emc, children of bodom, the roots

So there’s not a whole lot of consistency in this post — just a shout about two records that I’ve really been into lately that I fear will slip through the cracks: EMC’s The Show and Children of Bodom’s Blooddrunk.

The EMC record showed up on our site a while ago and showed up on the internet in general an even longer while ago. The lineup is somewhat notable: the group is helmed by the mildly legendary Masta Ace (who was a member of the Juice Crew back in the late ’80s), and is rounded out by the slightly less well-known MCs Stricklin, Punchline & Wordsworth (the latter pair have collaborated with A Tribe Called Quest & Black Star). But enough about the bona fides: The Show is fantastic, clearly old school without sounding hopelessly nostalgic, wedded to the boom-bap but topping it with the kind of tight lyricism that went out in the mid-90s. “Leak it Out” runs this fantastic summer sunset brass sample over and over in the background as each MC steps to the mic and shows off nimble verbal wordplay. “Once More,” same thing: this time it’s a scratched-up piano sample, a stammering bassline and emphatic, Nas-like flow. I worry about records like this, because they tend to show up on the site and sink like a stone, and this one absolutely doesn’t deserve that. Don’t believe me? Look at those user reviews. And a hot tip for the download conscious: Tracks 2, 4, 7, 11, 13, 16 and 19 are skits. Do with that information what you will. Although I have personally met “Angry Merch Guy” at least 5 times.

Stylistically related: if you haven’t seen it yet, the new Roots video is up here. The Roots are hands-down one of my favorite bands — I look forward to each new record the way other people look forward to Radiohead records: with a specific excitement to hear what sounds they’ve uncovered and fused this time. Every Roots record has been a little better than the one before it, and this one is no exception. I feel like they’re so well-regarded critically that they’re now on the verge of becoming underrated; each album gets the requisite good reviews, and is promptly forgotten/ignored. I can’t think of a whole lot of other bands who are as consistently inventive and curious about sound, and who make clear concerted efforts to push themselves forward creatively.

And finally: Children of Bodom. People have been waiting this one out on the message boards for a few days now. It finally showed up this morning and it does not disappoint. What sets Bodom apart from other extreme metal bands are those ice-cold synth lines that plunge down into the songs like enormous neon screwdrivers. It’s like Mayhem rehearsing next door to Kitaro — and somehow it works. To say nothing of the insane precision and ferocity of Alexi Laiho’s guitar patterns. Listen to the ridiculous silvery riffage that hits at the two-minute mark of “Hellhounds on My Trail” — it’s like someone dumped a bucket of sixteenth notes on top of a skill saw and let them scatter across the room. This kind of musical proficiency got a bad name in the hair metal days, but in the right context (ie: this record) it is spellbinding, the kind of breathless fretsmanship that can inspire only gasps of amazement. But wait, there’s more! If you act now, Children of Bodom also throw in gang-style choruses, the kind of hollering that sounds like an angry mob at the top of the Rancor pit, and Laiho’s unhinges Satanic yowling and you’ve got Blooddrunk. That’s right: you get crazy quasi new age synths, lightning-fast riffing, angry-mob choruses and Satanic yowling for just nine downloads. So what’s the holdup?