Crystal’s method tired
The Crystal Method is one of modern electronica’s serious groups, tending to maintain a certain style and attitude toward electronica. The duo’s latest release, Legion of Boom, adheres to the formula, resulting in a sound five years behind other artists in the genre. The album has its moments, including the standout “Born Too Slow,” which features ex-Limp Bizkit guitarist Wes Borland. A funk-drenched bass line drives “High and Low,” and “Weapons of Mass Distortion” charges with Borland’s gritty assault. These three tracks have the catchy pull necessary for success in modern electronica. The rest of the batch, however, is a tired collection of plodding late ’90s techno. “I Know It’s You” sounds like something the Prodigy could’ve done eight years ago. Legion of Boom fails to match up with the giants of today’s electronica, so fans of the genre should stick to the likes of Basement Jaxx instead.
Rating: C- -Timothy Malcolm
Rascal succeeds stateside
United Kingdom rap sensation Dizzee Rascal is the LeBron James of hip-hop. He’s 19 years old, he’s achieved instant success and he has the potential to one day dominate his profession. This week marks the American release of Rascal’s debut album, Boy in Da Corner, a stunning hip-hop record. Rascal sounds unlike anything coming out of the United States right now. He spits his rhymes with a thick, gritty East London twang, often rendering his tales of U.K. street life incomprehensible. While Rascal’s stalwart delivery may be the major strength of this album – it’s certainly its most defining characteristic – Boy in Da Corner also has much more to love. Screaming synthesizers swirl around stuttering, bargain basement beats like police sirens. “I Luv U” features a hilarious back and forth between Rascal and a female vocalist, in which each accuses the other of infidelity via quirky British slang. Rascal samples Billy Squier’s 1980s gem “The Big Beat” in “Fix Up, Look Sharp,” creating an unmistakable hip-hop anthem. Although Rascal is new to the hip-hop scene, he has already achieved brilliant success. He recently won the prestigious Mercury Music Prize, awarded to the best British album of the year. Rascal beat out tough competition from Radiohead, Coldplay and the Darkness to score an upset victory. Remarkably, Rascal produced Boy in Da Corner himself. Dizzee Rascal is probably the most talented hip-hop import to reach the States. Boy in Da Corner may be a bit rough around the edges, but after all, its creator is only 19. This is just a taste of what’s to come.
Rating: B+ -Chris Camire
InI deserves attention The mid-’90s produced a myriad of hip-hop geniuses and future stars. InI slid under the radar, despite being composed of well-respected rappers: Grap Luva (Pete Rock’s baby brother), Rob-O, Ras G, Marco Polo and Pete Rock. Center of Attention brings the listener back to an era when hip-hop was straightforward, without the bling-bling and gun clapping. The lead single, “Fakin’ Jax,” borrows from Mobb Deep on the hook. “What You Say” offers a Jamaican influenced laid-back feel but gives way to the quick-paced “To Each His Own,” a collaboration with Q-Tip and Large Professor. Though the album came out in 1996, Rapster Records is redistributing it as part of Pete Rock’s Hip Hop Underground Soul Classics, with an album by Deda, another Pete Rock protégé. The new version features two new tracks, “Don’t You Love It” and “Microphonist Wanderlust.” The cocky ’90s style lyricism compels, and Pete Rock’s production features jazz samples and gritty percussion. The 16 smooth tracks address the realness of hip-hop life, and InI’s Center of Attention offers a concise tutorial about the way hip-hop was in rap’s golden age.
Grade: A -Scott Hazleton
breakups not broken up With their debut EP, No Wonder You’re so Beautiful, the New York City-based the inevitable breakups turn heartfelt lyrics into upbeat indie pop. Lead singer Daniel Stampfel’s voice, reminiscent of Rivers Cuomo’s of Weezer, combines with distinctive guitar riffs and harmonizing melodies to create catchy songs that are sure to stick around. “Justine” maintains an intense, energetic chorus while stressing longing and lost love. In “I Wanted to Die For,” Stampfel enthusiastically sings of disappointment. The most memorable song, “Inside Your Thoughts,” has a melodic chorus and potential to become a mainstream hit. The breakups aren’t looking for pity, and they aren’t quite brokenhearted. Instead, the band proves heartache does not always equal misery and may even bring on a good mood.
Grade: B -Lara Farrar