The Wake

DJ Muggs vs. GZA: Grandmasters

DJ Muggs, the man responsible for the Cypress Hill beats, is back with a collaboration with Wu-Tang’s GZA called Grandmasters. The title is an overstatement, but it’s not too far of a stretch. Muggs’s beats are flawless, and GZA’s narrative rhymes outshine those of guest emcees like Raekwon and RZA, proving why he’s known as the Genius of the Wu-Tang Clan.

GZA’s lyrics have a consciousness to them that most mainstream hip-hop lacks. Songs like “Exploitation of Mistakes” use his storytelling style to tackle issues such as crime and the desperation that drives someone to murder. It’s tracks like these, where GZA is given full reign to expound his elaborate ideas, that the album finds its strides. While the four tracks that feature other emcees are worth listening to, they interrupt the flow that Muggs and GZA generate on their own.

The most consistent aspect of Grandmasters is the beats contributed by DJ Muggs. Regardless of the number of rappers on a given track, the accompaniment provided by Muggs seems perfect. With samples from around the world, the backdrop is unpredictable, but always based on strong, easily identified rhythms. While Grandmasters may not garner the hype that records such as Kanye West’s Late Registration are receiving this year, it is nevertheless one 2005’s greatest hip-hop releases. -Michael Mitchell

Tristeza: A Colores

In the worlds of both independent and mainstream music there is a definite lack of instrumental rock — most likely because reaching the delicate balance of dissonance and movement required to keep things interesting without lyrics is a difficult task. Hailing from San Diego, Tristeza accomplishes this feat beautifully with A Colores, released Nov. 8 on Better Looking Records. Although recorded in Michigan, the group’s third studio album still hints at the members’ SoCal roots. Latino influence is apparent in the titles, and some of the tracks themselves have a slightly southwestern undertone.

“Abrazo Distante,” the third track, combines an melody reminiscent of electronica with a soft, jazzy percussion part, and is followed by the lullaby-like “La Tierra Sutil.” A performance by Tristeza’s drummer, Jimmy Lehner brilliantly offsets the repetitive, intertwining nature of the guitars and keyboard on this track.

Don’t be scared off by the classifier “instrumental” — none of the tracks on A Colores feel empty without vocals. The album may initially seem to blend into one amorphous jumble of wordless music to the unaccustomed ear, but the fog clears quickly. It soon becomes obvious that Tristeza’s ephemeral, airy guitars and keyboard don’t require words to speak. The album is thought provoking in a way that might otherwise be impossible with the interference of mediocre lyrics. One of the fundamentals of instrumental music is putting the listener in the driver’s seat; A Colores is the soundtrack to a movie called life in which you, the listener, provide the content. -Rachel Labine

Blockhead: Downtown Science

Underground hip-hop super producer Blockhead took a page out of the vision of NYU philosophy professor Ned Block, whose fundamental argument was that a machine has the ability to carry on a conversation with a person across a wide range of topics. New York native Tony Simmons (a.k.a. Blockhead) has provided the rhythms responsible for some of the most impressive efforts from independent hip-hop’s craftiest lyricists.

On 2004’s Music By Cavelight, Blockhead put Ned Block’s theory to test. It created a strong argument that emcees aren’t necessarily essential for a hip-hop album to reach classic status. Volumes were spoken through the beats on that album, providing a much-needed fix for hip-hop enthusiasts, as well as hipsters and jazz cats awaiting the next DJ Shadow. With his new release, Downtown Science, Blockhead again shows why he is one of the most esteemed up-and-coming producers in independent music.

The album begins on a rather somber note with “Expiration Date.” The vocals match the track’s overall melancholy tone effortlessly, resulting in an eerily soothing melody. Several of the tracks flow together with such ease that on several occasions I thought to myself, “didn’t I just hear that loop on the last track?” There are moments, however, that are memorably distinct. “Stop Motion Traffic,” and “Good Block Bad Block” are two craftily layered visions of pursuit and paranoia.

While not as intriguing as Music By Cavelight, Downtown Science will stimulate even the most critical listeners. And regardless, you get a free DVD featuring videos for all of Cavelight, so what’s to lose? -Deric Brown