Cinémetropolis
(Self-released)
1/2 (out of five)
The Blue Scholars’ third album is a success at the level of the raps but mixed at the level of the beats. Geo is the rapper; Sabzi is the producer. The two are core members of Seattle’s flourishing underground community, and until the recent spectacular rise of Macklemore, they were Seattle’s predominant post-Sir-Mix-A-Lot act.
Cinémetropolis represents something like a new beginning or cycle for Blue Scholars. To begin with: It is the first record they have self-released since their self-titled debut in 2004. To middle with: It was produced and is being marketed outside of traditional arrangements—for example, they raised funding with Kickstarter. And to end with: Sabzi now lives in New York City, and so this is the Blue Scholars’ first SEA/NYC record. To make things clear, we can organize the Blue Scholars’ career into two parts: The first movement, 2004–2009, is its Massline moment. The new movement, which Cinémetropolis inaugurates, is too new to define and classify. The future of Blue Scholars is unknown.
This, however, is what we do know about Cinémetropolis. It’s packed with 15 tracks and organized around three themes: Seattle, political activism, and cinema. The first two themes, Seattle and radical politics, dominated the previous LPs and EP. The new record introduces cinema. But this addition is not out of the blue; its source is Geo’s film criticisms and strong grasp of Filipino film history. The cinema theme is the king of the album. When rapping about screens, directors, actors, classics, and blockbusters, Geo is at the top of his game. Indeed, the opening track, “Cinémetropolis,” and the closing track, “Fin,” are the album’s highest peaks. (The third, “Yuri Kochiyama,” is simply vintage Blue Scholars. You enjoy “Yuri” in the way you enjoy something that has aged well.)
But there is a problem with this record. Sabzi’s beats do not seem to share Geo’s enthusiasm, which at times hits an epic pitch. Sabzi did not put everything into this record, and a comparison with his NYC project, Made in Heights (Sabzi with singer Kelsey), makes this apparent. Made in Heights’ Winter Pigeons (2010) boasts the kind of bold beats and cinematic effects that Cinémetropolis is missing. Geo embraces the concept (movie metro) and brilliantly theorizes about motion pictures, the star system, and the French New Wave. Sabzi’s embrace of the concept, however, is not as inspired and committed. The good news about the new Blue Scholars is Geo; the not-so-good news is Sabzi.
Wow, not one comment? Hmm.
Beats are weak and I’m much less enthusiastic about Geo’s work on this album than you. This is just totally mediocre and forgettable. The passion just doesn’t seem to be there anymore with these guys. Definitely one of the year’s bigger disappointments.
I enjoyed the shit out of it. Sure it isn’t s/t or Bayani but its got a great summer feel to the album just like OOF! had. Its a fun album. I guess I just didn’t have as high of expectations going in.
Also, stop hating on Saz for moving to NYC. Your review felt more like your opinion on his move to NYC than the beats on the record.
I’m with #3 – chill on the expectations of grandeur… did you ask them if they had fun making this recorD?
Ya, I also agree with @3. I remember Charles highlighting the loss of sabzi to Seattle when sabzi moved to nyc. this review feels like it is the pre-written conclusion to Charles earlier cautioning about the move.
Also, if you are looking for a song that sounds more like Bayani, I would go with George Jackson, not Yuri.
The work on Oscar Grant/Oskar Barnack (chorus: shoot the cops/shoot the cops/take your cameras out your pockets) is fresh from both beat/lyrics perspective and is especially relevant given the release of Oscar Grant’s killer, the execution of John T. Williams in Seattle, the man in Florida who taped a police shooting and kept his sim card in his mouth so that when police crushed his phone the evidence remained, etc. Maybe it’s considered gimmicky to some, but I particularly enjoyed how the beat is comprised of the clicks and whirs emanating from a camera. I think this song at least deserves some mention.
I know that obscurity is Charles’ style, but this review is so opaque and lacking in detail that it seems like he didn’t even listen to the album.
The album is kinda cool. The issue I have with it is it’s sort of just one note. It needs dynamics. You basically can listen to the first 20 seconds of each song and rest sounds the same.
That seems to be formula for a lot of Seattle hip-hop. The beat gets established, then keep it there for the entire song. That approach can work if you got an MC who can create those dynamics on the mic. Geo is not one of those MCs. No knock on Geo, but he needs beats to go somewhere, change, be dynamic. If the beat moves and changes, so will the MC.
The frustrating part is Geo & Sabzi are more than capable to do these things, but for whatever reason have chosen not to.
@6 what did you expect from a hip hop album? that’s been the template for hip hop since,… hip hop. no they don’t progress like outkast(stankonia), but then again they’re not outkast.
i’m listenin to this album for the first time right now. currently on track 10, Rani Mukerji. upon first listenin i give it an “A”. both sabz and geo show good progression in sounds and skills that 4 years between albums will do. time and change were evident from their debut to bayani and from bayani to cinemetropolis. in an industry of albums every year blue scholars is takin it back to artistry first. time and patience for the right sound.
depending on your taste sabzis’ beats may be better or worse than those on bayani. they don’t make you swoon like bayanis’ but none the less they do knock the head. i think he’s made a nice progression.
geos’ progression is even better. different vocal ranges and speeds qwell some of the monotony of his rhymes on occasion on the first 2 albums. lyrically he among the best in my opinion. everything seems natural coming out of his mouth. another emcee comes to mind with the ease of verbage. another favorite of mine,… rashaan ahmad of crown city rockers fame.
all in all great stuff. these guys are really doin it. i’ve been waiting eagerly for a few years with high expectations(bayani is CLASSIC) and i am not disappointed. not one bit.