| "It's most likely‚ I'll sell more records in France" comments the Californian emcee on "Yawning Zeitgeist Intro (freestyle)", the quirky rapper known to the world as Busdriver. This, Busdriver's most recent full-length, finds itself firmly in that new school of backpack underground hip-hop; the sort the majors won't touch, but will often find enough fans to warrant a tour and another album down the line. Although the Public Enemy reference in the title may be obvious, it is merely the political line Busdriver shares. More articulate and less angry than Chuck D, Busdriver's approach is focused around, well, tangent following emceeing, as words flow at great speed and only occasional attention is given to fitting within the bars of the beat. But instead of sounding simply out of time, it's the Aesop Rock approach. The argument would be, of course, that complex concepts can't be accurately portrayed if an exact rhyme and timing has to be adhered to each time, and the result is an intelligent, thought provoking album. Song titles along the lines of "Unemployed Black Astronaut," "Avantcore," "Wormholes" and the amusingly aptly titled "Lefty's Lament" are the norm, as this most Woody Allen of intellectual (for want of a better word) rappers let's us in on his musings on life. Only ten years ago Busdriver may have found work writing prose. In 2005 he is a hip-hop artist, on an album where the production, although varied, experimental, and original, takes a back seat. It is in fact of a high standard on most of the tracks, but this is an album to really listen to; to follow the thoughts of what at times seems the voice of a deranged man on a street-corner; to pay attention, to be absorbed and ride along on the proverbial bus, enjoying the tangents as you go. - In the Mix |
1XLP/Out Of Print