Collaboration between jazz and hip-hop seems very natural, and one would expect the meeting of these two creative, improvisational, dynamic styles would result in a compelling piece of music. Still, the individual components of such a meeting would have to be up to the task, and on this release one side is, and the other is clearly not. Things start out well enough with "Places I've Never Been."Thirsty Ear
Shipp takes advantage of the piano's percussive side and pounds out chord beats that bounce and put the programmed beats that lay over them to shame. Synth and bass sidle alongside Shipp for texture, but his piano is the centerpiece, and the synthesis of these elements amps up expectations for what is to follow. Unfortunately, the very next track lets all the air out of the tires. "Staph" is where Antipop comes in, and after a tuneful intro by Shipp's band, Antipop's Beans and Priest follow along like an anchor. Their flow, if you can call it that, is akin to the clipped, speedy delivery of an auctioneer and seems to move along the tune as if they recorded it irrespective of the beats programmed. Their verses sit awkwardly in open spaces in the middle of the body of the jazz tune, which eventually fades out unceremoniously. "I think there'd be some very angry listeners," recites Antipop on "Short Horn," "if there wasn't vocals over this." Much of the lyrics on this track are about how what we are listening to is "powerful music," however I can't help but feel that Antipop's lethargic, mediocre presence is robbing Shipp, Parker, Brown, Jamal, and Carter of their strength. The music that comprises "Short Horn" would have been excellent on it's own, and in the hands of a more capable and competent rapper, quite possibly amazing. "A Knot In Your Bop" marks a strange misstep for both sides of this project, however. Shipp and his band trot out a rather bland version of Miles Davis' "All Blues," letting Antipop program tinny beats and talk all over it. It's a strange blip, bringing out a very recognizable tune (and not acknowledging it in any way) and mostly results in confusion and annoyance. "SVP" is equally perplexing, a simple instrumental that repeats a short series of notes accented with the occasional click or blip beat. It never goes anywhere. Only "Monstro City" makes any kind of positive impression, with Antipop doing a (intentional this time) spoken word over a dark, noir bass heavy piece. They finally allow themselves to take a breath between their words, utilizing pauses and silence to create tension and paint a vivid picture of a couple parting. There is no conflict or story, just the image of them walking from one another and the feelings that evokes. It marks a distinct and welcome change from much of their other output. The album closes with "Free Hop," and finally allows Shipp and co. to cut loose. They absolutely tear through the piece, notes fall like anvils, each one crashing amidst a rain of others. It is a true show of force that flaunts the brilliance of these musicians. While this final track is invigorating, it's also disappointing in that this level of musicianship and energy could not be captured throughout the rest of the disc. Antipop Consortium vs. Matthew Shipp is well-intentioned, occasionally interesting, though ultimately frustrating.
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