DJ Shadow
The Private Press
»
DJ Shadow
The Private Press
MCA, 2002
RiYL: David Axelrod, DJ Cam, Cut Chemist, Mantronix |
So how does Shadow fare with his official follow-up (not counting the singles collection Preemptive Strike or various other projects)? As well as anyone could expect. The Private Press does not break ground like Endtroducing... did, but it showcases a wiser, more versatile Shadow, and in many ways it is a better record than its predecessor.
Shadow's style often unfolds like cinema, with many sweeping scenes that ultimately fit together. As such, several tracks exceed the seven-minute mark, but these arresting epics stand out for their originality and amazing production quality. "Monosylabik" is a track that Shadow himself admitted will be hard for many of his fans to grasp because it is so different from past work. There is a cold, mechanic quality to the different samples that fly at the listener in rapid dizzying succession. "Monosylabik" is actually made up of several different sections with dissimilar colors, however they are well linked into a congruous whole by the rhythmic cadence that is present in the melody of each part. Even though the song is somewhat segmented, it works well overall as a piece of music.
"Blood On The Motorway" has a mystical feel, and like other songs in his catalog, reveals Shadow's interest in the afterlife as a theme. Envision the journey that might originate from the time a heart stops beating until a "bright light" of some sort is encountered, and that's where this tune travels. A three-second silence is boldly placed mid-song, separating the instrumental section from the entrance of the empassioned male vocal. This increases tension to captivate the listener, while adding to the narrative aspect of the track.
Even though he has one of the largest and most varied record collections imaginable, Shadow likes to use primarily newly purchased records to construct each of his releases. Since 99% of his music is sample-dependent, whatever genre predominates local record stores at the time tends to define the album's sound. On The Private Press, that sound is heavy in new wave and '80s rock. Indeed, "Right Thing" and "You Can't Go Home Again" are two tracks on which the "me decade" comes through full force. "You Can't Go Home Again" is the most impressive track on the disc, because it is the first lengthy number that does not bog itself down. Several dramatic changes are not necessary to hold one's interest, and the upbeat, Devo-style bass line commits the track to memory. It is evidence that Shadow has matured, because it makes a strong statement ("here's a story about being free") without having to rely on dark timbres or flailing drum lines to drive the point home.
Major debate goes on over the question of whether Shadow plays hip-hop or if it is merely an influence to him. Many feel that Shadow does not fit into the traditional hip-hop niche well enough to be classified as part of the genre. Some want to delineate Shadow a turntablist, while others claim he doesn't scratch or trick enough for this distinction and want to place him in a trip-hop category. As The Private Press proves, Shadow is trying to innovate and expand the hip-hop horizon. He recently described his record making process to Jockey Slut: "To me, it's about manifesting my original understanding of hip-hop, which was taking what's around you, subverting it, and spitting it back out through a hip hop paradigm." The hip-hop community should not be asking "does this fit in" -- it should be embracing releases like The Private Press as an elevation and continuation of the "paradigm" that Shadow talks about.
There will never be another Endtroducing..., but Shadow has added new shades to his musical palette here. He no longer employs stock tactics like dry, aggressive snare drums and dark strings to carry the load. There is more sonic variety from track to track, and Shadow has proven he can make upbeat, even danceable records. Every detail is placed to further the narrative, and the tracks flow in the style of a classic rock LP. On The Private Press, DJ Shadow has shown he can continue to combine his varied influences to explore the many uncharted territories of hip-hop and beyond.
WILL MONROE |