Back
in 2012, Cypress Hill were at a crossroads. Having released their
last project, Rise Up, two years prior, the founding trio of the
group, made up of rappers B-Real and Sen Dog alongside their
producer-slash-deejay Muggs (Eric Bobo also counts as a member, but
he has nothing to do with today's article), counted themselves as
members of a musical genre that none of them felt as comfortable with
as they may have before. This was evident when you recall their
excursions into rap-rock and reggae, which I'm sure most of us would
like to gloss over, but that shit really happened, you can't will it
out of existence. So they did what any reasonable rap group might do
when faced with career-altering decisions: they went to the club.
Now
some of you two may be familiar with dubstep, a sub-genre of dance music that
seems to have been designed solely to differentiate old people from
their youthful counterparts. It's kind of like being at a rave in
the 1990s, with the pacifiers and glowsticks and mostly shitty music
mixed in with genuine classic tracks and the drugs that can
alternatively speed up and slow down everything that is happening
around you, and if there's any rap group that is familiar with the
effects an illicit substance can have on a listening experience, it
would be the three potheads in Cypress motherfucking Hill. (Side
note: one of the best examples I've found in media that most closely
represents what it's like to go to the club when you're out of your
twenties was on that one episode of Spaced (I believe it was in the
first series) where the group plans to go out, and then completely
overdoes it. You just can't be as spontaneous as you were in your
youth: everything needs to be planned in advance. I like to believe
that the members of Cypress Hill made a date with one another to go
club-hopping the following Saturday, and lots of naps were taken
beforehand.)
Cypress Hill - Cypress x Rusko EP (June 5, 2012)
The
trio chose to go on an extended hiatus while forging their own paths
within our chosen genre. B-Real and Sen Dog stumbled upon the
then-newish musical fad through the UK-based Rusko, whose own take on
the sound falls on the side of slightly more conventional, if only to
garner a larger fanbase (and get his videos played on MTV, which
usually shows them at three o'clock in the morning during Clubland).
Somehow this partnership resulted in five tracks packaged together simply as Cypress x Rusko EP,
as B-Real and Sen Dog felt inspired enough to apply their nasally
tones and their gruff hypeman vocals, respectively, to a collection
of noisy noise-like noise.
1.
LEZ GO
The
underlying music isn't great, but “Lez Go” ultimately works,
thanks to B-Real (and to a much lesser extent, Sen Dog)'s commitment
to not getting lost within the instrumental. Rusko goes out of his
way to create a sort-of hip hop-esque narrative with his electronic
bleeps and bloops, while B-Real complies by reciting two verses that
illustrate just how much he understands what Rusko was trying to
accomplish on here. As a result, “Lez Go” is entertaining,
wholly inoffensive hip hop (well, if you conveniently forget about
the casual swearing) that just so happens to have a busier beat than
most rap songs today. Not bad.
2.
ROLL IT, LIGHT IT
For
what I feel are obvious reasons, I was afraid that this song was
going to be a Rusko-sanctioned remix of the underrated Cypress Hill
song “Roll It Up, Light It Up, Smoke It Up” (the group's
contribution to the Friday soundtrack). Thankfully, it's an original
composition. Unfortunately, though, it isn't a very good one.
Rusko's dubstep tendencies directly contradict how relaxed one is
supposed to feel after smoking a bowl: this shit would make even the
most chill pothead paranoid that the Blu-Ray player is out to kill
him. As for the rhymes, well, I realize B-Real and Sen Dog made
appearances, with actual verses and everything, but none of this was
good enough to not make me want to skip over it.
3.
SHOTS GO OFF
Rusko
builds his beat around the sounds of gunfire, which is innovative for
dubstep/EDM but rather par for the course in hip hop. Still, it's
only mildly annoying, which is a plus. Sen Dog actually spits the
first verse, something he so rarely gets to do, while B-Real brings
up the rear, but while these two sound far more alert than you may be
used to (hearing guns firing all around you would probably sober you
up really quickly) and fail to say anything truly memorable, “Shots
Go Off” isn't really all that bad, either. Huh.
4.
CAN'T KEEP ME DOWN (FEAT. DAMIAN MARLEY)
If
you ever wanted to hear Damian “Jr. Gong” Marley's vocals
processed through a computer program so many times that he sounds
like the Reggaebot 3.1, here's your chance. Rusko approximates a
decent-enough reggae-tinted instrumental that both B-Real and Sen Dog
sound fairly terrible over. Seriously. Neither man seems to be sure
of their respective abilities, and the music overpowers them and
takes their lunch money at every turn. This was a no.
5.
MEDICATED (FEAT. YOUNG DE)
This
was so bad that I'm going to cut this review short. Oh wait, the EP
is over anyway? Wonderful.
Not
to be outdone, Lawrence "DJ Muggs" Muggerund, who didn't even really contribute
all that much to Rise Up in the first place due to outside
commitments, happened to also “discover” the same musical genre around the same
time, and felt the same way his Cypress Hill partners claimed to in
order to not make it seem like simple bandwagon-jumping: he believed, like Sen Dog before him, that "dubstep is a natural progression of hip hop).
Muggs was no rapper, though, so his approach to the unknown took a
more reasonable tactic: he's a producer, so he started producing
fucking dubstep tracks. Duh. Now Muggs wasn't one to shy away from
musical genres outside of hip hop: his trip-hop album, Dust, was
released in 2003 and began collecting dust on store shelves in 2003.
Still, I like the fact that most of your favorite producers and
rappers are actively aware and enjoy other artists outside of their
circles: that's why I can't understand anyone that “only” listens
to rap, or “only” listens to country, or whatever. You guys are
fucking up: open up your mind and stop missing out on life and stuff.
Anyway.
For obvious reasons (read: Cypress Hill is a rap group), Muggs has
always been more successful when he worked alongside a rap outfit of
some sort (see: Cypress, House Of Pain, any of those Soul Assassins
projects he released that were mostly pretty good), so instead of
pairing up with a Rusko or a Skrillex, he chose to craft the beats
himself, but hired rappers to perform over them. This must have been
very disappointing for the artists chosen, which include underground
favorites like Freddie Gibbs and Danny Brown, who got to work with
one of the most legendary producers in the game (yeah, I said it),
but for a project well outside of their comfort zone (although I mean
that statement more for Fredward than I do Danny, who doesn't
discriminate when it comes to beats).
Muggerund's
work ended up stretching out over three separate projects: two EPs,
released in rapid succession, and the actual album, Bass For Your Face, released earlier this year. Which makes for a lot of what he
has named “West Coast dubstep” for a hip hop blog to handle. But
hey, you're probably on winter break or something, so you have the
time to parse through this.
1.
DANK (FEAT. A$AP ROCKY)
Have
you ever wanted to reach into a song and slap the shit out of the
artist for having ever conceived of it in the first place? No? Just
me? I take this shit too seriously? Be that as it may, that was
exactly what I wanted to do to Muggs after listening to this
bullshit. Muggerund's idea of "West Coast dubstep" seems to be a “everything
and the kitchen sink, and also really goddamn loud” approach, making “Dank”
sound disjointed, migraine-inducing, and, worst of all, not remotely
entertaining. Fans of A$AP Rocky's performance on the
Skrillex-produced “Wild For The Night” might feel the need to
check this one out: I beg of you, don't. Rocky barely factors, as
his occasional bars are distorted to high fucking heaven within the
Muggs instrumental that never goes anywhere. Sigh.
2.
SOUND CLASH BUSINESS
Apparently
this is the new DJ Muggs anthem: it also appears on the Sound Boy Killa EP and on the actual full-length album all of this was building
toward. This dubsteppy trap beat sounds like Muggerund's response to
the phenomena that surrounded Baauer's “Harlem Shake” earlier
this year: it's almost as though he were hoping that it would lead to
memes of its own. And just like “Harlem Shake”, it's okay in
small doses, but stretched out ten times longer than actually
necessary. Interesting enough, but this isn't the blunted Muggs work
we all know and love: in fact, I would think he had to be stone-cold
sober to put something this calculating and exact together, and you
can hear that in the final product. Not a compliment.
3.
MUGGS MOOD
Muggs
abandons this whole dubstep thing for roughly two minutes, delivering
instead a reggae-tinged “Muggs Mood”. Fans hoping that he would
also turn that particular genre on its ear, Major Lazer-style, will
be sorely disappointed, as he sticks to the status quo. It's
alright, I guess, but did it really have to be made. Was any of this
really necessary, when you sit and think about it?
4.
RICHTER SCALE (FEAT. CHUCK INGLISH)
Here's
a lame-ass pun I'm sure tons of other reviewers also came up with but
ultimately chose not to use because, again, it's a lame-ass pun: it's
interesting that Muggs calls upon Chuck Inglish of The Cool Kids to
lend some lyrics to “Richter Scale”, since the entirety of Sound
Clash Business is about DJ Muggs trying to be seen as a cool kid who
is totally into dubstep and isn't too old for it at all. Unlike
Pretty Flaco on “Dank”, Muggs decides to let Inglish's bars
appear relatively close to one another, thereby approximating what
many experts refer to as a “guest verse”. More low-key than the
rest of this EP, but still, what the fuck did I just listen to?
Chuckie is buried underneath the music, so at least he gets to
deflect any criticism thrown his way.
5.
BOW
The
fifth and final track on the Sound Clash Business EP tries its
damnedest to establish DJ Muggs as some kind of master of this
sub-genre of EDM, but thanks to a few artistic choices, it actually
leaves the listener wishing for him to get back to producing actual
rap music. There isn't anything wholly original on here, or on the
EP in general, and it's impossible to believe that this project led
to two additional attempts at dubstep domination, but guess what!
That's what the rest of the write-up is all about! Fuck, the things I put
myself through just to keep this blog interesting.
1.
SOUND BOY KILLA
For
the first time, one gets a sense of exactly what Muggs was going for
with his excursion into dubstep, aside from the obvious possibility
of a lot of fucking money, I guess, if it took off. The title track
to this, his second EP, is a little frustrating, but overall it
succeeds in sounding like what the score to The Matrix would be if
the movie were released today and was annoying as shit. Muggs infuses the proceedings with
just enough drama to make things slightly less uninteresting,
although the vocal samples used throughout take the audience
completely out of the project. Still, if this is indicative of what
he was trying to do, he could actually be decent at it with a bit more practice.
2.
DIFFERENT (FEAT. SONNY CHEEBA)
The
dubstep equivalent of a mundane existence broken up by occasional
flares of excitement immediately followed by regret. In short, this
was dull. Muggs seems to know the tools to utilize when crafting a
song of this nature, but he hasn't yet figured out how to put his all
into the track, and because of that, “Different” sounds the same
as every-fucking-thing else, for lack of a better pun that could also
double as a valid critique. I'm pretty sure that's supposed to be
Camp Lo's Sonny Cheeba credited as a guest, but unless he's the dude
who shouted two random ad-libs that Muggs replays throughout, I
couldn't find him at all. Bleh.
3.
SOUND CLASH BUSINESS
This is the exact same track as from the previous EP.
4.
PEOPLE OF THE EARTH
Some
of you two might be thinking to yourselves, “Max, you're clearly
not going to 'get' these songs because you're not hearing them tin
the proper context: you're not at a club and you're obviously not
high right now, since you're still writing coherent sentences,
although you are still writing this sentence as though you truly
believe that anyone reading this would actually give enough of a shit
to think it.” And you're right, to a point: if the song were any
good, then drugs and/or alcohol would only enhance the inherent
goodness of it all, but if the track is shitty, then it would have
the capability of harshing my buzz. “People Of The Earth”, and
its tendency to throw everything in Muggs's computer at the listener,
falls into the latter category. I don't need to be high to fucking
hate this song.
5.
STONED RAIDERS (6 BLOCC REMIX)
Muggs
throws his Cypress Hill bandmates a bone, remixing a track from III:
Temples Of Boom (although, unless I'm mishearing things, he may have
actually used the Spanish-language remake) into a ridiculous dubstep
free-for-all. B-Real's nasally vocals, alongside Sen Dog's ad-libs,
serve to show the listener what is missing from Sound Boy Killa,
apparently: the lack of human interaction between Muggs and anyone
else makes it seems like the fucking machines are taking over, which
isn't appealing when the apocalypse sounds this annoying. This was
bad, folks. And before you chastise that previous statement, just
know that I realize Muggs didn't technically work with B-Real and
Sen-Dog while remixing this song, but he did work with them when he
produced the original, far superior version, so that sentence still
works.
6.
DROP THE BEAT
Most
dubstep is about waiting for the beat to drop. Well, Muggs has
managed to create a song that's all about waiting for the track to
end. At least, that's what I took away from this.
1.
TRAPP ASSASSIN (FEAT. FREDDIE GIBBS)
Kicks
off promisingly enough: Gangsta Gibbs unleashes some trap raps over a
dramatic-as-fuck Muggs instrumental that sounds more modern than his
Cypress Hill stoned masterpieces, but it's all a bait-and-switch, as
our host reverts back to his ill-advised Dubstep obsession at the
halfway point. Hilariously, though, Gibbs clears the fuck out before
the changeover, almost as though even he wanted to do with
Muggerund's questionable career move. Fredward sounds just fine, if
a bit simplistic, on his half of the track, but the back end quickly
devolves into a nightmare. Weird.
2.
SOUND CLASH BUSINESS
Yet again, the exact same track as appeared on the EP that shares its name. What the fuck, man? Was it that difficult to come up with an extra song?
3.
DEEP PURPLE
I
actually dug the hell out of this instrumental: its reggae-tinged
beat sounds like a lost song from The Specials that never existed.
Muggs bends the song components at will, crafting a solid track
guaranteed to relax the listener, and also might cause them to give
in to their weed-induced paranoia, given the creepy vibe throughout.
A nice oasis in the crappy desert I fear Bass For Your Face will ultimately be,
at least based on those two EPs.
4.
SHOTTA (ITCHY ROBOT REMIX) (FEAT. RAHZEL)
Rahzel
hasn't had all that much of a recording career after leaving The
Roots, so his guest appearance credit on here was initially exciting
and intriguing: would the Godfather of Noise create some of the
tricky dubstep poses with his mouth? How would that even be fucking
possible? But the end result, sadly, sucks. Muggs and company (as
this is a remix to a song whose origins I don't know and/or give a
shit about) turn in an amalgam of dubstep and dancehall where neither
half is celebrated, and the whole thing blows up in his goddamn face.
What's going on, Muggs? Do you need to talk to someone?
5.
COME ON LONDON (FEAT. KILLA P)
Muggs
reaches out to UK grime artist Killa P for a collaboration, but
unfortunately this is still a dubstep song. It kicks off
interestingly enough, approaching the harder, grimier sounds that the
UK is known for, but then throws everything out the window when it
remembers that, oh yeah, Muggerund was deliberately going for a
specific type of music on this project, and it had better act
accordingly, because fuck you, audience. P sounds alright, I
suppose, but it's not like “Come On London” serves as a proper
vehicle for the guest: if this is your introduction to the man, then
you'll probably never take a second look, as this shit will do
nothing for you. Moving on...
6.
SAFE (FEAT. BELLE HUMBLE)
Anyone
who actually listened to Muggerund's last attempt at branching out
from hip hop, Dust, may feel that guest crooner Belle Humble's
performance on “Safe” is merely a natural progression from
trip-hop to dubstep, as though Muggs has merely transitioned from
mimicking Portishead to actively trying to sound like an Ellie
Golding remix. There isn't anything really wrong with “Safe”,
generic sense of being aside, except for the fact that DJ Muggs
produced it: instead of blazing marijuana-laced trails as he has in
the past, here he sounds like every other fucking dubstep track
playing on SiriusXM's EDM channel at any given time. It's not good
or bad: it just is.
7.
ABSOLEM (FEAT. ROC MARCIANO)
Oh
great, Roc Marciano's sleepy, apathetic flow paired up with the
overly-caffeinated dubstep beats of DJ Muggs? Sure, this will end
well. To his credit, Marcy actually sticks around for the duration
of the track, lending two verses while in foreign territory while
Muggs does his best to not bury his guest within the pounding
electronic noise. Roc Marcy is completely out of his element, but he
still manages to sound exactly the same (read: I wasn't impressed),
because he probably didn't record to the actual beat used on here: I
wouldn't be surprised to learn later that Muggs tricked all of his
collaborators into contributing because they thought this shit was
going to be for another Soul Assassins project. Speaking of which,
we need a new Soul Assassins project, a real one, not this type of
shit. The actual music on here was alright, but it begs the
question: was Muggs trying to bring hip hop into the world of
dubstep, or vice versa? Because either way, it doesn't appear to be
working. Also, how many times can I use the word “dubstep” in a
single post? Asking for a friend.
8.
HEADFIRST (FEAT. DANNY BROWN)
Unlike
every other rapper that appears on Bass For Your Face, it would seem
that Detroit's Danny Brown would fit in the most over a dubstep beat,
given his overall malleability as an artist and also the general
company he keeps and also I like the dude, for the most part.
However, he hardly factors on “Headfirst”. Sure, his vocals are
present and accounted for, but Muggs manipulates them almost beyond
recognition, and since he didn't really contribute all that much in
the first place, the end result is a noisy goddamn mess that needs to
get off my lawn. A shame. (In my original notes for this track, I
apparently wrote that this was “a sham” as opposed to how I
really ended the paragraph; I don't think I was that far off the
first time around.)
9.
SNAP YA NECK BACK (FEAT. BAMBU & DIZZEE RASCAL)
This
song, on the other hand, somehow works. Muggs attempts an
appalling-on-paper combination of dubstep and old-school hip hop, and
manages to connect with the audience, miraculously enough. He is
assisted by the significant contributions from the UK's Dizzee Rascal
and Los Angeles' Bambu, both of whom contribute interesting
performances. Rascal is a veteran of the UK's grime scene, so he
actually fits over the Muggs production, while Bambu merely does his
thing, somehow forcing the music to cater to him instead of the other
way around. A late-game gem.
10.
UNKNOWN (FEAT. ROMY HARMONY)
The
fuck was this shit?
Bass For Your Face ends with two additional bonus tracks.
11.
WIKID (FEAT. CHUCK D. & JARED (FROM HED P.E.))
Although
Public Enemy's Chuck D. was somehow blackmailed into appearing on
this, the first of two bonus tracks on Bass For Your Face, his
performance is filtered and altered so heavily that his presence is
negligible. Sadly, the only quasi-memorable aspect of “Wikid” is
how Muggs somehow worked in the drums from Schooly D's “P.S.K.
(What Does It Mean?)” (or, if your mind works like mine, Siouxie
and The Banshees' “Kiss Them For Me”) into a dubstep track as
seamlessly as he did.
12.
SAFE (ORIGINAL VERSION) (FEAT. BELLE HUMBLE)
Is
this take so bad that the remix, which appeared earlier in the
evening, is now wholly justified? Not really. In fact, I now
believe that the song should never have been recorded in the first
place. However, I sort-of liked this version a tiny bit more, mostly
because I just heard it and I cannot be bothered to listen to the
other take again. Ever.
AND
SO? I give kudos to any artist who can successfully get his or her
message across in a different medium than the one they're best known
for, and that definition stretches to include rappers who choose to
appear, and shine, on non-rap songs. B-Real and Sen Dog end up much
more successful at this dreadful fucking exercise than their
counterpart DJ Muggs, although the primary reason for that might be
because all they had to do was rap: hell, Rusko's the dude who had to
craft all the blips and haws and whatever the fuck. Yes, a couple of
the tracks on Cypress x Rusko EP sound like what could literally be heard as the
duo punching a time clock, but they ride Rusko's beats well enough
that I was at least convinced that they knew who he was before the project
was released. Muggs, however, doesn't get to walk away as unscathed
as he did when nobody gave a shit about Dust. At least he kept his
trip-hop experiment to himself (and some no-name vocalists): Sound Clash Business, Sound Boy Killa,
and Bass For Your Face all feature guest rappers you two have actually
heard of that get knocked down several notches (save for Dizzee Rascal and Bambu, who
manage to rise above the material) in his quest to dominate a
different musical genre. The problem is that most of Muggerund's
work behind the boards sounds average at best: none of this shit
would ever burn up the clubs. I applaud the man for trying something
new, but the fact that he thought this was a good idea baffles me:
most of Bass For Your Face sounds like shit, and those EPs don't fare
very well, either. In closing, there's really no need to check into
any of these releases: I just did you guys a favor, because of the
type of goddamn hero I am. But if this is your bag, baby, B-Real and
Sen Dog squeak out ahead in this race, and Muggs should be
embarrassed about his output here. All in favor, though, of
pretending that Cypress Hill never went down this road, raise your
hands. (I've heard rumor of Muggs telling reporters that the next
Cypress album will sound more dark, like their third album III: Temples Of Boom, so it's clear to me
that the trio would also love to forget this detour ever happened. I
say we let them.)
-Max
RELATED
POSTS:
There's
more to Cypress Hill than just “Insane In The Brain”, you two.
best collection of albums ever..
ReplyDeleteHey Max, I tried that "bass for your face" a while ago out of curiosity as a Cypress Hill fan and I am still recovering. It was indeed horrible, didn't even try the others you wrote about. Kudos for sitting them all out man. Have a drink on me !
ReplyDeletethanks for taking one for the team! Dust was not that bad, depends mood your in, i liked it on a chill sunday afternoon.
ReplyDelete