Ben Heller
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There are just a few occasions when one realizes the full wonder of this global communication super highway called the internet. For all the salutary tales of the dangers of how the medium is destroying modern music, for most it is still an incredible world of discovery, and has encouraged listeners like me to investigate new projects and make informed choices with utmost confidence. Had "Time:Line" been released ten years ago it would have undoubtedly passed me by; the weight of limited exposure via TV and radio narrowed everyone’s listening habits to all but a lucky few. It would have been my loss, for the debut long player by the Dutch ex-pat and Houston based MC (Nicolay and Kay) has instantly become an addictive experience, a sparkling light that shines above and beyond the majority of 2008’s new music. Coincidentally, the fact that the pair hooked up via Hip Hop message boards only goes to further reinforce the vitality of the World Wide Web in bringing together aspiring musicians and writers. I was already aware of Nicolay’s soulful production skills on a previous collaboration with Little Brother’s Phonte on an album by The Foreign Exchange, so there was at least an expectation that the musical backdrop would be a mellow delight. The welcome surprise here is the introduction of Kevin Jackson (Kay) who delivers a considered, imaginative and seductively flowing rap performance that seamlessly binds with Nicolay’s inspired arrangements. The pair aren’t re-inventing the wheel here; there’s no revolutionary development of a striking new Hip Hop phenomena, but their focused attempt to interpret a wide spectrum of Soul, Jazz and Pop styling with powerful melodies and an underlying lyrical concept that runs throughout is thrillingly coherent.
Nicolay casts sparkling horn arrangements and intricate guitar and keyboard accompaniment to stretch the warm rhythms, offering Kay the springboard to launch his stream of personal messages that automatically progress through the "life cycle" with a journey both auto-biographical and fictional. He announces himself on "Blizzard", a stirringly dramatic account of arrival that’s supported by a spectacularly stylized 70s Soul backdrop. Nicolay’s string and guitar coda that staples the song together adds to the gravity of the lyrics and it’s a mouth watering opening shot. "The Lights" questions the price of fame over integrity to the smoothest groove, highlighted by sweet vibes and Nicole Hurst’s gentle backing vocal. Chasing girls is never far from Kay’s thoughts and "Through The Wind" is the sunshine Pop song most po faced Hip Hop acts simply can’t produce these days, it’s guaranteed to move the feet and brighten the darkest of moods. Chip Fu of Fu Schnickens makes a guest appearance on the convincing reggae/rap song "The Gunshot" which preludes the tense final three songs, "Grand Theft Auto", "When You Die", and "Dancing With The Stars", which all harbour a different message of our impending demise. For me, the song that beautifully represents the triumph of "Time:Line" is when Kay shows rare bravado on "What We Live", as he praises his and Nicolay’s song writing skills ("I’ve got a song the whole world respects") with a horn melody and swirling ensemble vocal fade out that fully realizes the colossal potential of this fruitful partnership.
After a fortnight, my awe at this album’s virtuosity has done nothing but deepen with every listen and its purest moments haven’t failed once to send a shiver down my spine. Now who said Hip Hop was dead?
9/10
The Making Of Time:Line Part 1
The Making Of Time:Line Part 2
Let’s face it; Beck needed a return to form. His last two long players ("Guerolito" and "The Information") were cursed with so many weighty inconsistencies that even the most loyal followers must have questioned his wisdom. Fortunately, owing to his immense chameleonic abilities, one knew Hansen wouldn’t stand still for long. The Danger Mouse produced "Modern Guilt" is his most conventional, melody driven recording since 2002’s outstanding "Sea Change", discarding the scattergun straddling genre experimentation at all costs in favour of a short, focused set of psychedelic Rock and Pop that may not be his best, but has genuinely halted the slide towards mediocrity that had dogged his recent works. At the heart of the record lies trademark minor key synth progressions, scratchy rhythms and Beck’s typically downcast lyrical melancholia. Danger Mouse adds his own brand of 60s tinny beat pop that served so well on his Gnarls Barkley projects. The opener ("Orphans"), takes the melody from Free’s 70s hit "Wishing Well", and with authentic artistic creativity, genuinely sounds like the 60s fore runner it aspires to be.
The real star of the show is the spacious psyche rocker and lead off single "Chemtrails", which drifts along with the kind of sparse beauty you’d have expected from a Nigel Godrich collaboration, its sombre atmospherics superbly enlivened by Joey Waronker’s outstanding drum accompaniment. Apparently inspired by Aphrodite’s Child’s 1972 prog rock song "The Four Horsemen", from the vast concept album "666", the song reminds the listener that at his best, Beck is still an illuminating talent. "Gamma Ray", the second track and follow up single, harnesses tried and tested dualities of upbeat music and dark lyrics, as he ambiguously rambles of ecological disaster and Armageddon played out over a thudding bass rhythm and chiming keyboard fill. In addition, there are memorable moments from the more personal closer "Volcano", and the title track.
There’s little for Beck fans to worry about, because "Modern Guilt" provides ample proof that he’s not lost his creative ‘mojo’. It’s more defined, carefully crafted, and ultimately the most complete listening experience since "Sea Change".
7/10
"Orphans"
Comments
Great write up, I feel the same way about his last two releases. I have not given this one a spin but will do so soon
Nice review. I felt the same way and smelled the "Sea Change" a mile away on the new record.
Bob Dylan taught the world that if you're going to write a bunch of nonsense lyrics, you'd better sing'em like you mean'em. "Loser" meant so much as a song only because Beck put so much conviction behind every word. In recent years his lyrics remain fanciful and enigmatic, but he just shrugs them onto the record.
I'll go against the grain and add that Danger Mouse actually detracts from this record. He's a great producer, but he's getting increasingly fiddly and distracted. At least The Information had a groove running through it. On "Modern Guilt" it sounds like there's always a couple extra percussionists in the room who won't sit still.
It’s wholly obvious that an album with such a contemplative title as "Exit Strategy Of The Soul" should be book ended with an instrumental prologue and epilogue that neatly binds the content like any good movie title sequence. The fact is, that the two songs in question ("Spiritude" and "Dawn Anna") snapshot Martin Terefe’s broad minded attempt to produce a resonantly fuller sound whilst retaining the resolute intimacy of Sexsmith’s ornate vocal and succinct Piano performance. The resultant recording works deliciously and Terefe must take a great deal of credit for this. For having recorded the basic tracks at his London studio, he decided to travel to Cuba to enlist the support of arranger Joaquin Betancourt, trombonist Amaury Perez and trumpeter Alexander Abreu who add a soulful backing, which the Producer describes as "Shadow Gospel". The horn enhancement comes to fruition immediately on the classy Soul/Pop love song "This Is How I Know", a gushing celebration of the arrival of Divine Right guitarist Colleen Hixenbaugh in Sexsmith’s life. The collaboration with fellow Canadian Leslie Feist on "Brandy Alexander" is a gentle revelation, the affecting frivolity of the lyric and the simplicity of the melody leaves the listener hoping for further bar-room creativity from the duo. Feist had originally recorded the song on her "Reminder" album from last year, and this addition is an undoubted delight.
The air of spontaneity that flows throughout "Exit Strategy Of The Soul" is partly down to Terefe’s confidence in Sexsmith’s abilities. Many of the basic tracks were recorded with just piano and guide vocal, with other instrumental accompaniment added in whichever studio (London, New York, or Havana) they chose to complete their work. In anticipation for the Cuban sessions Sexsmith wrote the climactic "Brighter Still" on the outbound flight which eventually would be recorded in one take, and the instinctive performance makes the listener feel like he/she is witness to an exciting musical discovery as the musicians intuitively construct the song before us. There’s a deep sense that Sexsmith knows his audience and their expectations and throughout the remainder of the album he delivers erstwhile tales of love and life in his unique unassuming vocal burr (which incidentally is getting better as he grows older).
Many may regard "Exit Strategy Of The Soul" as the highlight of Sexsmith’s long career. It’s certainly one of 2008’s rare heart-stoppers, but with such a high quality back catalogue the real question should be "Why is it that Ron Sexsmith is not phenomenally successful?" There’s little justice in this cruel world.
8/10
"Brighter Still"
Comments
Thanks for this. I have all of Ron's previous albums, yet I still am not crazy about his music. It sounds contradictory, but each time I think - well, that's enough. Then I hear a track or two off of the new one and the next thing I know it's in my hands. You may've just done it - again.
Dermahrk has it just right. I have most, if not all, of the back catalogue and was going to pass on this one until I heard the clips. Ron Sexsmith has been flying under the radar from a long time. Like Joe Henry, he sticks in my heart and mind even if the cruel world ignores him.
BerkeleyBob
a name I have heard a million times, yet never picked up an album. Liking the video and song enough to give it a listen
Comments
I'm goona have to check this out,'cause I loved Foreign Exchange, esp. the beats..Thanks for the tip.