Shabazz Palaces‘ new album Lese Majesty has wormed its way to the very core of me. It’s glorious, it’s freewheeling psychedelia, it’s a complete deconstruction of hip-hop forms and one of the best albums this year. Since my purple “loser edition” showed up a couple weeks ago, I’ve played it more than any album in months; even more so on my headphones at work, through the Sub Pop stream and then Spotify, where it’s streaming for free in whole: Lese Majesty on Spotify.
If you haven’t jumped on this wavelength, please have some #CAKE.
The second single, #CAKE, is the centerpiece of the album’s even-more-warped second half. An electro-jungle hip-hop riot erupts before leaping through a perfectly incongruous female soul vocal, taking flight with vintage Kraftwerk synth lasers as the tune ratchets up toward an unforgettable chant ending. It’s the type of multifaceted, twisty song that made their debut, Black Up, an instant left-of-center masterpiece.
This piece is really indicative of how Shabazz Palaces (duo of Tendai Maraire and Ishmael Butler) appear to hold no affiliation to any particular genre or sound. The middle vocal bridge slides into the beat-driven first half like a glacier, overtaking all momentum. As the tune gathers steam for its ending, the krautrock influence bursts through as the vocals craft a towering a list of places from Berlin to Neptune. It’s pointed, it’s weird, it’s confusing, and it’s fun as hell. A recent review of Lese Majesty mentioned that they’re not “the future of hiphop, but a step to the side” as if it was a bad thing. I couldn’t imagine a higher compliment for a duo wholly unconcerned with trends in this meme-driven music climate.
Also, I feel obligated to share this amazing photo of Butler. It’s one of my favorite artist images in years:
[buy Lese Majesty on 2LP vinyl, CD, or digitally via Sub Pop right HERE or Amazon or whatever]