The New Danger

Mos Def created one of the best hip-hop albums of all-time when he released 'Black on Both Sides'. But that's nothing. This is in no whatsoever a continuation of that. Because on listening to this, I'm beginning to realise- that album was only one of the best albums of all time in a certain category of hip-hop. That category is logical, straightforward, common sense hip-hop. Sure it had hints of artistry, a few abstract ideas, ('Climb' & 'May-December' to name two) but it was still a hip-hop album with clearly defined goals, topics and agendas.

"Reach the world, but touch the streets first." - 'Life is real'

The New Danger is a bitch of a black fist knocking many, many teeth out of the mouths of people. It is in many ways a regression from the positive, optimistic Mos Def, the disciple of native tongues, the clever new kid with clearly defined agendas and political points made in 4-minute rap tunes. There is no song called 'Love' or anything quite as sentimental or obvious as that, there isn't anything as obvious as a song called 'Hip-Hop', and rightly so because this album is a very different kind of hip-hop, as one person on a board I frequent said of this album, "What happened to the boom-bap?" This is a regression back into the streets, it is a regression musically, drawing all the way back to a more primal rhythm oriented and roots-based style of black music. Mos Def put his hand in his mouth, pushed it down past his throat and dragged out his soul whilst having flashbacks in his minds-eye of the street scenes that surrounded his childhood. The street-scenes that caused lightning in that soul, the street-scenes that, when mixed in and contrasted with the so-called 'success' of black people in America (in his own words, "We poke out our asses for a chance to cash in") make a black man like Mos Def quite angry.

From that respect you have to take this album for what it is and not what you want it to be (i.e. an extension of the direct and lovely hip-hop of 'Black on Both Sides' because if you expect that, this will be one of the worst albums you ever hear). Mos Def is struggling with his life as a media-superstar, and clearly also with himself as a person, the albums opener ('Boogie man song') spells it out perfectly clearly with it's stark contrast, "See me, want me, give me, touch me, feed me, fu-- me, love me, touch me, this whole world is cold and ugly...let me be your favourite nightmare, close your eyes and I'll be right there." As a practicing Muslim like Mr. Mos, I can definitely and categorically say that I am feeling a lot of the emotions he displays on this album, much of which depict a man struggling against being dragged into the ills of this cold and ugly world- something unimaginably hard to struggle against when you're completely immersed in not only superstar-status in the music industry, but also as an actor in Hollywood... Hollywood- now that's one big boogieman to fight against.

Fighting & struggling are what he does best though, and the verbal-jihad continues on his assault on the industry on 'The Rape Over', a vicious and uncompromising reordering of Jay-Z's song 'The Take Over' with lyrics like "Old white men is running this rap shit...cocaine is running this rap shit...Viacom is running this rap shit, AOL and Time Warner running this rap shit." And it just doesn't get realer than that. The more aggressive sides are also heard in the simple but funky metal-joints (yes, metal-joints!) Mos Def and his band The Black Jack Johnson scream and thrash their way through a few songs that you never thought you'd hear on a hip-hop record, but quite honestly the more you hear them, the more they make sense in the context of the album. Like the lyrics, you can't help but notice that these rock-moments are somewhat simple, indeed more often than not they're not especially original, but more importantly they are also venting all of the aggression and feeling that characterises the whole vibe of this LP.

I'd be lying if I said I liked it all, but experimental music is experimental and there's always going to be a few things that don't quite work for each individual, personally there doesn't seem to be anything particularly relevant in 'Blue Black Jack' despite the masterstroke of bringing Shuggie Otis on board for a lovely guitar solo, I would have liked to see something more progressive with two such innovators from different generations meeting up. Similarly, the collaboration with guest MC Minnesota on 'Grown Man Business' does little to help the album's already unfocused feel. To be fair, it's mostly unfocused in a good way, because there's just so much raw energy, but this track does little for me and if this much time is going to be given to a relatively unknown MC, it's going to have to really make me stand up and pay attention (like Solomon-child did on Ghostfaces' Supreme Clientele). No, I think it's fairly clear that an album as different as this (within the realm of hip-hop, and perhaps modern music as a whole) is going to open itself up to come criticism, but this LP can only really be critisised subjectively, because it is what it is, and by the same token, it's very reliant upon you the listener taking a step out of your expectations and into Mos Def's world.

Back to the good stuff, and it doesn't get much better than 'Sex, Love and Money', which quite frankly, is one of the most powerful rhythms I've ever heard in hip-hop. Put simply- it will take you over. The lyrics are not too noticeable in this track, and on the album generally Mos doesn't seem to be saying a whole lot at times, (even freestyling if I'm not mistaken) but that's all part of this albums aura, the moments where he does get explicit and interesting ('Modern Day Marvel', 'Life is real' to name two) are constantly balanced up against more loose themes which are played out to very simple rhythm oriented tracks. Mos' breaking down of all the rhetoric for and against war in the thrashing wild hip-hop/rock child 'War' makes for perhaps one of the most refreshingly direct 'anti-war' (I'm already sick of that term) songs you are ever likely to hear. 'Put it simple Mos, say it like it is, what are these war-mongerers REALLY saying?' Answer: "Fu-- you! PAY ME!" It's brilliantly primal, deliberately simplified and emotionally resonant music, as is most of this album.

Yes, primal. I haven't really said much other than that one point have I? Mos Def will make greater and more beautiful things in the future should his soul rise up from the pits that this album sees it embroiled in, I will have faith in that fact. The albums penultimate and some would say best track is probably the most convincing proof of that. 'The Beggar' sees Mos crooning "I love you" in some pretty beautiful ways- at times remeniscent of Finley Quaye on 'Even after all' with the wonderful Reggae/Motown hybrid vocal-style that Mr. Mos is definitely beginning to fine tune. You might think that this is very corny stuff considering "I love you" is the 'chorus' in this song; the average Mos Def fan might ridicule it in comparison with 'Umi Says' or some of his other more lyrically complex and 'mature' songs, but for me, it's the fact that you can still hear that soul in his voice that speaks louder than anything else. Louder than the arrogance (which is alien to Mos) louder than the excessive foul-language (which is definitely alien) and louder than even the anger which resides all over much of this record. The few moments of respite that there are are very satisfying, soulful and interesting. Otherwise, what you have here is a snapshot. In my mind- a snapshot of a man at war with a new danger (in his life and in the world around him) that is vivd and intense. It's a valuable piece of art, so be patient with it, and do your best to take it in and appreciate it when you have the energy. It's worth it.

Y.Misdaq aka Yoshi, 15 Oct 2004

opinion is divided

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