If words could describe just how great this album is, I am yet to discover them. Incredible is not the word. What started off as listening to a Dublin rapper because the accent was a novelty has graduated into something so much more. Lethal Dialect (hereby called LD) has grown so much in three albums, it is simply astonishing. The emotional content in 1988 is something else, and one can really feel it. I don't believe in national pride or any of that lark, but something about the album seriously evokes emotions within. Seeing LD evolve into this album makes one feel a sense of pride in knowing him, listening and being able to relate. I really, really fuckin' liked this album.
The artwork itself is plain and simple. Nothing too deep; let the music speak for itself. With 'Lethal Dialect X JackKnifeJ' written above, it is all the album needs. Less is more, certainly.
Kicking straight into a phenomenal introduction to the album, School Dayz Are Over is the perfect beginning. The chords are just perfection on ice. The synths are deeply peaceful, and really flow. That automated snare is a big difference to what LD's music usually consists of, which marks a new artist. The first lyrics of the album are '1988...', simply making it the perfect song for the starting point. The hard accent is back, much missed, and that chugging in the back, which I can't really place, is just perfect to keep the song going. Six minutes go by too quick. 'LD50 is the artifact' is a strange way to approach it, but it definitely is. The overall theme is quite 'happy', for lack of a better word, which again marks a change in the artist. The lyrics are very personal, if that would be the correct word. It's all things that have happened to him, narrated as if he's talking to himself and not an audience. A much different style indeed. The rhythms and flow keep building up, then dropping, then building up. It's the perfect intro, nuff said. A step away from traditional hip-hop, Lethal Dialect has found his own style. It's so far apart from Irish hip-hop that it would be hard to place it, aside from the accent. Those chord progressions are just pure gorgeous. With an outro of over a minute long, we truly are left wondering what the fuck just happened? Taking a few minutes to sit back and wonder, this is one phenomenal fucking introduction to an album.
At this point, 13 'Til Infinity would be well known among us Irish hip-hop heads, but nonetheless its placement on the album is perfect. A lot about this album is perfect. The harmonious intro, coupled with the sound of rain, is tranquil. The bass and voices in the background have depth, kudos on the production. Featuring a breakdown with a bare suppressed kick gives quite a different feel, then back into the guitar and hats resolves the piece. Resolve, mothafucka. The song, with resolves all over the gaf, really feels complete. Another breakdown into pure silence adds a very strange and unique dimension. The sheer depth of this silence is baffling, and somehow makes it sound enormous. The loudest silence on the album, for sure. The lyrics keep the same personal themes, with ideas and happenings intimate to him, and the outro of lyrics coupled with the lady talking is a pleasant touch.
In the same light as previous, Headstrong (ft. Jess Kav) would be well known at this stage too. A fade in with alluring chords, the ambient crashes in the back are glorious. One would feel that flow is sacrificed to give more power to the statements being made, and while this isn't a bad thing, it surely is a different light being shed on LD. The hats in the back really keep the flow going throughout, and Jess Kav is a wonderful feature. The momentum of the groove is kept going with the brassy samples brought in, and there's a certain air of sentimentality about the song. The rhyming scheme is a tad off, but it works so well that one wouldn't even notice. Perfection. The song fades out, then in comes a message machine. Now there's an Irish accent. It sounds like fuckin' Eircom.
Another one with Jess Kav, 26 Laws is a simple beat, but effective. With straightforward chords in the synth line, the ambiance is incredible. One can easily see by this stage just how much LD has changed and progressed; change is good. Sentimentality is rife here, and ends with talking. A perfect touch.
A common feature through LD's albums is the idea of being a dark horse in the game, and Still A Darkhorse exemplifies this. The introduction to the tune describes how criticism is more important than support. One gets the feeling LD has been through quite a lot to be here with us tonight. The use of the very thin snare makes it sound unique and different, but those synths keep the familiarity. The hats come in to give the beat a more straightforward feel, and the hard accent is back. Sorely missed. Noticeable is the piano samples brought in, although they could have been there all the time and were just made more prominent. The vocal tracks in the back are bliss, although if they are samples or live recorded is hard to tell. They work. Coupled with the (I presume) reversed cymbals which just flow around the listener, the song is a perfect example of epic on a stick.
What album, especially in LD's field, would be complete without the comical interlude. A quiet chuckle was had upon initial listening. Oh, the meandering chuckles. That opening door has frequencies higher than a radio on static, and kills when you have headphones on, kid. Gotta laugh at Crackpipe Joe, haha. Maybe a stab at the narrow-minded ideas of the industry, as one can see with the album having no radio singles, but the office-clerk-man knows what he's dealing with, even though he won't say it to LD's face. A strange look at two-faced industry reps, it's funny nonetheless. Chuckles.
Back to the game face, Set You Free has a marvelous vocal intro, although I can't tell you who it is. Sounds like I've heard it before though. A very slow beat, consisting of a few trap hats, the kick is also quite suppressed here, although I'm sure there's a more technical word for it somewhere. The synths, again, keep swirling in the background, and although a common feature throughout the album at this point, the production of said synths is exceptional. There's a sample there, or a synth, that has this strange sound added to it, sounding half noise, half like the sound a fan makes, that makes it real hard to focus on. A fantastic use of such a bizarre sample is great for a change, keeps the listener focused. Individuality of the track shines through when LD starts singing as opposed to rapping, again showcasing very clearly the diversity of his abilities. I'm in love. Some dramatic guitars here, some brassiness over there, the song fades to talking, with LD giving an account of choosing music over a previous lady. Ending with a laugh gets rid of the sad vibes though, always a plus.
Moving away from laid-back in the shack, Beast-Mode, with 4Real, is a lot harder. The only other rapper featured on a track, it can't but sound individual. Whether it was deliberate that 4Real was the only other is questionable, but I can't answer. The main riff consists of like a modulated scream or something, variance being key. It's interesting, to say the least. 4Real has a strong accent, so it suits the track well, and has a solid voice. The brass samples in the back are strange; I feel they should be the main riff, not bouncing around in the back. Kind of off-putting. But that's just being a pretentious asshole. Keeps you on your toes. Still, variance is always appreciated.
The last feature from Jess Kav, Energy, suits her well again. She is a fantastic addition to the album, being virtually unheard of (for me anyway) up to this point. A slow intro and long fade in, the chord progressions are very nice. A slam into the drums keeps you awake, and the hollow snare with a bit of delay sounds big. It's peaceful, but with a sort of underlying feeling of anxiety. The unsettling atmosphere can be disconcerting, but fock it. Ambiance is key here, and the mellow synths remind me of Leftfield's Song Of Life. Don't hear it? Don't give a fook. It truly is an emotional journey, making me tear up. Not really, but almost. The themes are deep, and Jess Kav's vocals are exemplary, only adding to the emotional content. On top of this, the drum track reminds me of the first album in the way they are produced. An exquisite touch, if I do say so.
The last song of the album, Brave, with a guest appearance from Damien Dempsey (a big name for the album), looked a bit daunting at 12 minutes. How and ever, needs must, and it certainly did not feel like it. There's a hidden track there, but we'll get to that in a minute. Synths and (presumably) chimes open up the track, as does a scrappy beat (complete with a weird 'fft' sound), setting the scene. Unreal groove, boy. Dempsey sounds unusual, his unique style contrasting with LD's. The song resolves every once in a while, then drops with some white noise fading out, making the track sound like one big LFO. It really sets the groove; you can't help but bob with the flow. The whole song is dedicated to (if I remember right) and old friend of LD's, although I could be mistaken. The song stops, then talking about getting to your dreams is introduced, and the beat drops back in, with the addition of claps on top. Again, variance is key. The chimes really have a magnificent resolving chord progression (fuck yeah, pretentious talk). The track takes a turn into some acoustic guitar-work by Dempsey, coupled with lovely vocals. The finest bongos are introduced, keeping the rhythm going. I'm not entirely sure where the breakdown came from, but it sounds like the logical progression. Around 7 minutes the track ends, falling into total silence. I was expecting another build up but alas, I was fraught.
Waiting, waiting, the song is dead silent for about a minute, then around 8 minutes she kicks back. Some soft synths doubled with a phonecall, a sweet ass drum groove and funky bassline is a peculiar way to finish the album. Do I hear a reference to Carlingford lake-sides? A touch of home about it. The bass, being layered with a very high frequency synth, or heavily filtered guitar, is a perfect example of the diversity of Crackpipe Joe's production skills. The whole album up to this point seems perfect, ie: each song follows the next perfectly. Brave is the closer, it resolves the album; makes it feel complete. We don't expect any more. This hidden track changes all that, it skews this fact entirely. It ends the album on a different note, and we need something more after it. The perfect closer? I think so. Fade out. Fin.
Fuck me running.
Sicker than sick and doper than dope, the album exceeds any expectations at all. To see LD grow over three albums in such a way, and to find his own style, with JackKnifeJ, is just astonishing. Perfection doesn't describe the album. On his way to great things, it's nice to sit along for the ride and spectate. It's a proud moment for him I'm sure. Fuck the FAS course for two years.
A step ahead of the rest in the Irish scene, LD truly is going places. The scene lacks definition, something that comes naturally to LD. The album is an immense piece of work, and sentimentality prevails throughout. Reminds me of other Irish acts such as Young Wonder. Personally, I feel like working with one producer is a bit limiting in the sense that you are restricting your artistic abilities, but at the same time, as shown here, there's a contrast. LD and JKJ bring out the best in each other's styles; it's a marriage made in heaven. Not being too well acquainted with JKJ, I'm happy I met him this way. Excellence at its finest, for a tenner, you're essentially buying the lads a box of fags. You can part with that, I'm sure. Links below. This album is perfection, oh yes.
Averagity rating: come on to bits, well well well above average.
Links:
Bandcamp: http://lethaldialect.bandcamp.com/album/1988
At this point, 13 'Til Infinity would be well known among us Irish hip-hop heads, but nonetheless its placement on the album is perfect. A lot about this album is perfect. The harmonious intro, coupled with the sound of rain, is tranquil. The bass and voices in the background have depth, kudos on the production. Featuring a breakdown with a bare suppressed kick gives quite a different feel, then back into the guitar and hats resolves the piece. Resolve, mothafucka. The song, with resolves all over the gaf, really feels complete. Another breakdown into pure silence adds a very strange and unique dimension. The sheer depth of this silence is baffling, and somehow makes it sound enormous. The loudest silence on the album, for sure. The lyrics keep the same personal themes, with ideas and happenings intimate to him, and the outro of lyrics coupled with the lady talking is a pleasant touch.
In the same light as previous, Headstrong (ft. Jess Kav) would be well known at this stage too. A fade in with alluring chords, the ambient crashes in the back are glorious. One would feel that flow is sacrificed to give more power to the statements being made, and while this isn't a bad thing, it surely is a different light being shed on LD. The hats in the back really keep the flow going throughout, and Jess Kav is a wonderful feature. The momentum of the groove is kept going with the brassy samples brought in, and there's a certain air of sentimentality about the song. The rhyming scheme is a tad off, but it works so well that one wouldn't even notice. Perfection. The song fades out, then in comes a message machine. Now there's an Irish accent. It sounds like fuckin' Eircom.
Another one with Jess Kav, 26 Laws is a simple beat, but effective. With straightforward chords in the synth line, the ambiance is incredible. One can easily see by this stage just how much LD has changed and progressed; change is good. Sentimentality is rife here, and ends with talking. A perfect touch.
A common feature through LD's albums is the idea of being a dark horse in the game, and Still A Darkhorse exemplifies this. The introduction to the tune describes how criticism is more important than support. One gets the feeling LD has been through quite a lot to be here with us tonight. The use of the very thin snare makes it sound unique and different, but those synths keep the familiarity. The hats come in to give the beat a more straightforward feel, and the hard accent is back. Sorely missed. Noticeable is the piano samples brought in, although they could have been there all the time and were just made more prominent. The vocal tracks in the back are bliss, although if they are samples or live recorded is hard to tell. They work. Coupled with the (I presume) reversed cymbals which just flow around the listener, the song is a perfect example of epic on a stick.
What album, especially in LD's field, would be complete without the comical interlude. A quiet chuckle was had upon initial listening. Oh, the meandering chuckles. That opening door has frequencies higher than a radio on static, and kills when you have headphones on, kid. Gotta laugh at Crackpipe Joe, haha. Maybe a stab at the narrow-minded ideas of the industry, as one can see with the album having no radio singles, but the office-clerk-man knows what he's dealing with, even though he won't say it to LD's face. A strange look at two-faced industry reps, it's funny nonetheless. Chuckles.
Back to the game face, Set You Free has a marvelous vocal intro, although I can't tell you who it is. Sounds like I've heard it before though. A very slow beat, consisting of a few trap hats, the kick is also quite suppressed here, although I'm sure there's a more technical word for it somewhere. The synths, again, keep swirling in the background, and although a common feature throughout the album at this point, the production of said synths is exceptional. There's a sample there, or a synth, that has this strange sound added to it, sounding half noise, half like the sound a fan makes, that makes it real hard to focus on. A fantastic use of such a bizarre sample is great for a change, keeps the listener focused. Individuality of the track shines through when LD starts singing as opposed to rapping, again showcasing very clearly the diversity of his abilities. I'm in love. Some dramatic guitars here, some brassiness over there, the song fades to talking, with LD giving an account of choosing music over a previous lady. Ending with a laugh gets rid of the sad vibes though, always a plus.
Moving away from laid-back in the shack, Beast-Mode, with 4Real, is a lot harder. The only other rapper featured on a track, it can't but sound individual. Whether it was deliberate that 4Real was the only other is questionable, but I can't answer. The main riff consists of like a modulated scream or something, variance being key. It's interesting, to say the least. 4Real has a strong accent, so it suits the track well, and has a solid voice. The brass samples in the back are strange; I feel they should be the main riff, not bouncing around in the back. Kind of off-putting. But that's just being a pretentious asshole. Keeps you on your toes. Still, variance is always appreciated.
The last feature from Jess Kav, Energy, suits her well again. She is a fantastic addition to the album, being virtually unheard of (for me anyway) up to this point. A slow intro and long fade in, the chord progressions are very nice. A slam into the drums keeps you awake, and the hollow snare with a bit of delay sounds big. It's peaceful, but with a sort of underlying feeling of anxiety. The unsettling atmosphere can be disconcerting, but fock it. Ambiance is key here, and the mellow synths remind me of Leftfield's Song Of Life. Don't hear it? Don't give a fook. It truly is an emotional journey, making me tear up. Not really, but almost. The themes are deep, and Jess Kav's vocals are exemplary, only adding to the emotional content. On top of this, the drum track reminds me of the first album in the way they are produced. An exquisite touch, if I do say so.
The last song of the album, Brave, with a guest appearance from Damien Dempsey (a big name for the album), looked a bit daunting at 12 minutes. How and ever, needs must, and it certainly did not feel like it. There's a hidden track there, but we'll get to that in a minute. Synths and (presumably) chimes open up the track, as does a scrappy beat (complete with a weird 'fft' sound), setting the scene. Unreal groove, boy. Dempsey sounds unusual, his unique style contrasting with LD's. The song resolves every once in a while, then drops with some white noise fading out, making the track sound like one big LFO. It really sets the groove; you can't help but bob with the flow. The whole song is dedicated to (if I remember right) and old friend of LD's, although I could be mistaken. The song stops, then talking about getting to your dreams is introduced, and the beat drops back in, with the addition of claps on top. Again, variance is key. The chimes really have a magnificent resolving chord progression (fuck yeah, pretentious talk). The track takes a turn into some acoustic guitar-work by Dempsey, coupled with lovely vocals. The finest bongos are introduced, keeping the rhythm going. I'm not entirely sure where the breakdown came from, but it sounds like the logical progression. Around 7 minutes the track ends, falling into total silence. I was expecting another build up but alas, I was fraught.
Waiting, waiting, the song is dead silent for about a minute, then around 8 minutes she kicks back. Some soft synths doubled with a phonecall, a sweet ass drum groove and funky bassline is a peculiar way to finish the album. Do I hear a reference to Carlingford lake-sides? A touch of home about it. The bass, being layered with a very high frequency synth, or heavily filtered guitar, is a perfect example of the diversity of Crackpipe Joe's production skills. The whole album up to this point seems perfect, ie: each song follows the next perfectly. Brave is the closer, it resolves the album; makes it feel complete. We don't expect any more. This hidden track changes all that, it skews this fact entirely. It ends the album on a different note, and we need something more after it. The perfect closer? I think so. Fade out. Fin.
Fuck me running.
Sicker than sick and doper than dope, the album exceeds any expectations at all. To see LD grow over three albums in such a way, and to find his own style, with JackKnifeJ, is just astonishing. Perfection doesn't describe the album. On his way to great things, it's nice to sit along for the ride and spectate. It's a proud moment for him I'm sure. Fuck the FAS course for two years.
A step ahead of the rest in the Irish scene, LD truly is going places. The scene lacks definition, something that comes naturally to LD. The album is an immense piece of work, and sentimentality prevails throughout. Reminds me of other Irish acts such as Young Wonder. Personally, I feel like working with one producer is a bit limiting in the sense that you are restricting your artistic abilities, but at the same time, as shown here, there's a contrast. LD and JKJ bring out the best in each other's styles; it's a marriage made in heaven. Not being too well acquainted with JKJ, I'm happy I met him this way. Excellence at its finest, for a tenner, you're essentially buying the lads a box of fags. You can part with that, I'm sure. Links below. This album is perfection, oh yes.
Averagity rating: come on to bits, well well well above average.
Links:
Bandcamp: http://lethaldialect.bandcamp.com/album/1988
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