Record of the Month

Pharoahe Monch

True, great hip-hop albums are thin on the ground in the mainstream these days. God knows what Kanye’s doing. Jigga’s latest record disappointed. Even Lupe – renowned for his insightful lyricism and dope beats – didn’t quite satisfy on his new album.

So, we turn to the trusty underground, and one of rap’s most celebrated and revered wordsmiths: Pharoahe Monch. The rebelliously titled ‘W.A.R. (We Are Renegades)’ is the New York rapper’s third solo outing to date, and thankfully it’s everything you’d expect it to be. That means: complex, rip-roaring wordplay; equal doses of militancy and soul; and some truly killer production from the likes of Exile, Marco Polo and Brainfeeder’s Samiyam (Monch takes on production duties too).

Whereas Monch’s 2007 sophomore album ‘Desire’ immersed itself in a more easily digestible ‘60s soul flex – with a couple of curve balls lobbed at you in the swinging, fun (but ultimately out of place) ‘Body Baby’ and slow jam-tastic ‘So Good’ – ‘W.A.R.’ harks back to ’99 and the raw energy that coursed through the veins of his debut solo effort ‘Internal Affairs’.

In fact, in some ways ‘W.A.R.’ is a more accomplished record than the Organized Konfusion member’s first solo offering. Sure, it doesn’t always ooze the cool, level boom bap aesthetic of ‘Internal Affairs’, but that’s the point: ‘W.A.R.’’s thirteen songs boast a musical complexity not evident in Monch’s previous works. No doubt due to the plethora of talented producers on board, from the laid back vibes and rounded beats of ‘Evolve’, to the orchestra of emotive strings under Phonte’s honey vocal on ‘Black Hand Side’ (the Little Brother emcee and singer is fast becoming the go-to man for on-point hooks), to the EPIC title track and its live drums and noodling guitar solos, ‘W.A.R.’ boasts a growth and diversity that makes ‘Internal Affairs’ seem monotone in comparison.

The rapper’s tongue is also as sharp as it ever was, waging war on all manner of moronic state of affairs: “If you are not performing fellatio for radio rotation / What’s the ratio of radio play at your station” spits the Queens man with vitriol on ‘The Hitman’ – quite possibly the strongest track on the album. Elsewhere, Monch continues to practise the perceptive observation he’s renowned for. Coupled with a sometimes difficult-to-comprehend-flow featuring multisyllabic rhyme structures – and an almost gleeful approach to tricky (but impressive) wordplay – ‘W.A.R.’ takes some listening to appreciate fully. It’s not an instant like. You have to work for it, but once you wrap your head around its lyrical content, it’s all the more rewarding.

A good artist can balance the mechanic of a featured artist and use it to their advantage. Here, Monch has cleverly picked a roster of artists that serve to not only complement his own vocal skill, but elevate it too. Immortal Technique, Jean Grae (who always impresses), Jill Scott, Royce Da 5’9” and old stalwarts Meal Machinko and Mr. Porter – they all make appearances that add to the record’s value immeasurably. Oh, and Stringer Bell is on it too. Enough said.

Words: Ian Hsieh

‘W.A.R. (We Are Renegades)’ is out now on Duck Down.