Blogarhythms

The internets (and the blogosphere specifically) is notorious for being a fast-paced flood of information where all that matters is getting it fast, getting it first and then forgetting about it as soon as the next “it” comes along. But personally, I like to take my time with this blog shit.

Sure, my broadband connection is a virtual fire-hydrant drowning my brain with a seemingly unstoppable flow of media. But I make it a point not to rush to press the “post” button too fast. And I almost never post about something that I haven’t spent time getting to know, analyzing and appreciating before I decide to tell others to dedicate their time to doing the same.

Today’s post however took shape in a proverbial flash. I’d like to think that this newfound speed was influenced by the rapid-fire flashes of heat-fueled lightning which lit the New England sky outside my window just a few short hours ago. But the truth of the matter is that the music of Baltimore, Maryland-based five-member Hip-Hop band Soul Cannon, whose new album Kaboom I only discovered during the aforementioned lightning storm, is just dope enough to win my favor in such a short timespan.

The group’s press materials describe them as residing at “the intersection of bands such as The Roots and Deerhoof,” a comparison that attempts to encapsulate the band’s mix of live-band Soul and Jazz grooves, Indie/Alternative Rock experimentalism, and politically-minded, punchline-laden Rap vocals. My gut instinct is to dismiss such comparisons as over-simple Public Relations hyperbole. But vocalist MC Eze Jackson does get his Black Thought on a little something over an easy-strolling soulful Jazz strut reminiscent of Do You Want More?!!!??!-era Roots (if they indulged in psychedelic freakouts mid-song) on “Authority.” And though I wouldn’t necessarily compare it to Deerhoof, the cacophony of screeching Rock guitars and crashing drums Eze spits his fiery rhetoric over on “Phrases” could certainly garner comparisons to Saul Williams‘ hybridized output, if not that of bands like Dragons of Zynth, TV On the Radio, et al.

The rubbery grooves, repetitive chords and melodic changes on tunes like “Hands High” and “Soul Slammin’” on the other hand sound like the band was trying to recreate the production style of mask-wearing producer/emcee MF Doom with live instruments. Both tunes which find Eze dropping verses more concerned with touting his skills, casting doubt upon those of his competition and moving the crowd rather than the socio-political commentary that dominates his lyricism for much of the album. While he balances a bit of both on “Dilapidated Buildings” — a Summery slice of jazzy Rhodes-fueled Soul that gives the band a chance to deliver on the promise of their name — and “Verbal Intercourse” — a syrupy Psyche-Jazz jam — respectively.

Soul Cannon “Hands High”

The album is available from iTunes, which should allow you to get it into your ears quicker than it took me to decide to post about it. But if you like to take your time with things, and don’t mind waiting for good old-fashioned mail order, a CD version is available directly from the band.

I don’t know if Soul Cannon’s album is available at the “recca sto’,” but according to the Under the Cherry Moon-qouting lyrics of “Evil Love” by Saint Louis, Missouri’s Black Spade you can definitely obtain Sam Cooke albums there. I assume Spade’s album To Serve With Love can be found on record store racks as well. I already told you to get yourself a copy months ago, but if you need more convincing you should check out the new video for the aforementioned “Evil Love,” which happened to be my favorite track on the disc, below.

Black Spade “Evil Love”

Shout out to Bling47 affiliate Kenny Fresh for hipping me to the clip’s existence… Via the lightning-fast internet… During the very same lighting storm.