimate, telling stories of individuals (like in "Little Kids" or "Duct Tape") or himself ("Gimme Gimme Gunshots," for example), the details as much about the mental agony as the physical. And though -- unlike on Audition -- P.O.S. hardly uses the punky guitars and sung/screamed vocals, he still approaches songwriting from a more rock-based standpoint, careful to include separate verses and actual choruses (as opposed to just short hooks), so that even though his delivery style is fairly quick and complex, what he's saying is easy to understand, because of sheer repetition if nothing else. It's an effective technique, catchy and melodic yet still unique and provocative. Ipecac Neat may be P.O.S.' first album, but it doesn't come across as puerile or immature; rather, it's just full of the virulence and intensity of an angry young man who's looking at his world and doesn't quite understand what he sees, but decides to -- and needs to -- talk about it anyway.| 1 | | Gimme Gimme Gunshots | Turbo Nemesis | 4:04 | ||||||
| 2 | | Meth-Head vs. McNugget | Turbo Nemesis | 3:48 | ||||||
| | 3 | | Hunger Pains Three | Turbo Nemesis | 3:42 | |||||
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| 4 | | That One | Turbo Nemesis | 4:30 | ||||||
| 5 | | Sarah Silverman | Turbo Nemesis | 1:46 | ||||||
| 6 | | Music for Shoplifting | Turbo Nemesis | 3:21 | ||||||
| 7 | | Kicking Knowledge in the Face | Turbo Nemesis | 4:38 | ||||||
| 8 | | Ants | Turbo Nemesis | 3:53 | ||||||
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| 9 | | Kidney Thief | Turbo Nemesis | 4:13 | ||||||
| | 10 | | Little Kids | Turbo Nemesis | 5:03 | |||||
| | 11 | | I Play the Matador [version] | Turbo Nemesis | 3:13 | |||||
| 12 | | Lifetime...Kid Dynamite | Turbo Nemesis | 3:46 | ||||||
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| 13 | Turbo Nemesis | 0:23 | ||||||||
| 14 | | Dead Music | Turbo Nemesis | 3:59 | ||||||
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| 15 | | Duct Tape | Turbo Nemesis | 3:48 | ||||||
| 16 | I Play the Matador [*/version] | Turbo Nemesis | 6:31 | |||||||
