HIEROGLYPHICS – THE KITCHEN Review

By SUNEZ

The sincerity of business honorably done is one of the greatest rarities—in fact, who the fuck of the poor really ever seen that and who of the rich ever needed to have done it.  What is this sincerity? It is that we are in a hell that makes a man make merch of his service and workings into sellables. When a man needs to live longer than an ol’ slaves years he searches for his niche.  The sincerity is when the market, them peoples he pitches to, are not the place he can make sellables for. No. Brother, his market is them peoples that truly find his truest reflections in service and workings as their needed buyables.  Hieroglyhpics are seven supreme MCs of all time  (Del the Funkee Homosapien, Casual, Opio, Tajai, Phesto Dee, A Plus, Pep Love, an ill producer (Domino) and a powerful DJ (DJ Toure) that found the people that need their sincerely created sellables.

Since 1993, ‘til infinity has meant a balance of innovation and preservation that shows little conflict primarily because immediate mass sales and cashed critic acceptance is irrelevant.  As evidenced since last year over half the crew have released exceptional albums offering the consistency of their lyricism and pushing their sound subtly each time with Boom Bap that is far ranging in highlighting new producers (Del’s Attractive Sin LP with Parallel Thought), producing themselves (Phesto Dee’s renegade funk beats on his Background Check debut LP) or Tajai’s joint album with the Sacramento five man DJ click The Sleeprockers (Machine Language).  Over two decades, Hiero has made exceptional Hip Hop music with the integrity of preserving its roots and innovating each time with their own way.

As Chuck D once noted, this balance of veteran artists excelling at their treasured gifts yet offering new experimentation is the ideal blend.  With The Kitchen, Hiero reps together for this 3rd decade, using the Sleeprockers to propel the sonics, offer a deeper social commentary while preserving the best of their tales as everyman MCs (“I’m standing on stage, but not above y’all/We A-Alikes if you listen to the music” – Pep Love – “That Merch”), their complex verbal agility (Phesto Dee on “Exciting”), cleverness (Casual’s pitch inflections on “All As Above so Below”) and perfected MC pacing (Tajai on “Nutrition”).

With half of the album produced by Opio with the rest mainly spread through Del, Phesto and Gully Duckets, the sound is essentially daytime funk treats with hardened breaks.  Mixed, cut and blended brilliantly by the Sleeprockers the tracks’ sharp, airy sound binds as a gutter mixtape with treble and penetrating snares and kicks that make for a live energy.  Coupled with the increased clarity, focused topic structure and seamless execution, the familiarity of the beats http://premier-pharmacy.com/product-category/womans-health/ yield to an enthusiastic study of their brilliant workmanship.  Opio’s key blinging “Indonesia Interlude” with belled drums immediately has the Sleeprockers dive in like a b-boy and thicken the track with swarmy cuts. Then all to be cut into Opio’s “Highway Five” loops of Del chanting “something to ride to” with ill bottoming out bass drums that fluctuate with cascading scratches.  This is a rarity on record and no Hiero official albums are blessed with so many cuts and interludes.  Incredible tracks as “Immortals,” the type of epic snare banger and cymbal crasher these legends deserve to bomb fake MCs through is exalted greater by the cuts.  Gully Duckets also offers an archetype of Hiero hardcore with “The Mayor” with bass funk burps and horn blasts through elongated bass drum booms and a punctuated snare bap.

All to the jewels of the lyricism.  These are MCs that have no limitations in skill and there only flaws are the ones expectations imposed on them.  As a crew, their integrity is waxing on sex tales (“All As Above So Below”),  relationship woes (“If I’m sounding like an ass then I’m sorry to be/Hold on listen for a second before you start it with me” – A-Plus on “It’s Partly Me“), their legacy as rhymers (”Over fascinating, activate the truth/My parents made passionate love/who test tube/You in dire straits, Hiero to the rescue/Flow been crowned black/check the world renowned stat” – Tajai on “Livin’ It Up”) and their powerfully clever social commentary built on daily insights and not overt political mandates (“Gun Fever”).  As always, they effortlessly reveal the integrity of Hip Hop through the textbook crafting of rhymes.  When, on “Indonesia,” Del verses “Militant and diligent minded/On any rhythm that I’m cosigning/When matters get thick Which is cataclysmic/Like crashing through bricks/ and to acting with this…” to eventually lead to Opio bar-in “Really for the times that we live/Let’s build many never-wrote lines like this shit/It’s intricate lines vs. simpleton minds/When temperature climbs/ like Tienanmen crimes…” they uphold Hip Hop integrity.


It’s an integrity that takes listening, to hear the respectful time taken to layer the verse, making content as intricate as the sound of its blended letters to profile the unique voice and leave an embeddable comment on the intelligence this Art takes to make and demands of the listen. Hieroglyphic albums aren’t epic combinations of the crew that need to happen to hear their unified sound and theme (i.e. Wu-Tang Clan) in its purest and most direct form.  However, The Kitchen is the 3rd declaration that they are one of the greatest collectives of Hip Hop artists with an ever increasing sincerely ill sellables aka merch.

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