Shabazz Palaces – Lese Majesty
Shabazz Palaces – Lese Majesty
Ishmael Butler (a.k.a. Palaceer Lazaro) may have filled Black Up with surreal imagery, subtly cutting commentary and pithy insights, but Shabazz Palaces is foremost about music, not words, about Butler and Tendai Maraire’s visionary productions that freely blend styles, live instrumentation and warped samples into something both claustrophobic and humorous. Their follow-up, Lese Majesty, finds them leaning into this side of their personality, crafting a dense, amorphous album of ethereal hip-hop, where Butler’s voice is often used for its sound rather than its content. While he’s still a big presence on Lese Majesty, he’s often relegated to the sidelines, even as the duo head for more quasi-conceptual territory. It’s a strategy that works in spurts. True to form, a lot of the music here is striking and fascinating, adding more electronic and psychedelic elements to Shabazz’ woozy, late-night jazz and R&B. The layered atmospherics of “Forerunner Foray” are indicative of where Butler and Maraire’s heads are at now, with that druggy, fluid flow threading its way throughout the record, from the nitrous blur of “Ishmael” to the similarly fleeting closer “Sonic Myth Map For The Trip Back.” Elsewhere the grinding guitar “Mind Glitch Keytar Theme” charts out new territory, while “They Come In Gold” and the THEESatisfaction-featuring “#Cake” could have easily slipped into Black Up. But it’s “Motion Sickness,” with its sumptuous synth tones and marimba noodling, that’s the best and most substantial track here.
Unsurprisingly, that track is also one of the few to position Butler front and center. And that brings me to the Lese Majesty‘s major flaw: its lack of weight and focus. The 18 tracks here on Lese are ostensibly broken up into seven suites, but it’s impossible to tell just from listening to it—each track bleeds into the next and over half of them clock in at about two minutes or less, meaning nothing sits in one place for long, so the whole album comes across like a shape-shifting DJ set more than a hip-hop record. Normally, this would be fine, but since the productions here are so preoccupied with the wispy, celestial and effects-laden, they sometimes lack a real anchor and can too easily slide right through the listener’s mind. Plus, the short track lengths mean some of the truly transportive instrumentals here, like “Divine Of Form,” barely get going before they disappear into the ether. The beats may be the most compelling thing about Shabazz Palaces, but Butler’s lyrics gave Black Up a heftiness and humanity the alien productions may not have otherwise had, and that’s something simply missing here. Even on the track whose title he lends his name (“Ishmael”), his voice is mostly lost in murky reverb. Fortunately, whenever Butler does get a word in edgewise, the album springs to life, whether it be the unsettling and referential “Solemn Swears,” the playful “#Cake,” or, even something as the “Touch and agree!” refrain in “Noetic Noiromantics.” His voice is otherwise too manipulated to keep tracks like “Colluding Oligarchs” or “Suspicion Of A Shape” from meandering about in their own sonic pool. It’s a disappointment, to be sure, yet even if it doesn’t all hold together, Lese Majesty proves Shabazz Palaces’ restless, creative spirit is as alive as ever, offering its fair share of forward-looking music. In other words, there’s no reason to think that they couldn’t bounce back with something as vital as their debut next time around.
Posted on July 24, 2014, in Shabazz Palaces and tagged album, black up, ishmael, ishmael butler, lese majesty, motion sickness, production, review, shabazz palaces, tendai maraire. Bookmark the permalink. Leave a comment.