Mos Def – The Ecstatic (Downtown: June, 2009)
In university I became more interested in hip-hop but I would not for a minute consider myself anywhere close to an expert on hip-hop music. I was more interested with the things that surrounded hip-hop music, i.e. the history of the oppressed, inner-city realities, and the attitudes of (predominantly) young men. Needless to say, I always put a priority on hip-hop that delivered sharp and insightful lyrics, was politically charged, and told a story rather than had "killer sample." There were many artists that I truly enjoyed for this reason alone, Mos Def being one of them.
Mos Def is a somewhat polarizing figure that much of mainstream society simply cannot handle. He is outspoken and articulate (almost enough in itself), he is a Muslim (again), and he is politically conscious hip-hop artist with a chip on his soldier (and for good reason). He has appeared in feature films, on talk shows, and in several television series but it’s not his work on the screen that is most impressive. His most inspiring work involves his collaboration with Talib Kweli as Blackstar and his own amazing solo work, the latest of which is called The Ecstatic...
The first track, Supermagic, begins with an incredible audio snippet from Malcolm X from a debate at Oxford in 1964. It’s a great excerpt for me personally as it is pretty close to what I actually believe in. People always say that extremism is the new weapon of mass destruction and I would partially agree. Though I think there’s more to it than that – I think extremism, in the sense that Malcolm X is using it here, can be a terribly creative and positive force. The experience for most people in the world is miserable, is tragic, and is “nasty, brutish, and short.” It’s worthwhile to quote the passage in its entirety (note that the snippet in the song is between the **):
"I read once, passingly, about a man named Shakespeare. I only read about him passingly, but I remember one thing he wrote that kind of moved me. He put it in the mouth of Hamlet, I think, it was, who said, ‘To be or not to be.’ He was in doubt about something—whether it was nobler in the mind of man to suffer the slings and arrows of outrageous fortune—moderation—or to take up arms against a sea of troubles and by opposing end them. And I go for that. If you take up arms, you’ll end it, but if you sit around and wait for the one who’s in power to make up his mind that he should end it, you’ll be waiting a long time. And in my opinion, the young generation of whites, blacks, browns, whatever else there is, **you’re living at a time of extremism, a time of revolution, a time when there’s got to be a change. People in power have misused it, and now there has to be a change and a better world has to be built, and the only way it’s going to be built—is with extreme methods. And I, for one, will join in with anyone—I don’t care what color you are—as long as you want to change this miserable condition that exists on this earth."**
This song (and excerpt) effectively sets the tone for the rest of the album, which is fantastically solid by hip-hop standards, each song moving into the other rather seamlessly. Also on Supermagic, Mos is able to use the word(?) phrase(?) "Supermagicblackoriginfreshlyoutofdopeness," which by itself is an accomplishment.
Auditorium features a verse by Slick Rick and boy does he sound slick! This is the first track on the album where we get to hear Mos Def actually rapping.
Wahid is a short but poignant piece, full of anger and spirituality – an acidic tapestry to be sure – something that is common throughout the album.
Def’s timing and delivery is impeccable on Priority, which again brings to mind the image of a spiritual man bracing himself against the wind of debauchery and decadence.
Quiet Dog begins with deceased Nigerian traditional musician and human rights activist Fela Kuti talking about keeping his integrity amid increasing pressure from the government. The song is percussion heavy with what sound like clappers throughout. It’s really fast and manages to blend a lot of styles, and the traditional African element is undeniable.
Life in Marvelous Times begins beautifully with a heavy bass beat flecked with hand claps and Mos Def talking about his young life in Brooklyn and the inequality he sees there, “…they green grass is green, our green grass is brown…”
The Embassy is a nice little rhyme and you can tell Mos Def has a bit of anger towards diplomatic officials, not that I blame him. As someone who works amidst a pile of embassies I can totally understand his rage at the mystification of these losers.
No Hay Nada Mas (which I think translates No, There is Nothing Else) is sung in Spanish and is delivered over a beautiful, dark, rolling guitar.
Workers Comp. is actually a beautifully uplifting song. Infused as it is with heartbreak, it reads like an ode to the workers of America, back-broken in the face record Ponzi schemes and crazy CEO bonuses: “Tell the tough guys we’re tougher than tough times. The nerves don’t snap when the clock touch crunch time.”
The last four songs, Revelations, Roses, History and Casa Bey, are solid. History (featuring Talib Kweli) seems like a little teaser from the new upcoming album from Blackstar. Casa Bey is a great closing song, showcasing Mos Def talent at throwing out rhymes at light speed.
The Ecstatic is a solid album throughout; a return of the Mos Def we remember and love with some interesting and exciting differences. A pretty amazing range of styles showcase what Mos Def is capable of and probably also shows us that there is more to come from him in this vein. In contrast to his earlier work, The Ecstatic represents a maturation, growth, and expansion of style, from simply from and about the street to something more global. He has become more conscious of the world as a musician and he channels this through his music. That’s not to say he woke up a year ago and suddenly thought of the "world" for the first time; far from that, he has been conscious on that level for some time, as is evident in his work with Kweli. Rather, The Ecstatic is, as aforementioned, more of a sign of maturation than anything else – and his fan base should be happy about that, and what that portends for the future.
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