Tuesday, October 20, 2009

As a special preview of the next online article @ ElevenMusicMag.com, here's a sneak peak of my review on Anti-Pop Consortium's new disc. Aren't you lucky? Be sure to pick up the next issue of the magazine when it hits stands. Check back here for more details.
Dig the article below...

So-called left-field hip-hop has increased in popularity recently after its relative disappearance in the late 90s. Electronica-infused hip-hop production has garnered the lime light with releases such as Kanye West’s 808s and Heartbreak and Kid Cudi’s Man on the Moon: The End of Day. But long before Yeezy and Cudder ever considered integrating the synth so substantially, Anti-Pop Consortium was paving the way.

As if sensing the reemergence of left-field from beyond the grave, Consortium members Beans, High Priest, and M. Sayyid reformed the group in 2007 after a five year break. With their new release, Fluorescent Black, this reformation is finally vindicated.

Fluorescent Black is as much a production project as it is a lyrical one. Heavy use of effects and angular rhythms define the album. Past and future unite as tribal and electronic influences are organically blended, layered under aggressive vocals with a grave message.

The record is a 17-track dystopian epic with various themes interacting throughout. An inevitable conflict brews while all-pervading technology overwhelms an unassuming population. A dark warning finally resounds on the final track as revolutionary spirits are called out of hiding.

In the end, Fluorescent Black stays true to the Anti-Pop Consortium credo: “disturb the equilibrium.” While not necessarily as innovative as previous releases, the album maintains a certain level of experimentation without overlooking lyrical prowess. -Mike Gibson



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