Fade
The Beat Strangler
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illest o.g.
MOS DEF IS RAP'S FREE SPIRIT. He could hold the distinction of being the most major independent artist of today. Independent in a sense to where he is given artistic freedom most rappers only dream of. Successfully dipping his hand in other ventures while maintaining the respect of Hip-Hop heads.
It's been almost 9 years since break out appearances with the 'Bush Babies' and 6 since the Black Star collaboration with Talib Kweli (which raised the popularity levels of both artists significantly) bringing both MC's acclaim within the Hip-Hop world. After his first full length album 'Black on Both Sides', Mos went silent musically. From hosting 'Def Poetry Jam', roles in feature films, appearing in skits on the 'Dave Chappelle show', and even earning an Emmy nomination for his portrayal of black heart surgeon Vivien Thomas in HBO's Something the Lord Made, it's no surprise that this album is so diverse with the numerous life experiences and influences during the musical hiatus. After such a time off, Mos Def's approach to music has changed, but that same creative growth may throw a few listeners off who may be expecting more "Hip-Hop", maybe even a Primo track.
Perhaps the most anticipated sophomore release since Big Pun's "Yeaah Baby", this is nothing like Mos has ever done. Mos Def makes very clear on this album his love for Brooklyn, his appreciation for other genres of music (namely Rock & Roll) and that he can still spit. He doesn't seem to follow any sort of formula, and the spit is sparse but the result is a cohesive piece of work.
Mos, uses a mixture of tones to open with, the first seven tracks are Rock, Blues, Funk, and Jazz inspired. Mos leans on "Black Jack Johnson" for much of the beginning of the album, almost auditioning his group to the world in anticipation of a formal release. The next few tracks give the album its character "Sex Love and Money" is an upbeat joint, and Mos comes off on "Sunshine" which is lyrically on point. Kanye does his thing behind the boards with this one, manipulating the 5th Dimensions "Let the Sunshine In" to simple satisfaction. Mos goes out on a limb to prove that you can make soul songs without overbearing soul samples.
The only guest appearance on the album outside of the "Black Jack Johnson" collective is Minnesota. Def Poetry Jam's resident DJ also has a production credit on the album for "Ghetto Rock" and appears on the track "Grown Man Business".
While there is always room for improvement, three tracks might entice fans to reach for the song skip button. "War", "The Panties", and "The Beggar" all serve a purpose on this album but they still seem out of place. "War" is your standard anti-establishment rebel song, chock full of political energy but bland in the long run. "The Panties" and "The Beggar" is music to make babies by however; two of the slowest songs on the album are placed strategically almost to prevent any extended periods of head nodding.
An otherwise original and honest piece of work, The New Danger may have to grow on you. On first listen even the most diehard Mos Def fan might be disappointed. While there is something for everyone on The New Danger, The New Danger may not be for everybody. The Hip-Hop songs may be too raw for the kids in the suburbs, and too many "other" influences may be too much for the Hip-Hop heads.
Maybe expecting the mixed reviews, Mos ends the album off with somewhat of a statement on "Champion Requiem" (Produced by 88 keys) releasing ambitions for a place amongst Hip-Hop's greats, stating "Even if you don't see it my fam, I believe that I am, truly gifted..." The fans seem to agree and with no video and no single on the charts The New Danger debuted at number 5 on the billboard albums chart, and number 2 on the Hip-Hop albums chart, selling 95,000 copies in its first week. But don't be surprised if the acceptance isn't widespread.
I'm feeling it, so you probably won't.
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