Into the Shadow of Hip Hop
DJ Shadow's debut album-length, Endtroducing...DJ Shadow, release
will
surprise those who have been listening to his music develop. The
intensity and innovation that is heard on his previous releases (a
must-have EP and some incredible pieces of Mo Wax vinyl) is maintained,
but the changes in style and mood will challenge audiences who were
expecting more of the same. Ironically, Shadow was innovative enough to
get grouped under the new music cliche, the "t" word, trip hop. Though
tossed in this buzz bin, Shadow's intensity was high enough to shut down
any notions that his beats were some sort of blunted dirge music.
Shadow's previous releases displayed an incredible sense of confidence
and security. He grabbed beats from U2's "Sunday, Bloody Sunday" and then
dropped a scary loop from the Eddie Harris' "Live at Newport" record. On
Endtroducing this confidence is heard on tracks like "Mutual Slump"
and
"The Number Song." These tracks have the trademark beats that Shadow is
known for: drums that are arranged in intense grooves and sometime
fluctuate between time signatures. Beats aren't the main focus of this
record, though. Shadow is confident enough to leave wide spaces and use
other sounds that create moods that beg the listener to forget the role
of the DJ as instrumentalist and consider the DJ as a composer.
Unlike other debut releases from djs or hip hop artists, Endtroducing
is
not 60 minutes of Shadow tossing away composition to show off turntable
skills. While this album is how many people will be introduced to
Shadow's music, it is restrained and mature. Rather than killing 45s left
and right to prove turntable power, on "Transmission2" Shadow uses long
dark passages that are painted with cellos and strings. He dares the
listener to use the "t" word and just as you mutter
"tr...tr..tr..tri..ppp-hop" he inserts a song like "Napalm Brian/Scatter
Brain" with crazy drums and non 4/4 beats that say "fuck you, think
again."
Without using any rapping or featured vocals, Shadow unearths the blues
that are buried deep in hip hop. But the blues that are heard on tracks
like "Building Steam With a Grain of Salt" are not self-centered, as
Shadow does the opposite of painting himself as some doomed rapper
lamenting about how tedious it is to have to kill somebody on a Friday
night. His vision has a much larger worldview. Like his name suggests,
DJ
Shadow lets the music dominate Endtroducing rather than ego or
self-image. This can be seen in the wide spaces of the album that he
explores hip hop without use of drums. Instead of beats, you will find
the guttural chanting sounds on the song "What Does Your Sould Look Like
(part 4)." These blues are found deep in the mind in the form of
paranoia and schizophrenia. Check out the screeching oboe sounds on
"Mutual Slump." "Building Steam With a Grain of Salt" doesn't communicate
paranoia in the narrative way that rappers do, but instead attempts to
puts you inside a horror flick with an evil piano loop and spooky female
background vocals.
The exploration of hip hop composition that Shadow has produced for
Endtroducing is risky. There are many fans who will not enjoy this
record
as much as his EP. If you are looking for instant gratification try the
EP first. Charles Mingus had to let the bass take back seat to his
compositions when he decided to explore jazz and blues with a big band.
Like Shadow on the turntable, the music ability of Mingus was much wider
than the ability to play bass. The music that you hear on Endtroducing,
especially tracks like "Transmission 1" or "Transmission 3", shows the
kind of vision that Mingus had when he experimented with the strange
sounds of an orchestra. Like the Mingus big band on "Black Saint and the
Sinner Lady," Shadow can hear hip hop in many combinations of sound,
whether drums are involved or not. These pulsing tones may not sound
"dope" to audiences that are eagerly awaiting the new Wu Tang record.
Some will hear this record and accuse Shadow of giving up the beats to
embrace the "t" word. This is the not the case. Shadow asks his audience
to follow him to a different, sometimes darker, place for hip hop.