Mobb Deep- Black Cocaine EP (Infamous Records, 2011)
The first release in five years from Queesnbridge’s most infamous duo is something of a mixed bag. The five featured tracks are lyrically proficient, but suffer from overly formulaic production. Mid-tempo synth drones and stuttered computer beats sit beneath the vocals, choruses consist of single lines repeating for a few bars. The music sounds like a bid for the mainstream, but the streetsmart content ensures a lack of airplay.
However, it’s well worth going to your local store and picking up an actual physical copy of the limited-edition CD version (distributed to independent record stores on November 26th) which features two fantastic bonus tracks that aren’t on the digital release. The Alchemist-produced “Waterboarding” throws lyrics atop mournful brass samples and a ominous beat, and in the process captures much of the menace that used to be the Mobb’s stock in trade; “Street Lights” features a circling bassline and a cascading piano motif, and fits well alongside their classic street anthems. For this alone, it’s an excellent purchase, and a welcome return from the hardcore originators.
Kendra Morris- Concrete Waves EP (Wax Poetics Records, 2011)
The first release from Kendra Morris’ forthcoming full-length, this EP just consists of three versions of a single song. But what a song it is. An insidious rhythm, haunting guitars, and distant chimes combine in the backing track, setting up a voice that sounds like the reincarnation of a great lost 70s soul singer. Morris veers between a gentle coo and an earthy wail, weaving around the melody while percussion bubbles underneath, bewitching and breathtaking in turns. The chorus swells, backing singers join in, and then after three minutes of steady build, it jettisons all the bombast and aggression. The mood quiets, the vocals and instruments retreat, and the song drifts away in a slow, spiraling fade-out.
That’s the original single version. The EP also includes an a cappella track, and a DJ Premier remix that does everything you could hope for: tightening and toughening the tune, adding a steady beat that both increases the song’s inherent tension and makes it a great asset for discerning DJs. It’s a classic in the best Primo style, and reinforces that this performer is one to keep an eye on. Her debut album is due in the new year, and I’m very much looking forward to hearing it.
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