Posts Tagged ‘Reloaded’


Ka “Our Father”

On “They Know It’s About,” the first track off the follow-up to last year’s seminal low-fi 100% DIY effort Grief Pedigree, Ka assaults listeners like Ra’s al Ghul’s League of Shadows in a dark cavern, or perhaps more accurately like a crew of starving hooded teenagers jumping a wayward stockbroker in a dark alley deep in Brownsville in 1993.  It’s a fitting re-introduction from a rapper who would prefer to pitch his new vinyl and CD in front of the ghost of Fat Beats to dropping a mixtape on datpiff or bandcamp.  As with his previous efforts, it’s clear that Ka poured many late nights with a pen, pad, turntable, and sampler into the creation of this release.  If Rakim, GZA, and early Nasty-era Nas are the gods of the rap game then Ka’s today’s most orthodox monk, crafting lines with a painstaking alignment of syllables, meaning, symbolism, and wit.  If his rhyme writing isn’t a devote enough process for classic rap heads, he approaches beat-making with equivalent asceticism and has drastically elevated his skills behind the boards over the course of his first three solo albums, to the point where it’s hard to image any producer capable of crafting a backdrop for Ka more fitting than the ones he develops himself.   Then there’s the videos, which he shoots himself, with his keen photographer’s eye and stars in.  There’s so much subtlety to absorb in his work, that any distraction can easily lead the listener to miss crucial metaphors, wordplay, and double entendres. In order to best appreciate his work on a single listen, it’s likely that his albums would need to be heard in a sensory deprivation chamber, where every kick, tick, sampled vinyl crackle, emphasizing overdub, word, syllable, and phoneme could completely sink into the listener’s psyche without distraction.

While in many ways the refinement in production Ka displays on The Night’s Gambit parallel’s the growth his frequent partner-in-rhyme and production symbiote Roc Marciano displayed on Reloaded – a few lusher backdrops, and when the loops are stripped down they’re more idiosyncratic than those on Grief Pedigree –  Ka’s vantage point does not see an overhaul similar to the gutter to parapet ascension that Roc showcased between his solo debut and sophomore release.  This isn’t surprising, as there is no doubt that Roc Marciano’s life, bank account, and ego had all undergone more significant changes since the release of Marcberg than Ka’s have since he dropped Grief Pedigree a little over a year ago.  Despite the critical acclaim surrounding his album last year and his two guest appearances on Reloaded, Ka remains largely an unknown figure to the rap world.  There’s no doubt that the occasional shows, and a few digital sales help the former Natural Elements member to support the costs associated with his music creation and maybe garner him a little extra pocket change, but they haven’t changed his perspective one bit.  He’s still the same “smart ass pawn” outlined by Bodie from The Wire sample utilized during the opening sequence on “Peace Akhi.”  He’s not quite sure how he’s managed to stay alive through the wars, hells, and purgatories that he’s narrated throughout each of his three full length projects, but he’s back once again to impart the wisdom he’s gained by enduring his struggle.

In terms of imagery, The Night’s Gambit is once again filled with Ka’s familiar varied religious iconography, ranging from parables and lines the Bible’s two testaments, to Islamic verbiage, 5%er math, and probably a few remnants of other less recognizable belief systems that have filtered from the diverse landscape of the five boroughs into the shadowy corners of Brownsville over the past few decades.  “Our Father,” “Jungle,” and “Barring The Likeness,” demonstrate Ka’s ability to complexly entwine systems of spirituality within a context of the images of war, gambling, the jungle, basketball, drug trade navigation, and the gutter that were prevalent throughout Ka’s first two releases.  Where card and dice games have been frequent motifs for Ka before as well, as the album’s title suggests, Ka also occasionally uses the game of chess here as an allegorical representation of his own story of long odds survival.  While there are not a preponderance of specific chess references throughout the album, the comparison between life and a chess match where the odds are stacked against the survival of any individual piece – especially when recognizing that Ka is not a king on the board, but a dispensable soldier (a pawn or at best a Knight) – is clearly something that Ka  has contemplated.  Ka also recognizes, as a survivor, that many of his peers had to sacrifice their lives in battle, while he somehow managed to make it through.  On a less personal note, chess’s evolution also mirrors Ka’s in another way.  The game itself, and it’s pieces, has changed often based upon the religious and societal values of the countries its been introduced to over the years – having Islamic origins and Christian representations – similarly to the way that Ka often picks and chooses from the variety of belief systems he’s been exposed to, in order to make his points, and convey his perspective on morality in his own complex social surroundings.

While a majority of the album is dark alley fair, and contemplation of war and survival, there are lighter moments as well, like the obligatory cameo from Metal Clergy partner Roc Marci on “Soap Box.” Like all of their other work together, “Soap Box,” is a solid collaboration, albeit perhaps the only track on the album where Ka’s lyrics seem entirely focused on wit, without the desire to wrap them within one or several larger symbolic contexts.  Similarly outside of the album’s general narrative structure, the album’s closer, “Off the Record,” is created in the same vein as GZA’s “Labels,” “Fame,” “Animal Planet,” “O% Finance,” and “Queen’s Gambit.”  Here Ka urges listeners to “dig through it,” and get familiar with a list of his favorite hip hop albums, while still maintaining coherent narration to the song.  While the concept may not be 100% original, the execution is nevertheless rap masterclass worthy.  On “Nothing Is,” Ka passionately discusses rap as his calling, narrating his growth in perspective over the years and his need to pass it on to others.

While the diversity in the content is appreciated – and helps break up the monotony of his funereal themes – Ka is still at his very best in his most austere work.  Fortunately, that work makes up the majority of the album, and is highlighted on songs like his cautionary tale on betrayers, “30 Pieces of Silver,” his macabre adaptation of the Lord’s Prayer “Our Father,” and the pugilistic “You Know It’s About,” and “Peace Akhi.”  At just over 38 minutes The Night’s Gambit like Grief Pedigree mirrors the length of Illmatic giving the listener just enough great material to leave them itching to start the album over again after each listen.  In all actuality this probably has less to do with Ka’s desire to replicate Nasty’s formula, and much more to do with his desire to fit his albums on a single piece of vinyl.  Regardless of his motivation, with no filler, it’s the perfect length for an album.  Ka once said that he wanted to be a rapper that didn’t overcrowd the market, leaving his listeners to thirst for a new album between releases.  There is no doubt that the brilliance of this album will have fans fiending for the next time Ka chooses to give them a couple weeks notice that he’ll be showing up in front of the specter of Fat Beats with a new crate of vinyl and a bag of CDs.

Ka “Off The Record”

2012 has been an exceptional year for rap music.  It’s hard to think of a year over the course of the last half a decade that saw the release of so many excellent rap albums.  Remarkably ten of the albums that made the Hardwood Blacktop Top Fifteen for 2012 were produced by just one producer, in three cases (Grief Pedigree, Mista Thug Isolation, and Skelethon) the albums were entirely self-produced by the artist.  Also of note, only two of the top fifteen this year were released by Major Labels, granted there were a few major label releases that were on the cusp of this list (Live From The Underground, The Game’s Jesus Piece, Big Boi’s Vicious Lies & Dangerous Rumors, Nas’s Life Is Good, and Mr. MFN eXquire’s Power & Passion), a few others of some note (2Chainz, Rick Ross, Meek Mill, Self Made Vol. 2, Cruel Summer), and there’s still major label releases from TI and Chief Keef to contend with before the year is out.  That said, at this point we can be reasonably confident by the sheer excellence of these fifteen albums and by the recent batting averages of the two remaining contenders that in all likelihood this list will stand-up as HB’s Best of 2012 even after the release of Trouble Man, and Finally Rich.  What this tells us more than ever is that some of the best rap music these days is released for free (six of the list’s fifteen albums were at least at one point available at no cost), without major label financial or promotional backing (thirteen of fifteen), and that nothing beats the artistic clarity and vision of a rapper sitting down with one producer (or all by himself) and pouring his heart and soul into a project.  May 2012 bless us with as many substantial rap albums as 2012 did.

15 Most Noteworthy Rap Albums of 2012:

Ka “Vessel”

1. Ka – Grief Pedigree

It’s hard not to root for the underdog and Ka certainly qualifies as that given his interesting, but unheralded career as a non-central member of 90’s NYC underground favorites Natural Elements, and as a solo artist with a sparse guest spot discography, and one promising, but underdeveloped solo album.  It seems that he must have been galvanized by the success of close friend and collaborator Roc Marciano, who took him under his wing a bit on the production tip a bit during the creation of Grief Pedigree.  Interestingly enough though as we look back at the year, Ka championed the nearly drumless gritty sample without the boom-bap production aesthetic at a time when Roc reportedly told him “you might be in for some quiet shows,” and yet Roc ended the year by releasing an album where his own utilization of that rebellious percussion technique stands as the lone criticism from many purists on his excellent Reloaded.  Although Reloaded may have been a more polished and ultimately more musically stunning album, like good kid, m.A.A.d cityGrief Pedigree earns some points for it’s unusual vantage point.  Ka provides the unique perspective of an aging rapper, a veteran of the drug war’s trenches during the NY crack era, but who never made enough as a rapper or through other means to move out of Brownsville.  With Grief Pedigree, Ka combines Rakim’s approach to rhyming by using his words to craft complete rhythmic structures and patterns that you can almost visualize – like architectural designs or seismograph print-outs – with Nasty Nas’s ability to describe his surroundings so intricately that the listener begins to feel and smell the world being narrated around them.  The whole album is connects with the senses in a way so little music manages to do these days.  And then there are the bars.  A lot of rappers claim to be lyricists, and a lot of critics spend times trying to debate the merits of certain types of lyrics or punchlines over others.  That said, those who invest an engaged listen are rewarded with lyrical gemstones:

“I own the night, the heat’s my receipt”

“Stayed in hell all my life, I need heaven’s visa / Know it’s right, but can’t change over night, like Ebenezer”

In Kings county where the Queen never faked a jack/  the mac-10, and a 9, and my Ace is strapped”

In case you missed it: Here are the two pieces of the interview I did with Ka this year on the making of Grief Pedigree (Part 1: Track-by-Track, Part 2: Additional words)

And here is the entire album in video form in one place, like the rhymes and production, all of the videos are directed by Ka himself.

Ka – Grief Pedigree (the complete video collection in long form)

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