So is it too much? Does it spread so thinly that first-time listeners might feel rather distanced? It is, after all, impossible to place on the radar and, in the world of solid categorisation in which modern music rather deadeningly exists, this is a rare thing indeed. This is thrilling and almost dangerous.Īnd yet, although this is a profoundly politically aware album even that is not at the expense of sexuality. You listen to this and wonder how it sits with Obama conservatism, let alone that of hip hop's glittery illuminati. The Ecstatic begins with a clip of Malcolm X talking about meeting extremism with extreme methods and how he will join with anybody to make an extreme change. Taken as a whole, it's a wild and vivid dream, locked into the contemporary by Mos Def's omnipresent polemic. Herein you will find a spinning multi-coloured paint box where the punch of hip hop is tempered by unlikely shards of jazz and jazz-funk, soul, electronica and (I can't think of a better name for it) voice-doodling. The artistry remains understated, modest even and, yet again, it takes several plays before the gems begin to form. Instead, and, I suggest, uniquely, the music spreads to gargantuan proportions, an arena in itself where hip hop conservatism is allowed to play no part.
Large sales - P Diddy if not Jay Z - would be an easier option, for no classic single has emerged from any of these albums. Now 35, and four intriguing albums deep, he has managed to balance high-level cinematic excursions with a burning desire to remain a multi-genre artist. ‘Auditorium’, featuring British-born rapper Slick Rick, is vintage ‘Def, its dark Dilla production and string and flute arrangements providing a beautiful background to lyrics that parody the Iraq war.Īn innovative, eclectic return to form that just might displace Q-Tip’s ‘The Renaissance’ as hip-hop album of the year, ‘The Ecstatic’ is a spectacular return to form for Mos Def, and a belated worthy successor to his phenomenal ‘Black On Both Sides’ debut of a decade ago.In a hip hop arena that often rewards the championing of ego over talent, Mos Def remains an enigma. It’s a relief that Mos Def’s laidback flow rescues what is an over-polished and otherwise unremarkable production.ĭub basslines comprise the heartbeat of the Madlib-produced ‘Pretty Dancer’ – a majestic workout supported by tight percussion – while the jazz-funk of final track ‘Casa Bey’ is reminiscent of Herbie Hancock’s early ‘80s hip-hop efforts.
Sitting completely juxtaposed to said vibe is the following effort, ‘Life In Marvelous Times’, which is more in keeping with the over-saturated sounds of Kanye and Lil Wayne. ‘Quiet Dog Bite Hard’ is quite simply one of the best hip-hop tracks in years – smacking of The Roots’ ‘Don’t Say Nothin’’, its be-bop-swing infusion makes body parts you didn’t know could even move dance beyond control. ‘History’ reunites the Black Star team, with Talib Kweli joining in on the Dilla-produced track, its Mary Wells sample being the backbone of this instant classic. ‘The Ecstatic’ is littered with contributions from and collaborations with celebrated producers, including the late J Dilla and The Neptunes subsequently, the record resonates with inventive samples, choice guests and, most importantly, soul. Mos Def proves he still has his finger on the cultural pulse and uses a poignant speech to promote ‘change’ - opting for Malcolm X as his messenger of choice (instead of Obama) to kick off proceedings, before an infectious rock-guitar riff pulsates underneath aggressive, stabbing lyrics, which appear to play on Mary Poppins’ ‘Supercalifragilisticexpialidocious’. Whilst recent albums ‘The New Danger’ (2004) and ‘True Magic’ (2006) were both met with mixed receptions from critics and fans alike, it appears with ‘The Ecstatic’ the 35 year old is back at the top of his lyrical game and is set to reaffirm his position among genre luminaries. Within the hip-hop hierarchy, Mos Def (born Dante Smith) rightly stands shoulder to shoulder with the likes of The Roots, De La Soul and Q-Tip.
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