God damn, I feel bad about giving so many great reviews. Actually, I love it. Hip Hop fans in 2000 have been treated to some of the most creative, eclectic, and best sounds in the past decade. Artists from all regions are stepping it up. The latest astonishing album from the California underground has come from Haiku D’Etat, who have created an incredible distinct yet consistent self-titled release.
Whereas Aceyalone, Mikah 9, and Abstract Rude are all respectable lyricists, their rhymes don’t dominate this LP. Surprisingly, that title goes to the innovative soundscape provided by producer Adrian Burley. Right from the opening title-track, it is apparent this album does not sound like anything else you’ve heard. The emcees have a playful, but great camaraderie, creating what would be a perfect track if not for the strange choice of sampling on the hook. On “Non Compos Mentis,” the jazzy feel continues, and the dopeness of the track is solidified even before Acey comes in with, “Well life ain’t sugary and buttery, is it? What are we fooling ourselves thinking that it is? I’m thinking that these kids need to know it from the jump, and be it that I’m a poet trying to get over the hump.”
The reggae vibe of “Los Dangerous” adds to the diversity of Haiku D’Etat, featuring David Boyce on the sax. It shows the the emcees’ crucial ability to blend important topics with humor and battle rhymes. There hasn’t been an album like this in a long time such that it is so apparent the musicians are having fun making the songs.. Maybe not since De La Soul’s early work.
Boyce contributes again on “Wants Vs. Needs,” as Haiku flips an interesting concept, even though they aren’t completely serious about it. Whereas the title is self-explanatory, wants and needs are frequently confused in the verses. It would have been interesting to see this done more consistent. Nevertheless, Acey steals the show again. “Man, I want money, I need food. I want clothes, I need housing. I want cars, I need good health, I need knowledge of self. I got knowledge of self, I want peace, but I need help.”
The album’s nicest track is “Still Rappin,” with absolutely infectious guitar work by Michael Cavaseno, and Emerson Cardenas on bass. All these musicians really deserve credit – musically, this album is so much more than simple loops and samples. It can only be compared to the Soulquarians recent work, and may even surpass that. A perfect example (if I haven’t given enough already) is “West Side Slip N’ Slide.” I wasn’t feeling this song as much as some of the rest, as far as the vibe of the emcees. However, at about the 4:40 mark of the song, the trumpet and flute sounds of Joseph Leimberg take over, and well… we just don’t usually hear things like this in a hip hop song. The final two and a half minutes of this song will definitely keep me playing it.
I can’t imagine how anyone would not enjoy this album. It is light-hearted, and even your mom and dad should be able to vibe to the music. Although Aceyalone is probably the biggest name of trio, no one completely steals the spotlight; instead, the three emcees sound like they’ve been working together forever. You might expect the album to be breathtaking lyrically, but it avoids this approach – going for the jovial, rather than the awe-inspiring (a la Common). And in doing so, it has become one of the more creative efforts in recent memory; not necessarily topically, but certainly musically.
-Joe Kostelnik
