Tag: Shabazz Palaces Lese Majesty

With the release of The Boy Who Spoke to the Wind, which landed at number 26 on Bandcamp Daily’s 100 Best Albums of the Year, the Chicago, IL-born, Los Angeles, CA-based emcee Lando Chill quickly received national attention for crafting hip-hop that freely encompasses elements of funk, gospel, jazz, indie rock, psych rock and folk music — although Boy Who Spoke to the Wind featured an even more abstract, experimental sound than his previous releases.

Lando Chill’s forthcoming album Black Ego is slated for an October 12, 2018 release through Mello Music Group, and the album continues the Chicago-born, Los Angeles-based emcee’s ongoing collaboration with multi-instrumentalist and producer The Lasso. And interestingly, Black Ego’s first single features a lysergic take on West Coast-inspired hip-hop as its centered around a production consisting of shimmering hi hats, wobbling synths and thumping beats — and while trippy, it’s roomy enough to give Lando Chill, Quelle Chris and Rey the space to spit self-assured, swaggering bars. Sonically, the single bears an uncanny resemblance to Black Up and Lese Majesty-era Shabazz Palaces with a grittier vibe.

 

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Now, if you’ve frequenting this site over the past four years or so, you’ve come across a number of posts featuring the Seattle, WA-based JOVM mainstays Shabazz Palaces. Comprised of Digable Planets‘ Ishmael “Butterfly” Butler and multi-instrumentalist Tendai “Baba” Maraire, the son of Dumisani Maraire, the project continues Butler’s long-held reputation for being uncompromisingly different and for crafting material with pro-Black messages.

The duo of Butler and Maraire quietly released two albums in 2009 — their self-titled debut and Of Light, which caught the attention of renowned indie label Sub Pop Records, who signed the act, and released 2011’s Black Up, an effort released to critical applause for its kaleidoscopic and hallucinogenic production paired with Butler’s witty and incredibly dexterous flow. While continuing to cement Butler’s and Mariare’s reputation for crafting incredibly weird, psychedelic hip hop, 2014’s Lese Majesty was a decided change in sonic direction with much of the material possessing an eerie cosmic glow with even heavier low end — intergalactic trap, perhaps? Along with the decided change of direction, the duo offered a bold challenge to contemporary hip-hop artists. As Butler told NPR during an interview about Lese Majesty, “This endeavor that I pursue, that we all pursue in Shabazz Palaces, make no mistake, this is an attack. We’re trying to show off and really stunt on all other rappers and let them know that this is our style, this is what we do and we’re ready to put it up against anybody else’s stuff.”

Some time had passed since I had last written about Shabazz Palaces; after all, both Maraire and Butler had been busy with their own separate creative pursuits — in 2015 Maraire and a group of collaborators wrote and released material with his side project,  Chimurenga Renaissance and Butler has been on a reunion run with the members of Digable Planets, which has continued through this year with several stops in NYC. (Digable Planets played a free show at Greenpoint Brooklyn’s House of Vans earlier this month and they’ll be playing a SummerStage later this summer.)  Somehow, Butler and Maraire managed to set aside some time to write new material and record material for two albums —  Quazarz: Born On A Gangster Star and Quarzarz vs. The Jealous Machines, which will see a simultaneous release on July 14, 2017 through Sub Pop Records.

Earlier this year, I wrote about “Shine A Light,” the first single off Quazarz: Born On A Gangster Star, and while continuing the duo’s long-running collaboration with soul outfit Thadillac, who contribute a lush, dusty, old-school soul-leaning arrangement featuring shimmering strings, a strutting bass line, warm psychedelic guitar blasts, shuffling drum beats, and a retro-futuristic-like hook consisting of distorted, vocoder-filtered vocals, the single thematically is part of a surreal yet politically-charged concept album that introduces the listener to and then tells the tale of Quazarz, a sentient being from far away, who’s sent to be an observer and musical emissary with a mission to explore and chronicle the things he sees and experiences,subtly echoing the  cult-classic film The Brother From Another Planet and Alexis De Tocqueville‘s Democracy in America; however, what our otherworldly emissary finds is a bizarre, cutthroat landscape of brutality, conformity, alternative facts, hypocrisy, greed, suffering, selfishness and death masquerading as patriotism and connectivity. And as result, Quazarz finds himself feeling increasingly horrified and out of place and within a world that is unfathomably hellish and unfair.

Quazarz vs. The Jealous Machines is for all intents and purposes, a spiritual and thematic twin of sorts. Produced by Butler and Sunny Levine and recorded at Seattle’s Protect and Exalt Labs: A Black Space and Dror Lord Studios in Marina Del Rey, CA and featuring guest spots from Chimuregna Renaissance’s Fly Guy Dai, Amir Yaghamai, John Carroll Kirby, Thaddillac, Morgan Henderson, The Shogun Shot, Laz, and Purple Tape Nate, the album continues with the tell of our otherworldly musical emissary Quarzarz and in his further explorations of modern life, he discovers a world in which humankind’s relationship with technology has become both co-dependent and strangely sensual, as it seduces people to be sedentary, thoughtless, uninspired to do anything to change their individual plight, let alone change the world, and having their creativity and life stolen from them. Along with a bunch of misfit cohorts, the protagonist leads a rising collective “hell no,” to the device and the guilds that proliferate them. The album’s first single “30 Clip Extension” was arguably one of the strangest songs that Butler and Maraire as the song featured a minimalist producing consisting wobbling and tumbling low end, stuttering drum programming, enormous beats and shimmering synths paired with Butler’s imitable flow alternating between surrealistic poetry and rhyming — while describing an arrogant, vain, ostentatious, drug addled rapper, who’s controlled by an unseen conspiracy of exterior and interior forces.

“Since C.A.Y.A.,” Quazarz: Born On A Gangster Star‘s latest single continues on a similar vein as the preceding singles, in the sense that it’s trippy and odd as hell but with an elastic-like looseness that nods at the Oompa Loompas in Willy Wonka and the Chocolate Factory — although just under the surface is a subtle sense of menace. Stephen “Thundercat” Bruner contributes wobbling hyper-futuristic bass lines to the sparsely minimalist production that allows Butler enough room to rhyme both about his narrator’s  legendary and surreal past and present, but in which he sees himself as a black person in a dangerous and weird world that fetishes and abhors him.  And they manage to do so while nodding at the weirdness of Beck and The Flaming Lips.

If you’ve been frequenting this site over the past four years or so, you’ve come across a number of posts featuring the Seattle, WA-based JOVM mainstays Shabazz Palaces. Comprised of Digable Planets‘ Ishmael “Butterfly” Butler and multi-instrumentalist Tendai “Baba” Maraire, the son of Dumisani Maraire, the project continues Butler’s long-held reputation for being uncompromisingly different and for crafting material with pro-Black messages.

Butler and Maraire quietly released two albums in 2009 — their self-titled debut and Of Light, which caught the attention of renowned indie label Sub Pop Records, who signed the band and released 2011’s Black Up, an effort released to critically applause across the blogosphere and major media outlets for its kaleidoscopic sound paired with Butler’s witty and incredibly dexterous flow. While continuing to cement Butler’s and Mariare’s reputation for crafting incredibly weird, psychedelic-tinged hip hop paired with Butler’s ridiculously dexterous flow,  2014’s Lese Majesty was a decided change in sonic direction with much of the material possessing an eerie cosmic glow with even heavier low end — intergalactic trap, perhaps? Along with the decided change of direction, was a bold challenge to contemporary hip-hop artists. As Butler told the folks at NPR during an interview about Lese Majesty, “This endeavor that I pursue, that we all pursue in Shabazz Palaces, make no mistake, this is an attack. We’re trying to show off and really stunt on all other rappers and let them know that this is our style, this is what we do and we’re ready to put it up against anybody else’s stuff.”

Up until recently, some time had passed since I had written about Shabazz Palaces. After all both Maraire and Butler had been busy with separate creative pursuits — in 2015, Maraire had written and released material with his side project, Chimurenga Renaissance and Butler spent last year on a reunion tour with the members of Digable Planets, a tour that has continued with some dates this year — including later this month at Brooklyn’s House of Vans. But interestingly enough, the duo of Butler and Maraire had also managed to be wildly prolific during that period writing and recording material for two albums  — Quazarz: Born On A Gangster Star and Quarzarz vs. The Jealous Machines, which will see a simultaneous release on July 14, 2017 through Sub Pop Records. Now, as you may recall I wrote about “Shine A Light,” the first single off Quazarz: Born On A Gangster Star, and while continuing the duo’s long-running collaboration with soul outfit Thadillac, who contribute a lush, dusty, old-school soul-leaning arrangement featuring shimmering strings, a strutting bass line, warm psychedelic guitar blasts, shuffling drum beats, and a retro-futuristic-like hook consisting of distorted, vocoder-filtered vocals, the single thematically is part of a surreal yet politically-charged concept album that introduces the listener to and then tells the tale of Quazarz, a sentient being from far away, who’s sent to be an observer and musical emissary with a mission to explore and chronicle the things he sees and experiences,subtly echoing the  cult-classic film The Brother From Another Planet and Alexis De Tocqueville‘s Democracy in America; however, what our otherworldly emissary finds is a bizarre, cutthroat landscape of brutality, conformity, alternative facts, hypocrisy, greed, suffering, selfishness and death masquerading as patriotism and connectivity. And as result, Quazarz finds himself feeling increasingly horrified and out of place and within a world that is unfathomably hellish and unfair.

Quazarz vs. The Jealous Machines is for all intents and purposes, a spiritual and thematic twin of sorts. Produced by Butler and Sunny Levine and recorded at Seattle’s Protect and Exalt Labs: A Black Space and Dror Lord Studios in Marina Del Rey, CA and featuring guest spots from Chimuregna Renaissance’s Fly Guy Dai, Amir Yaghamai, John Carroll Kirby, Thaddillac, Morgan Henderson, The Shogun Shot, Laz, and Purple Tape Nate, the album continues with the tell of our otherworldly musical emissary Quarzarz and in his further explorations of modern life, he discovers a world in which humankind’s relationship with technology has become both co-dependent and strangely sensual, as it seduces people to be sedentary, thoughtless, uninspired to do anything to change their individual plight, let alone change the world, and having their creativity and life stolen from them. Along with a bunch of misfit cohorts, the protagonist lead a rising collective “hell no,” to the device and the guilds that proliferate them. The album’s first single “30 Clip Extension” is arguably the strangest song that Butler and Maraire have released as the song features a minimalist production featuring wobbling and tumbling low end, stuttering drum programming, enormous beats and shimmering synths paired with Butler flow alternating between surrealistic poetry and rhyming, describing an arrogant, vain, ostentatious, highly bored, drug-addled rapper, who’s controlled by an unseen conspiracy of exterior and interior forces — and while viciously poking fun at a contemporary hip-hop movement, the duo also manages to poke fun at our own greed and foolishness, reminding the listener that there are people actually fucking suffering, and that it’s time to put the devices down.

 

 

 

Now, if you’ve been frequenting this site over the past four years or so, you’ve likely been made familiar with the Seattle, WA-based JOVM mainstays Shabazz Palaces. Interestingly, the act continues Ishmael “Butterfly” Butler’s long-held reputation for being exceedingly different that goes back to his days as a founding member of  the Grammy-winning Digable Planets, one of the more forward-thinking acts of their time. After Digable Planets broke up, Butler moved back to his hometown, where he met multi-instrumentalist Tendai “Baba” Maraire, the son of Dumisani Maraire and formed Shabazz Palaces.

Butler and Maraire quietly released two albums in 2009 — their self-titled debut and Of Light, which caught the attention of renowned indie label Sub Pop Records, who signed the band and released 2011’s Black Up, an effort release to critically applause across the blogosphere and major media outlets for its kaleidoscopic synth and heavy low-end based sound paired with Butler’s witty and incredibly dexterous flow. While continuing to cement Butler’s and Mariare’s reputation for crafting incredibly weird, psychedelic-tinged hip hop paired with Butler’s ridiculously dexterous flow,  2014’s Lese Majesty was a decided change in sonic direction with much of the material possessing an eerie cosmic glow; in fact, the best description I could come up with for the material was along the lines of intergalactic trap music. But along with the decided change of sonic direction, was a bold challenge to contemporary hip-hop artists. As Butler told the folks at NPR during an interview about Lese Majesty, “This endeavor that I pursue, that we all pursue in Shabazz Palaces, make no mistake, this is an attack. We’re trying to show off and really stunt on all other rappers and let them know that this is our style, this is what we do and we’re ready to put it up against anybody else’s stuff.”

Some time has passed since I’ve personally written about Shabazz Palaces; however, Butler spent part of last year on a reunion tour with the members of Digable Planets while Maraire had written and released music with a side project, Chimurenga Renaissance. But the duo managed to find time to write and record their Knife Knights (the production duo of Shabazz Palaces’ Butler and Eric Blood)-produced fifth, full-length effort Quazarz: Born On A Gangster Star, which is slated for a July 14, 2017 release through Sub Pop Records. As the members of Shabazz Palaces explain, their forthcoming album is a surreal yet politically-charged concept album that first introduces the listener to and then tells the tale of Quazarz, a sentient being from somewhere else, sent to be an observer and musical emissary, whose mission is to explore and chronicle the things he sees, experiences and thinks — and in some way it seems to echo the cult-classic film The Brother From Another Planet and Alexis De Tocqueville‘s Democracy in America; however, what our otherworldly emissary finds is a bizarre, cutthroat landscape of brutality, conformity, alternative facts, hypocrisy, greed, suffering, selfishness and death masquerading as patriotism and connectivity. And as result, Quazarz finds himself feeling increasingly uncomfortable and out  of place.

Quazarz: Born On A Gangster Star‘s first single “Shine A Light” continues the duo’s long-running collaboration with Thadillac, who contribute a lush, dusty, old-school soul-leaning arrangement featuring shimmering strings, a strutting bass line, warm psychedelic guitar blasts, shuffling drum beats, and a retro-futuristic-like hook consisting of distorted, vocoder-filtered vocals while Butler’s narrator describes a hellish, pre-apocalyptic world that feels much like our own; but it’s a world that the song’s narrator can’t fathom — and in some way he’s horrified and confused by everything he sees. I certainly couldn’t blame him.

 

 

 

 

 

 

 

 

 

 

New Video: The Glorious, Cosmos-Leaning, New Visuals for Shabazz Palaces’ “Dawn in Luxor”

Shabazz Palace’s latest single “Forerunner Foray” much like “#CAKE” is a single that effortlessly morphs and shifts seemingly at will; however, there’s a subtle trap influence as the song possesses enormous boom-bap beats that pair perfectly with Butler’s ridiculous flow.