Cadence Weapon, the moniker chose by
Western Canada's rapper Rollie Pemberton utilized
a broad (and still cohesive) palette of beats (from electro to techno) and virtuoso claustrophobic studio arrangements (from samples to scratching) on
Breaking Kayfabe (Upper Class, 2005).
Pemberton's dysfunctional production flirts with a
hard-rocking electronic riff in Oliver Square,
delves into quasi-cacophonous industrial-chamber music for Grim Fandango,
indulges in the chaotic frenzy of 30 Seconds,
cuddles the catchy hypnotic loop of Julie Will Jump the Broom
unleashes the hysterical industrial polyrhythms Fathom (with a Bach-ian sounding organ loop that could be out of the epic prog-rock of Emerson Lake & Palmer).
The rapping is a secondary feature.
Some of the pieces virtually rely only on sound effects, for example
Sharks (a digital ticking, a harsh distortion, and assorted melodic counterpoints to the rap).
Fragmented, disjointed, contradictory, self-defeating, Pemberton's sound
was a stunning representation of the existential and social
convulsions of the contemporary world.
Afterparty Babies (2008) was still dense and busy, but perhaps indulged
too much in sound effects for the sake of indulging in sound effects, while
restraining the rhythmic variety of its predecessor (basically, all the tracks
are variations and deconstructions of house music).
Both production and rapping disappointed on
Hope In Dirt City (Upper Class, 2012), despite the single
(Translation by/ Tradotto da xxx) |
Se sei interessato a tradurre questo testo, contattami