Public Enemy

Geoff Barrow & Ben Salisbury

Q&A: Portishead producer Geoff Barrow on hip hop, krautrock, and film scores

DROKKGeoff Barrow & Ben Salisbury: Drokk: Music Inspired by Mega-City One (Invada, 5/1/12)

“Lawmaster Pursuit”

Geoff Barrow & Ben Salisbury: “Lawmaster Pursuit”

If there’s one band that pulled off the long, mysterious hiatus with mystique intact, it’s Bristol, England’s Portishead. Yet when the ’90s trip-hop act resurfaced in 2006, it had substantially changed — gone were the down-tempo beats and much of the melancholy, replaced with a new sound and sparse, driving rhythms that owed more to krautrock than Def Jam.

Beatsmith/songwriter Geoff Barrow was guiding it that way. Since the reunion, he’s been on fire, issuing music in a variety of guises with Beak> (a rock band), Quakers (a sprawling hip-hop project), and as Drokk (a soundtracking duo). That’s not including the records that Barrow has produced for others and released on his label, Invada.

With no shortage of topics in tow, we caught up with Barrow to talk about drum sounds, film scores, and writing music for Judge Dredd.

Q&A: Ill Bill on getting personal, Henry Rollins and Chuck D, and a changing Brooklyn

Ill Bill: The Grimy AwardsIll Bill: The Grimy Awards (Uncle Howie / Fat Beats, 2/26/13)

“Paul Baloff”

Ill Bill: “Paul Baloff”

It’s one thing to say a lot on an album; it’s quite another to actually have something to say. Drawing from artists who are equal parts entertainer and activist, Ill Bill uses his new solo album, The Grimy Awards, as a platform to both tell his story of growing up around drugs and violence in Brooklyn and sound the alarm against blind acquiescence to authority.

The former Non Phixion MC, coming off recent collaborations with La Coka Nostra and Vinnie Paz, teams with a host of collaborators and producers — including Large Professor, Pete Rock, El-P, HR of Bad Brains, and more — to showcase both the scars and the life lessons that come from being a hip-hop heavyweight with nearly three decades in the ring.

DC the MIDI Alien

Beats & Rhymes: DC the MIDI Alien’s Avengers Airwaves

Each Monday, Beats & Rhymes highlights a new and notable hip-hop, rap, DJ, or electronic record that embraces independent sensibilities.

DC the MIDI Alien: Avengers AirwavesDC the MIDI Alien: Avengers Airwaves (Brick Records, 2/15/11)

DC the MIDI Alien: “National Threat”

[audio:https://alarm-magazine.com/wp-content/uploads/2011/02/DC_the_MIDI_Alien_National_Threat.mp3|titles=DC the MIDI Alien: “National Threat”]

During his 10 years of deejaying, DC the MIDI Alien has racked up an impressive résumé. He’s worked with Immortal Technique, AZ, and Wordsworth as well as remixed Nas and others. In 2008, he formed the group East Coast Avengers with MCs Esoteric and trademarc, and their gritty, politically charged debut Prison Planet garnered them national media attention with its lead single, “Kill Bill O’Reilly.” DC returns this February with a semi-solo LP, Avengers Airwaves, which further cements him as a force to be reckoned with in the hip-hop world.

DC produces the record and brings in a gaggle of rappers to provide the rhymes — from his East Coast Avengers bandmates to Jedi Mind Tricks’ Vinnie Paz and DJ Premier acolyte Termanology. DC’s production style is decidedly old-school: the songs are built on steady, mid-tempo drum beats with only a few looped samples. Standout track “Man Made Ways” exemplifies DC’s old-school skill — an echoing, droning organ loop creates an atmosphere of paranoia and foreboding, punctuated by bursts of loud, crunching guitar. The production doesn’t falter throughout, recalling early RZA with DC’s ability to create maximum effect with minimalist beats. Although DC doesn’t speak a word on the record aside from skits, the album has every right to bear his name on the cover.

Das Racist

Guest Spots: Das Racist’s favorite political rap songs

Das Racist occupies a unique place in hip hop. Its free-associative rap goes a mile a minute, riddled with the sort of postmodern deconstructionist lyrics that make publications like the New York Times rave. Much has been written about the group and its perceived seriousness, which, in turn, is turned into more fodder for Das Racist’s rhymes (as evidenced in the track “hahahaha jk,” posted below).

Whatever your opinion of its music, there’s no question that Das Racist wears its cultural and political awareness on its proverbial sleeve. With that in mind, we asked Ashok Kondabolu of the Brooklyn-based trio to name his favorite political rap songs.

Das Racist: “hahahaha jk” (Sit Down, Man, Mishka / Mad Decent / Greedhead)

Das Racist: “hahahaha jk”

1. Public Enemy: “Shut ‘Em Down” (Pete Rock Remix)

My favorite remix of all time. Pete’s short verse is ill (and sort of hilarious), and the beat’s insistence over and under Chuck D‘s screaming-ass voice is incredible. The clipped rapping on here serves really well as some “movement music.”

“I testified
My mama cried
Black people died
When the other man lied”

I mean, that’s an awesome way to start a song about corporate redistribution of wealth!

William Elliott Whitmore

William Elliott Whitmore: Poetic Discontent

After three albums that touch on personal topics, the scratchy, soulful material of folk singer and banjo player William Elliott Whitmore gets a thematic overhaul, angling toward subdued political themes.