“Money Good” is the album’s best song, featuring a mix of acoustic and electronic instrumentation that melds perfectly with Kweli’s delivery. The album itself sounds like the electronic production that we are used to associating with expensive beats-it’s charged yet simple, as though there was not quite enough money to purchase even better beats. It’s a commendable effort that could have been that much better if it was the product of serious thought, and not a fascination with tough slogans and hip hop’s ability to speak to pathos. He seems to want to explode the capitalism that defines the individual realities that we lead and provide us with a rhythmic, unburdening, existence. Rapper Talib Kweli, known for his political rap, released the digital version of his latest album, Fuck the Money, for free. Despite its recent widespread lyrical decrepitude, millions listen to hip hop because it expresses this explosion. Hip hop, more than most other musical genres, seems to express this quest for explosion, time and again. In Talib Kweli’s world, silence truly does speak louder than words.Īccording to the French art theorist Nicolas Bourriad, many of our modernities are defined by moving towards an explosion, or a release of energy. Radio Silence, through its proverbial introspections and uplifting retrospection, seamlessly moves its message through the airwaves of our minds. This portfolio of political discourse keeps challenging and teaching long after the voices, piano riffs and handclaps fade away. Talib Kweli’s vision is so much larger than what we typically conceptualize. Of all the offerings not explicated here-“Chips,” “Knockturnal,” “Let It Roll,” “Write at Home”-by far, the standout is “Heads Up Eyes Open.” Dedicated to late rap promoter Kenneth “Headqcouterz” Walker, this part testimonial/part inspirational melody features not only mind-bending truthfulness on topics such as police brutality and protest rights, but also functions as a call for honesty and faithfulness because “the picture is so much bigger than what we could even imagine.” Indeed. Never one to ignore the heart strings for long, Kweli and BJ The Chicago Kid’s “The One I Love” reminds us that regardless of what’s going on, that one special person makes it all worthwhile. The lead single, “Radio Silence,” is a blend of Kweli and Myka 9’s exceptional cypher savvy interspersed with Amber Coffman’s haunting refrains.
Jay Electronica of Roc Nation and powerhouse Yummy Bingham spin their consciousness right along Kweli, adding a multi-layered resonance reverberating past the very last strain of violin fade-out. “All of Us” unfastens the mood even further with its break-out sampling of a rally for justice. Paak’s smooth vocals into the track to compliment his message. Unquestionably possessing a magical talent for deep lyricism, he brings Anderson. The second track, “Traveling Light,” thumps the pulpit of Kweli’s truth through musings about his own genesis towards the rap dimension. The philosophy continues to pour out of this rap statesman rhyme after rhyme.
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The song’s final chords fade away under Kweli’s assurance that “hip hop will flourish with nourishment and the proper care,” a parental line from one who has been there, done that, and knows how to make it last. It’s the Magic Hour,” layered on top of an upbeat piano riff sets the standard for the remainder of this Brooklyn phenom’s offerings. Kweli’s opening line, “Last one to fall asleep, first one to wake up. Opening with the ethereal sounds of strings and a choir, the tune carves its own place in the world of rap solely on these feature alone. The album unlocks with “The Magic Hour,” a song that introduces the album’s concepts and purpose through magical lyricism. In 2011 he founded his own label, Javotti Media, billed as “a platform for independent thinkers and doers.”* With an eye on social issues both past and present, Kweli offers us his take on 2017 with his latest, Radio Silence. Kweli is featured on Dave Chappell’s Block Party, both as an actor and a soundtrack artist. Kweli is no stranger to the scene-his first collaborative group, Black Star, was formed with Mos Def in 1997-and to date, he has worked with artists Kanye West, Pharrell Williams, Just Blaze, the Beastie Boys and Kendrick Lamar. Is it the current political atmosphere or possibly just time for the genre to once again acknowledge its roots? Whatever the reason, there is a conscious stream of artists dominating mainstream rap right now, and Talib Kweli is leading the way.
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