Cadence Weapon

(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )

, /10 Breaking Kayfabe (2005), 7/10
Afterparty Babies (2008), 6.5/10
Hope In Dirt City (2012), 5/10

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 and 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 Conditioning.

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(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )
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