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Dälek, "From Filthy Tongue of Gods and Griots"
Ipecac
With the recent and often tongue-in-cheek assimilation of hip hop into the word of laptop electonica, it's about time someone with a Powerbook actually stepped up and rocked it. The trick with Dälek is that it's not the Powerbook that's on display, and Dälek isn't coming to hip-hop by way of smash-ups and mallrat b-boyism. Hip hop began as a uniquely urban expression, and as its reach has expanded into suburban territory in many ways, it has lost its connection to the grit, bustle, and sheer commotion of the city. 'From Filthy Tongue of Gods and Griots' brings the sound of the city back, and pays homage to hip hop's heritage by being embarrasingly honest. If DMX is is from the streets, then Dälek is unashamedly from the gutters. Beats and atmospheres sound dredged in dirt, and Dälek's straightforward delivery of lyrics about broken glass and third rails evokes startlingly real images of urban decay. Dälek fuses equal parts Public Enemy, My Bloody Valentine, and godspeed you black emperor! into a chaotic stew of squalor, anger, and sometimes hope that brings back the urgency of rap's early days. At the center of the album is a 12 minute epic of drones, feedback and noise that could be the end of a Mogwai meets Godflesh guitar noise session, but stays rooted to hip hop as Dälek flows over empty space to the rhythms ingrained in his head. Where The Veldt were shoegazers adding hip hop as an element to set them apart from their associates in the Cocteaus and the Jesus and Mary Chains of the world, Dälek are a hip hop trio who appropriate the expressive power of guitars, found sounds, and sheer noise to paint their urban murals. Make no mistake, this is not an IDM release, or an experimental noise album using hip hop flavor as a thematic mode—this is a hip hop record, and the one we've all been waiting for.
With the recent and often tongue-in-cheek assimilation of hip hop into the word of laptop electonica, it's about time someone with a Powerbook actually stepped up and rocked it. The trick with Dälek is that it's not the Powerbook that's on display, and Dälek isn't coming to hip-hop by way of smash-ups and mallrat b-boyism. Hip hop began as a uniquely urban expression, and as its reach has expanded into suburban territory in many ways, it has lost its connection to the grit, bustle, and sheer commotion of the city. 'From Filthy Tongue of Gods and Griots' brings the sound of the city back, and pays homage to hip hop's heritage by being embarrasingly honest. If DMX is is from the streets, then Dälek is unashamedly from the gutters. Beats and atmospheres sound dredged in dirt, and Dälek's straightforward delivery of lyrics about broken glass and third rails evokes startlingly real images of urban decay. Dälek fuses equal parts Public Enemy, My Bloody Valentine, and godspeed you black emperor! into a chaotic stew of squalor, anger, and sometimes hope that brings back the urgency of rap's early days. At the center of the album is a 12 minute epic of drones, feedback and noise that could be the end of a Mogwai meets Godflesh guitar noise session, but stays rooted to hip hop as Dälek flows over empty space to the rhythms ingrained in his head. Where The Veldt were shoegazers adding hip hop as an element to set them apart from their associates in the Cocteaus and the Jesus and Mary Chains of the world, Dälek are a hip hop trio who appropriate the expressive power of guitars, found sounds, and sheer noise to paint their urban murals. Make no mistake, this is not an IDM release, or an experimental noise album using hip hop flavor as a thematic mode—this is a hip hop record, and the one we've all been waiting for.
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