Datahowler "Slowdrifter"

In a time when the US seems to be ignoring the space program and basically eliminating any federal money, the fascination with the great unknown that is our universe (and those beyond) continues to grow. You disagree with me? Well, then I present to you Datahowler's debut album "Slowdrifter." What does this album have to do with the vastness of space? Very simply the sound and feel of the album, not to mention the cover art. I have listened to this album with through my headphones in the dark and I feel like I am on a wondrous journey through the cosmos, at times even through time (but that could be the Doctor Who obsession.) A few things need to be said about this album before the track by track analysis, one being that Datahowler decided to use live instruments to record this album instead of relying on samples so bravo for that. Another is this is an instrumental album that at no time needs vocals (besides in the background), in fact if any MC not named Kool Keith decided to rap over them, they would fail miserably.

The album begins with "Dazees" a slow building song that adds layer after layer until around the 1 minute mark when the full glory of the song begins to hit you, before disappating and transforming multiple times. Think of a Flaming Lips song on a rocket ship that meets with some good old funk while having chopped up vocals act as extraterrestrial activity. Or you could take the easy way out and listen to the track at the end of the review, your choice.

The journey continues with the bell and horn focused (with drums for that nice hit) "Lunarson" featuring Juno Complex. It feels as if stars are falling around you as the bell's gently ring and you fall deeper into space with each blow of the trumpet before the strings and heavenly voice stabilize you and you can just enjoy the ride. Before you can leave this magical "Lunarson" you must first revisit it (the track is "Lunarson (Revisited)" see what I did there?) in a more up tempo almost dance speed as the gravitation pull of the moon planet increases and then lands you gently on the surface.

Just as the track fades you are greeted by the hard kicks of "Moon Diamond Mining" which sounds like a group of miners hacking away at the rocks while some sort of sonic device howls all around them. Once again, Datahowler uses an enchanting voice to add to the ethereal feel of the track, but is careful to make sure it doesn't last too long because before you know it you are back the the miners and the cycle repeats itself until only the voice and a slight humming remains. Then there is success as you hear the shine of the "Crystal Unearthed." After this a lonely guitar and piano take you throughout the rest of the track.

"Atom Blues" reminds me of a great r and b song that you know but never heard before, with just the right sci-fi twist. Almost makes you feel comfortable in a far away and distant area, but there is a certain uneasiness that continues to creep into the song before totally breaking through at the end and you realize just why: you are preparing for a "Space Jump." It begins with some gentle drums before a distorted synth warps your system and throws you a bit, at least until the piano comes in to stabilize you a bit before returning to more synths, but this is what one expects while trapped in a space jump.

An early 80's Prince sound hits you when "Voltage" begins and takes you on a quick and thoroughly enjoyable trip before you end up "Lurching Forward" which surprising is not as jolting as you would expect. It as rather gentle but continuous, inching up slowly. The conga drums and Spanish guitar (with a sprinkling of synths) creates a great atmosphere and makes you not upset at all at pace of your travel.

The calming feeling continues, this time without any jerkiness, on "Of Stars" with multiple instruments creating a beat that increases in speed and tenacity without ever going too out there, then takes a slight turn as instruments drop out and reappear as you begin to navigate through various stars. Until you are traveling "From Suns" in one of the smoothest transitions you will hear from one song to another (as it should be since a sun is a star) but you can feel each instrument more as you are closer and closer to the source and have less interference from others.

"Prophet" begins with a fading and twisting haunting voice and synths as though you are encountering some otherworldly being. The sound cleans itself up as the voice dissipates leaving just some great synth work before the voice and distorting feeling returns, again and again, almost like a conversation. As "Heatstroke" starts you think you know exactly where the song is going until around the 30 second mark Datahowler adds another layer that just builds on the previous section so well it creates the sensation of you rising higher and higher before it rather abruptly ends.

"Data/Lapse" closes the album with a rather haunting intro (in sci-fi terms) before the drums kick in the the intensity increases even more. Datahowler uses multiple techniques and sounds (instruments) that are heard no where else on the record for most of the song. This helps to establish the reality that a final resolution is occurring, everything is being gathered and processed, piece by piece until eventually everything fades.

With each listen of "Slowdrifter" I debate just how much of a story it is suppose to tell and the more I pay attention the greater the details become. Obviously Datahowler meant to create a common theme and feel for the album, a sort of outer space sci-fi adventure, but I believe you are going on a journey of discovery throughout the universe. No matter if my ramblings on this are correct or not, one thing I am sure of is Datahowler created a fantastic album that will transport you from wherever you are to the outer realms of time and space to which you will want to return again and again.

Dazees by Datahowler

You can stream and download the album here

JC Poppe "Tea Party"

There are 3 things that are similiar about "Shadowlands" and "Tea Party": released January 24th, JC Poppe, and quality. Besides that the albums are very different, where "Shadowlands" is VERY personal, "Tea Party" focuses more on politics (country, personal, moral, business). In other words, this is not a double album, but two albums that just happen to be released on the same date. Ok, now that that is straightened out let's get into "Tea Party"

The purpose and concept of the album hits you right in the face in the aptly titled "Intro." Coming in at just under a minute thirty, JC Poppe fills the track with just what he is doing on this album, he is making his album, his way filled with the world as he see it and "if you want bling, blunts, bitches, booze and all that go find another album filled up with rap."

Sick of all the what he has seen in the political arena in the past few years, Poppe has noticed things aren't going to change if we sit on our hands, "RIOTS" chorus informs us "If you can't take it any more, then you need to riot, the cops are out of bounds, then you know you need to riot, declare your independence, and you better bring a riot, things will you only change, if we break them with a riot." The revolutionary spirit continues with the track that borrows its name from the "Terminator" series star "Johnny Connor" ready to lead into the new era where the emotionless robot government dissipates and humanity is brought back into the world.

The next two track are in my opinion the best on the album beginning with what is probably the most "catchy" song: "Audio." Now don't get catchy confused with pop or think it has no lyrical content including shouts outs to Landon Donovan and Eric B & Rakim (bonus points). Check it out at the bottom of the page.

The upbeat "Audio" is followed by the hard-hitting "Red White & Blue" that puts the "religious right" on blast for all the hatred (whether against race, religion, sexual orientation and more) they spew while claiming to be Christians and as Poppe says so well, "that high horse you're on, I call it blasphemy." It reminds us that just because we are Americans does not mean we can do whatever we want and that goes for everyone from the politicians to the everyday citizen, there are consequences no matter what.

JC Poppe follows these tracks with "Get It In" featuring Chaundron, Speak Easy and Raze. It's along the lines of the we know what we are doing in this rap game song but without the typical over exaggeration and makes sure to bring dope lyrics. "Middle Class Reality" displays Poppe's ability to tell a story in a song, this time about a "good middle class kid" who sells prescription drugs as a way to get money. A story we often hear about on the news but this time shows the struggle of the kid and just why did he do it.

88-Keys handles the production on "Dribble," a track that calls out those trying to enter the rap game with no talent whatever but what impresses me about this track is the sound. Poppe switches up his cadence and it really does feel and sound like "it's a new school throwback for the old Gs" The fun continues with the funk-filled "Mess Around" featuring A.P.R.I.M.E. and Raze. Dylan Thomas supplies a beat that will make you fiend for that old g-funk sound.

The album ends with JC Poppe showing love to his home city with the posse track "Milwaukee UP" featuring SPEAK Easy, Logic (of The Hollowz), DNA, Dana Coppafeel, Raze, Shemp, and A.P.R.I.M.E. It gives you a great feel for the Milwaukee sound and the talent that is coming out of the city right now.

"Tea Party" is a solid album by JC Poppe with great production as well as lyrical content, covering a range of topics and styles. But what "Tea Party" really makes me wonder is why would a record label say they "outgrew" JC Poppe, with two very good albums being released on the same day. So JC Poppe keep doing your thing whether you have a label or not because you have the skills do prosper.


JC Poppe: Audio by djjazzpants

You can stream and buy the album here or get the CD here (includes "Shadowlands")

JC Poppe "Shadowlands"

It seems every MC states how "personal" and "introspective" their new album is or will be. JC Poppe "Shadowlands" album is no different, except for one small detail, it actually IS incredibly personal and introspective. What a refreshing idea: have your album actual deliver what the press release says it will.

By this point, readers (and artists) are trying to figure out just how did JC Poppe deliver on such an oft-broken promise? The answer is both simple and complicated; he spoke from his heart.
Let's take a closer look at the tracks to get a better understanding of the depth of this album, the album opener "Last Will and Testament," gives you a quick run down of who JC Poppe is: MC from Milwakuee (had to leave his beloved city for the betterment of his family), whose label "outgrew" him, father, husband, who needs to pour out his soul on this album because "this may be my final breath, my last will and testament if my career meets its death." It is not just his words that convey this message; Poppe's delivery hits you with a sense of urgency, anger and frustration, mixed with hope and confidence.

"Amatures" brings you back to the beginnings of JC Poppe's recording career in 2004. The track details his mistakes and successes throughout his career, laced with a soulful beat that reminds us that he was an "amateur" at the time. The title track "Shadowlands" details the difficult decision of leaving his home city of Milwaukee for a better place to raise his soon to be born child.

JC Poppe offers a glimpse of the real "rap life" with both "Live My Life" and "Broke Rappin." The first verse of "Live My Life" informs the listener of two things an MC must deal with: feeling like too many people have damaged what is "hip hop" and knowing you will routinely be made to prove to others you have skills by battling random people in the streets. But these annoyances shall not deter JC Poppe "at the end of the day, I'm always going to be me: a married man and a father and a supreme MC." The track ends with what might be considered an intro to "Broke Rappin" a skit that is "a series of phone calls that may or may not have taken place between me, JC Poppe. and US Express." As you can probably guess "Broke Rappin" is JC Poppe's "starving artist" song and he does it very well and at the same time thanks his wife for supporting him and his pursuit of making the music he loves.

JC Poppe gives us an encouraging song with "Foundation of A Moment." Letting the listener know that it could be much worse, and we should be who we are and in the end we will get what we work for and don't let anyone stand in your way,"my movement is for you to embrace whatevers inside so you can just do you." The final verse shows an MC defending his craft as an art form and not a fad that is fading any time in the future.

"Shadowlands" then takes a trip to the darker side of human nature with "Concept of Reality" where we are go on a trip through the mind of someone suffering deep bouts of depression and I will not try to capture this because the picture is painted by the lyrics, tone, and beats of this song but I will gladly share the final line "then my son smiles and my love for life comes back."

The idea of recovery is tackled in the aptly named "Path to Recovery," what is JC Poppe recovering from, well I have my ideas and what not but on this one I say listen for yourself because I have a feeling it will change for different people, whether this was the intent or not, each time I listen I find something else it could be, so enjoy and decide for yourself.

For people who complain that there are no love songs in hip hop or that it is all guns and what not (very few reading my blog I'm sure but hey) check out "What I Am" where JC Poppe gives thanks and explains his love for his wife (and being a husband) and his son (and being a father) all in all, how life changes when you become a husband and father (for the better).

"You could call this fluff or say I got it wrong but then you're not the type who would ever get this song, this here is for the men that are holding down a fam and not letting society dictate to them, forget all the players, haters and deadbeats, this here is for the love and greatness of family"

I have occasionally talked about "dadbag hip hop" and this belongs right up there with Brother Ali's "Faheem" of what I mean when I talk about it.

The album concludes with what I can only call the EPIC "Wife Song" which details the events that took place shortly after the birth of JC Poppe's first song when his wife suffers a pulmonary embolism...listen to this song NOW

JC Poppe: Wife Song by djjazzpants

MCs take notes and listen to this album, this is how you make a "personal" and "introspective." With "Shadowlands," JC Poppe does what so many artist try and fail to do, create an album that is heartfelt, emotional, and remain pure to the artist and the art form; this album is certainly hip hop, whatever you feel that means.

You can stream and download the whole album from bandcamp or buy the CD here (also contains JC Poppe's album "Tea Party" which shall be reviewed tomorrow)

My Top 7 7 inch Records of 2010

By now most blogs, mags, or fans have released their best albums of 2010, but I decided to do something a little different. I want to show some love to the under appreciated 45 or 7 inch vinyl record, because well vinyl rules as do 45s. Now for me to include a 45 on the list I actually have to own the physical version of it, so I'm sure there will be some people saying what about this one or that, well I may not own it or may not think it is better than some of the ones on my list.

Here we go in alphabetical order

DJ Jazzpants's Top 7 7 inches of 2010

DJ Brace ft The Brown Bag Allstars "Every Day"

The Foreign Exchange "Maybe She'll Dream of Me (Remix)"

Jimi Hendrix "Bleeding Heart"

Hot Peas & Butta "The Smokeout"

I, Ced "Another Look @ You"

La Melodi "Chemisty"

Progress Report "The Spill Out Series Vol. 04: Wake Up"

Let me know what you think of the list and feel free to tell me what I've missed. And if you're wondering why I didn't do a write up of each selection, I got lazy, that is all.

We Have Signal: Brother Ali "Breakin' Dawn Tour"

I know I am late on this but for people who know me know that Brother Ali is one of, if not my favorite MC out there. I found this video and thought I should share it with you, if you haven't seen it before: watch it now, if you have seen it: watch it again

WE HAVE SIGNAL: BROTHER ALI from We Have Signal on Vimeo.

Kitchen Khemistry "Transit"

You think you knew Uncommon Records and all of their artists fairly well, and then you find out about a new artist called Kitchen Khemistry. Who exactly is Kitchen Khemistry? Well, according to the official press release "Kitchen Khemistry is a voluntary, rogue, outer body experience. What KK does is find hidden lights in the universe and translates these lightwaves into sound. Therefore, Kitchen Khemistry is a translator of light waves. What you hear is what you don't see!"
But what does that really tell people? Expect something different from this release than what Uncommon has done before. Before people worry let me remind you that different DOES NOT mean something bad, it is just a different sound. The quality of music and idea of creating full albums is no different on "Transit" than other Uncommon Records albums so let that put your mind at ease. Now on to what this album is all about.
First time I heard "Transit" I was thrown off by the feeling of being attacked by laser rifles and plasma bombs at beginning of the album's lead "Transit Authority." Ok maybe that is an exaggeration but I was not prepared for the very heavy digital sounding beats that are on this album. Then you realize something else about this album, it is might have the most infectious hooks of any underground rap album in years as we find out with the intro "Life is a metropolis to me, in the heart of the city is the Transit Authority." That is correct, the beginning of the song is a hook and it will not let you go, no matter how hard you try. The beginning of the first verse also does a great job of explaining to the listener why the album is different from what we are use to "Look ma, I'm digital, its not like my analog was pitiful, I just had to change my frequency, and this thing called change is critical." So begins your journey that is "Transit" and the cohesiveness of the album. We travel first to the Transit Authority and are introduced to why this is the ride you have to take.
First stop after departing the station takes us to an ATM aka "Cream Machine." Continuing the pattern of leading off hooks, "I'm so convenient, I must be used more than gasoline, find me anywhere and come take a ride on the cream machine" displays the creativity of Kitchen Khemistry by putting us in the place of ATM and running us through some the regular situations it encounters including over draft fees, messy children, criminals and realizing just how important to our modern society ATMs have become.
After getting some cash "Transit" continues on the digital trip through the night, stopping off to visit a "Liquor Licker" apparently "she likes drinking, she is a professional, she is not green." The beat and lyrics work well placing you in the car with her traveling as well as various bars and clubs and stays on course.
The next stop leads us to a mainstay in any city, the "Starving Artist" (available on "No Dough, No Show") which captures perfectly the struggle of well, a starving artist. You can tell that Kitchen Khemistry has been through this stage of life one way or another, feeling the urge to follow their heart and create art instead of going the safe route of being just your typical 9-5 suit.
We are then introduced to the person that a starving artist would despise (or the realistic side of what an artist has to do as they pursue their art), the one and only "Microslave" who is knows it is "time to find a new job, tired of eating burgers on my lunch break."
"Eye Entity" leads us to a new segment of "Transit" as we stop visiting people or objects and are kicked in the face with a great instrumental intro that leads to a electronic tinged voice that makes one feel like we are introduced to our tour guide and we are preparing to go in a new direction on our travel.
We are transported to a great "Friday Nite" where any and all aspects of our appetites can be satisfied and anything is possible as we tell our self "the night is mine, that's right I own it." It makes you feel like it is time to go out and experience a night like this, no matter how much of a hermit you typically are, and the beat helps to get yourself off your seat and enjoy the ride.
Before we get too excited though we realize that some things and people are "Off Limits." We meet someone who who has some important information that is summed up by the chorus that will stick in your mind for a while "I know you're ready for romance, theres no chance you better call it quits that girl is off limits." I love how on a song with one of the best dance beats I've heard from any indy rap album the main message is you need to step back and realize the possible ramifications of your actions.
We are then come face to face with the idea that lots of people go out to forget about what is happening in their real life, and need to just escape their problems just for a night and if you try asking them what's wrong you meet up with these two words "Not Tonight."
To end our night out we visit "Misfit Pizza" where another important discussion is held between a girl and her friend (physical or psychological) about whether or not to pursue the guy from the evening or continue playing hard to get. We are left never knowing the choice, just as it is nearly impossible for a woman to know the answer to that question until much time has passed.
Kithen Khemistry's "Transit" is new area of Uncommon Records in a aural sense with much of a techno dance hip hop sound but remains tied to the idea of producing actual albums with talented MCs who know how to craft solid songs that grab a hold of you. "Transit" takes you on a journey through a typical evening in the city, jumping from person to person through the Eye Entity (ok the lyrics of Kitchen Khemistry) and I think it is summed up very well by saying that "this is the shuttle, the subway, the life. This is space, this is street, this is real." And in the end, "Transit" is very real dealing with struggles we as people face even if it might be hidden a bit and be packaged with beats that make it hard to stay still.

Off Limits - Kitchen Khemistry by UncommonRecords

Starving Artist - Kitchen Khemistry by UncommonRecords

You can get "Transit" from Uncommon Records Bandcamp page on October 31st and other digital retailers (Amazon) on November 2nd

Vijay Iyer "Solo"

I first heard Vijay Iyer on his collaboration with Mike Ladd "In What Language" back in 2003. I was blown away by both he and Ladd. Since then I have followed both of their careers closely and have not been disappointed with an album either has released including their second project together "Still Life with Commentator." One thing I wanted to hear was a solo piano album by Vijay Iyer and when he released the aptly named "Solo" almost 2 months ago I got that chance. I will admit I was nervous about the album because I wasn't sure how it would turn out, mainly had I set my expectations too high.
Running through the track list a few songs jumped out at me, mainly the Michael Jackson cover (which Miles Davis also did) "Human Nature," "Epistrophy" made famous by Thelonious Monk, and the Duke Ellington classic "Black & Tan Fantasy."
Iyer's stripped down "Human Nature" is a great choice for starting off the album, giving the listener something they are probably familiar with but one that he takes and makes his own, not an easy feat considering the two giants of music who did the song prior. He follows that up with "Epistrophy" another incredible undertaking, and while it doesn't top Monk's version (then again no one else has done that either) it stands as a solid and original interpretation. Iyer then shows he can hold his own with some of the greats of the jazz world with his covers of "Darn that Dream" and "Black & Tan Fantasy" doing rather straight forward versions of both songs and doing them very well.
The album really begins to shine when Iyer plays his original songs. Where the first 4 tracks show the listener what Iyer is capable of as a "traditional" jazz pianist his own compositions begin to show you why he's become known as one of the most original talents in jazz today. He not only shows his incredible technical proficiency buthe starts to open up and feel at home with "Prelude: Heartpiece" which acts as a buffer between his interpretations and his own creations. Then my jaw drops for the next 15 minutes as "Autoscopy" begins and is followed by "Patterns." I struggle to define just how these two songs sound without asking you to imagine what it would sound like if Monk, Charles Mingus and Roscoe Mitchell composed two songs together.
Just as you think you know what is coming next, the much more introspective "Desiring" begins, showing just how easily Iyer can go from one sound to another and appears comfortable anywhere on the musical landscape.
Steve Coleman's "Games" ends the streak of Iyer originals but continues to show he isn't afraid to leave himself open. Once again, as with the beginning songs I remind myself that these are songs usually performed by groups and Iyer is tackling them head on and at no point are you left feeling like something is missing. Iyer then shows no fear as he follows "Games" with the Duke Ellington piece "Fleurette Africaine" best known for the version that features both Charles Mingus and Max Roach off the album "Money Jungle," while it has a different feel from tension filled original, it works just as well as the exploratory free flowing piece that Iyer has transformed it into. The album ends with another Iyer original "One For Blount" where he pays homage to Sun Ra (born Herman Poole Blount) and does so very well with more impressive piano work but with a touch of that Saturn sound.
After waiting to hear a Vijay Iyer solo album for 7 years I am glad that this album lived up to if not exceeded my expectations. Iyer is one of many of a group of talented young jazz musicians exploring all corners of the musical universe, pushing jazz forward while never forgetting where it started. Highly recommend any fans of jazz get this album or any other Iyer album for that matter.