Things used to be very limited and stale in hip-hop a long while back. Rappers seemed to always follow the same template and work from tired, worn-out rhymes and samples (some still do). It took a while for artists to learn that hip-hop could incorporate more than pagan poetry and aimless beats. However, to name the blessed precursor of this infected approach to the genre is a matter of who was born first, I'm afraid.
Besides, hip-hop has the same genetic code, aiming at diversity, since its heyday. It was just waiting for someone to decipher the data. Fortunately, some Arquimedes screamed "Eureka!" way before 50 Cent was even born. The Tape vs. RQM have inherited this infectious take on all things hip-hop. The duo's latest release is a conundrum of black and white rhythm, neo-funk, soul, loose synths, pale but determined IDM glitches, and, oh well, hip-hop.
Still, Estonji's rework of "Innocent" is not as inspired and promising as the rest of the album – it's definitely not the best track to start things off. There's a proverbial, sutured level-jumping attitude that is somehow incompatible with what's left of "Public Transport". (Actually, the album was first meant to be called "Black and Bruised: The Mixtape For Suicidal Lovers". We can only thank the guys for giving it a second thought.)
Berlin's producer Robot Koch (of Autodrive and Jahcoozy fame) makes the bed where emcee RQM (I-Wolf, Stereotyp), hailing from New York, puts his words to sleep. It's a fructuous, juicy combination, really. And it does apply for bus/subway-listening. The Tape vs. RQM seem to have read from the same compendium used by Aphex Twin but, on tracks like "Gunplay", and its constant advise "this is not a love song", they kind of make shadow over their alleged mentors.
"Public Transport" has a sound that is more streetwise and thus street-friendly and yet, they pull the right buttons so you can feel warm and cozy. Go to the title track and experience four minutes of slow-motion deflowering. A decelerated discovery that will have you hearing some cricketing noises throughout the song, as well as a disenchanted (but inspired) piano leaning against a teardrop of static electronics.
I would say this album is haunted in a way, but that would give the wrong impression of the whole mood. It's a thrilling experience, for sure, capable of inducing pant-wetting excitation ("7 Hours") and tear-dropping sympathy ("Robots Cry Too" and "Another Lover"). A pleasant experience that you will not find on CD or vinyl format. It's a digital and limited cassette edition only. And each tape is hand-designed or repackaged by a different artist. Yummy, that is tasty!
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