Do we here at BGM know the first damn thing about jazz? I don’t want to speak for Chris, but I’m going to say the answer is a resounding ‘hell no!’ (Although despite what some fans may say, I know enough to say that Angine De Poitrine is jazz, thereIsaidit.) Now, do we here at BGM know the first damn thing about hip-hop? I’m gonna throw Chris under the bus here (sorry,) but while I’m sure he’d say no, I’m going to say yes! While not as well-versed in those arts as I am in metal, I can say I have supped at hip-hop’s bounty.
Why the hell are we talking about this at all? Isn’t this the space where I normally would talk about some gore-soaked overdrive fest, with art and themes about human depravity and the wanton destruction of the universe? Yes, it is! (Is that a raincoat? Yes, it is!)
But not today.
It’s important to get outside the comfort zone. To that end, today we’re taking on the debut EP The Enigmatic from Chicago jazz-hip-hop fusion combo The Afrofuturistics. And man, is it fun.
The EP has a bunch of novel features to talk about, all of which add up to a cohesive whole. As mentioned, jazz may not be the strong suit around here, but groove sure as shit is, and The Enigmatic has groove in spades. The beat of opener “These Things Happen” is catchy enough, but dig down and tune into the rhythm, and there’s a saucy, thick bass line in there that subtly establishes the hook and never deviates while the vocalists above it create.
The low tones featured throughout the twenty-eight minute runtime of the EP are the central star, which means yes, as thoughtful as the lyrics are (more on this in a minute,) the music is really the focal point, which just goes to remind that this is a jazz album first, and everything else second (never mind the instrumental pieces.) There’s an additional twist, though - conventionally, brass tones are used to brighten a piece, to make it prouder and more bombastic, but in the case of the title track, The Afrofuturistics make them sound uniquely dour and almost threatening. This only serves to highlight the airy, ethereal saxophone interlude all the more.
The lyrics, and their delivery, are thoughtful and well-parsed. This is more Saul Williams than DMX, with references sprinkled through both modern (DraftKings) and dated (Alanis Morissette and Calgon, which I’m not sure they make anymore.) Still this is part of the novelty of the EP as well, as briefly discussed before - the lyrics are nearly secondary, or at least companion to the music, rather than the fixation of the exercise. Even so, the bars we get to enjoy are a refreshing change from the false bravado and repeated cadences so pervasive in modern hip-hop, and they’re delivered in a slow-burning style similar to…well, does anyone remember Camp Lo? They’re the closest analog.
There you have it, then. If you’re looking for a different flavor to get you through the rest of the summer, try out The Afrofuturistics. And if you’re unwilling to expand your own horizons and try something new…well, I don’t know what to tell you. Must be a boring life.
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