Erykah Badu's latest album "New Amerykah: Part One" presents the first of an installment of a series of albums to come. It breaks the conventional boundaries of R&B and hip-hop, with production by Madlib, Karriem Riggins, and 9th Wonder. Badu displays she is unafraid to experiment with her music by presenting funky-electro beats and jazzy horns, which compliment Badu's eclectic style. Unlike most other R&B artists who only sing the same old love songs over and over again, Badu tackles social issues such as poverty, corruption, and religion within her songs. The title "New Amerykah: Part One (4th World War)" integrates Badu's first name with America referring to an internal struggle between herself and society. New Amerykah qualifies as one of Badu's most personal and politically charged albums to date.
Badu challenges the idea that hip-hop is dead through her second track, "The Healer/Hip Hop" claiming that "It's bigger than religion," the people, and the government. With its melodic chants and chimes the track calls out to its audience, "We aint dead yet," bringing back the true roots of hip-hop. Rather than making a generic track about the death of hip-hop Badu resurrects the original notions of free form expression present in hip-hop.
The next track on the album "Me," gets personal, revealing some of Badu's insecurities. She does this in away that allows her to liberate herself of those faults, and delivers a message which celebrates individuality. Much of the album flows like a train of though or a doodle of the subconscious mind, lacking much structure. Most of the tracks contain repetitive chants allowing the listener to lose themselves within the music and their own subconscious. The listener experiences a form of religious or spiritual experience by listening to "New Amerykah: Part One," because of the various layers and forms. Within the track "Me" Badu relates herself to the National Representative of the Nation of Islam and critic to American society, Louis Farrakahan. "New Amerykah: Part One" also makes many bold critiques in a similar manner as Farrakahan.
With tracks such as "The Cell" Erykah speaks on issues of drugs, poverty, and corruption. She attempts to make the listener aware of these issues while trying to promote a change in society.
The sound of "New Amerykah: Part One" also differs from Erykah's previous work. Her use of electro-beats gives the album a fresh futuristic feel. She also experiments with some Eastern hip-hop sounds on tracks such as "The Healer/Hip Hop."
The final track on the album, "Honey" presents Erykah's only single of the album. "Honey" does not exactly fit with the rest of the album. Just as the title suggests "Honey" displays a sweet love song, lacking any personal or political references.
"New Amerykah: Part One" displays an evolved Erykah Badu. Much of the album flows like a dream, but each with underlying deeper meanings. The album speaks on many socio-political issues while remaining personal and even a little sweet. The album offers many fresh sounds and continues to remind us why Erykah Badu is a leading pioneer in the world of hip-hop.
Monday, October 19, 2009
Monday, October 5, 2009
Erykah Badu "New Amerykah : Part One (4th World War)" (Universal Motown, 2008)
Erykah Badu's latest album "New Amerykah: Part One" presents the first of hopefully a series of two or three more albums to come. This album qualifies as her most intimate and politically charged albums to date. The album features production by Madlib, Karriem Riggins, and 9th Wonder with funky electro beats and jazzy horns which compliment Erykah's eclectic style. "New Amerykah: Party One" presents a confident 38-year-old woman; unafraid to take risks and experiment with her music. With previous seductive albums suchs as "Baduizm" and "Mama's Gun," Erykah takes a turn with "New Amerykah: Part One" tackling social issues such as poverty, corruption, and religion. Even the title of the album (4th World War) reminds us of the bold statements being made within the music.
Eryakh challenges the idea that Hip-Hop is dead through her second track " The Healer/Hip Hop, " by claiming that "it's bigger than religion," the people, and the government. With its melodic chants and chimes the track calls out to its audience, " we aint dead yet," making the listener want to get up and make the world awaare of their existence. Erykah continues to critique the government and speak out to the people with tracks such as "Soldier" and "The Cell."
From the very beginning Erykah gets personal, especially with the third track "Me." This track acts as an autobiography/confessional to the listener. Erykah softly sings of her faults but would still rather be herself than any other way. "Me" allows the listener to become intimate with Erykah while delivering a message of individuality. Much of the album flows like a train of thought or a doodle of a the subconscious mind, lacking much structure. Many of the tracks present repetitive chants making the album itself feel like a form of religious experience. The free form of the album leaves room for thought, allowing the listener to fully digest Erykah's messages. She even relates herself to the National Representative of the Nation of Islam, Louis Farrakhan, on the track "Me" where she claims "you [ Farrakhan] are me." She presents many of his views within her songs.
What makes "New Amerykah: Part One" different from her previous albums includes her use of electro-beats throughout many of the tracks. The beats give the album a fresh, futuristic feel. The album does offer some old school Erykah with the final track honey which does not exactly fit with the rest of the album. Ironically, "Honey" appears as Erykah's first and only single for the album.
"New Amerykah: Part One" displays an Erykah Badu that has evolved over time. Much of the tracks flow like a dream but each with underlying deeper meanings. The album speaks on the poor condition of society at the moment. It leaves room for many questions and also offers some fresh sounds for the ear from the usual empty pop music played on the radio.
Eryakh challenges the idea that Hip-Hop is dead through her second track " The Healer/Hip Hop, " by claiming that "it's bigger than religion," the people, and the government. With its melodic chants and chimes the track calls out to its audience, " we aint dead yet," making the listener want to get up and make the world awaare of their existence. Erykah continues to critique the government and speak out to the people with tracks such as "Soldier" and "The Cell."
From the very beginning Erykah gets personal, especially with the third track "Me." This track acts as an autobiography/confessional to the listener. Erykah softly sings of her faults but would still rather be herself than any other way. "Me" allows the listener to become intimate with Erykah while delivering a message of individuality. Much of the album flows like a train of thought or a doodle of a the subconscious mind, lacking much structure. Many of the tracks present repetitive chants making the album itself feel like a form of religious experience. The free form of the album leaves room for thought, allowing the listener to fully digest Erykah's messages. She even relates herself to the National Representative of the Nation of Islam, Louis Farrakhan, on the track "Me" where she claims "you [ Farrakhan] are me." She presents many of his views within her songs.
What makes "New Amerykah: Part One" different from her previous albums includes her use of electro-beats throughout many of the tracks. The beats give the album a fresh, futuristic feel. The album does offer some old school Erykah with the final track honey which does not exactly fit with the rest of the album. Ironically, "Honey" appears as Erykah's first and only single for the album.
"New Amerykah: Part One" displays an Erykah Badu that has evolved over time. Much of the tracks flow like a dream but each with underlying deeper meanings. The album speaks on the poor condition of society at the moment. It leaves room for many questions and also offers some fresh sounds for the ear from the usual empty pop music played on the radio.
Subscribe to:
Comments (Atom)