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Collecting the Kid
Released: Oct 19, 2004
Label: N\A

Gathering {$El-P}'s whims and whatnots, {^Collecting the Kid} is a surprisingly purposeful full-length that hangs together despite its pedigree. Instrumentals that were rejected by rappers, raw... Continue[+]

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Gathering {$El-P}'s whims and whatnots, {^Collecting the Kid} is a surprisingly purposeful full-length that hangs together despite its pedigree. Instrumentals that were rejected by rappers, raw tracks that haven't found a home, and bits of {$El-P}'s {\soundtrack} to the {#Bomb the System} film are the three main sources for these moody sounds, but only the revolving door of more guests than usual hints these cinematic tones are orphans. Maybe it's the arc of the album, which starts with a building tidal wave of sound and ends on a sleepy track from {$Central Services} -- {$El-P}'s group with {$Camu Tao} from {$S.A. Smash}. More likely, it's the fact {$El-P} is starting to balance his instrumental albums, where the music wanders, with his {\rap} albums, where things are more to the point. {&"Telemundo"} is the two-worlds-in-one track with the help of film dialogue and a changing song structure that resembles a suite. The throbbing bass on {&"Constellation"} verifies the producer's {$Can} influence while the man himself gives props to {$Art of Noise} in the liner notes. These insights into the man's taste outside of {\rap} are interesting, and you could call this {$El-P}'s least {\hip-hop} album if it weren't for the {\jazz}-based {^High Water}. Of course, {$Matthew Shipp} curated that album and this is {$El-P} on his own, just doodling. That he's in no hurry to grab the mic again is a disappointment for some, but the lyric-filled {&"Jukie Skate Rock"} should satisfy with {$Camu Tao} and {$Big Wiz} throwing it back to a time the dancefloor was filled with Buffalo Gals. The {\soundtrack} work and hanging with the jazzers has left an impression on the producer. His work here is more concerned with feel and groove and less worried about being on point and revolutionary. He won't change the world by drifting off into the atmospheric ether this often, but if this is a sketchy blueprint for what {^Fantastic Damage}'s true follow-up will sound like, watch out. ~ David Jeffries, All Music Guide

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High Water
Released: Feb 17, 2004
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{$El-P}'s entry into {@Thirsty Ear}'s {$Matthew Shipp}-curated {^Blue Series} is a compelling experiment in genre and sound collision. {$El-P} doesn't {\rap} on this set, nor does he saturate his... Continue[+]

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{$El-P}'s entry into {@Thirsty Ear}'s {$Matthew Shipp}-curated {^Blue Series} is a compelling experiment in genre and sound collision. {$El-P} doesn't {\rap} on this set, nor does he saturate his mix with a truckload of effects. His compositions are skeletal frames on which to hang his mixological architecture of ambitious beats and skeletal samples, creating a tightly controlled dynamic inside which ambitious music is created. His collaborators are pianist {$Shipp}, bassist {$William Parker}, drummer {$Guillermo E. Brown}, and a horn section comprised of {$Daniel Carter} on reeds and flute, {$Steve Swell} on trombone, and trumpet prodigy {$Roy Campbell}. While many titles in the {^Blue Series} catalog seem to be varied in terms of texture and dynamic, {^High Water} is not. This feels like a conscious decision on the part of {$El-P}. The palette is restricted atmospherically; his compositions are almost song-oriented -- at least in the beginning. The funky breaks on {&"Get Your Hand Off My Shoulder, Pig"} offer a glance into the depths of his aesthetic: the grooves are midtempo with {$Shipp} delving into his {\blues} and {\soul} book for vamps and a solo, {$Parker} laying underneath and propelling the cadence and the horns floating over the top of those massive beats. {$Shipp} is the first to meander, decentering the melody, pulling it apart phrase by phrase and then turning it inside out. All the while the horns shift harmonics while keeping the timbre and tension in clear view. On {&"Get Modal,"} the {\pop} tune {&"Where Is the Love"} becomes the jump-off place for investigation. {$Parker} kicks its phrasing first before {$Shipp} chimes in and confirms it. The skittering beats make the track feel like it is coming off a Tilt-a-Whirl, and a forgotten {\soul} vocal is tossed into the background to rattle around just behind the horns. Meanwhile, {$Brown}'s counterpoint polyrhythms accent {$El-P}'s foreground sampling -- including a looped guitar riff from the ether -- and all of it is capped with brief yet tough solo from {$Campbell}. 
The crackling strangeness in {&"Intrigue in the House of India"} is indicative of the album's moodiness and rhythmic parlance. {$Shipp}'s {\carnival}-inspired {\Afro-Cuban} {\son} riff opens out onto a carousel of sonic layering -- {$Carter}'s flute solo is the only thing that feels as if it were recorded on Planet Earth and {$Brown}'s weaving in and out of the synthetic rhythms keeps everything shimmering, skipping along into a void where entropy and suffocation would be the only choices were it not for {$Campbell} once again cutting through the detritus and creating a melodic center. At about three minutes and 15 seconds into the track, the cut breaks open with big beats, {$Parker}'s cutting drone bass, and {\ambient} sonics paring their way into the heart of the rhythmic soundscape. The theme that threads through the album is a complete reconsideration and rewiring of {$Charles Aznavour}'s {&"Yesterday When I Was Young."} It is quoted at the beginning as the players get ready, in a faltering, stuttering, tentative attempt to encounter the subtleties at work in the tune's harmonic palette -- like the mood of the disc, it too is consciously restricted. When they get to its full articulation on {&"When the Moon Was Blue"} with {$Harry Keys} singing, the beats seem to separate from his voice, which invokes not only the ghost of {$Aznavour} and his theatrical phrasing but also {$Louis Armstrong}'s with his underappreciated sense of melancholy. As horns offer droning bell-like lines across the entire top of the tune, {$El-P}'s beats pop under the vocal and {$Shipp} and {$Parker} wander the rounded edges of the melody's margin, a step away from complete implosion. {$Brown} jumps through hoops and keeps the entire band -- mostly -- inside not only the time, but the tight lyrical consideration that makes up the body of the tune. In sum, it's a moody and haunting record with a few highs, a few lows, and lots of shades of blue to make your way through. Recommended. ~ Thom Jurek, All Music Guide

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El-P Presents Sunrise Over Bklyn
Released: Jul 22, 2003
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Fandam Plus: Instrumentals, Remixes, Lyrics & Video
Released: Oct 1, 2002
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Much as his work with {$Cannibal Ox} proved before, {$El-P} is truly one of music's most innovative, idiosyncratic producers, fusing the blunt crudeness of early-'80s {\hip-hop} with the futuristic... Continue[+]

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Fantastic Damage: Instrumentals & Remixes
Released: Oct 1, 2002
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Dead Disnee
Released: Jun 25, 2002
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Fantastic Damage
Released: May 14, 2002
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Of all the boundary-pushing underground {\hip-hop} acts who emerged in the late '90s, {$Company Flow} was easily among the hardest and least compromising, spinning highly technical rhymes over... Continue[+]

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Of all the boundary-pushing underground {\hip-hop} acts who emerged in the late '90s, {$Company Flow} was easily among the hardest and least compromising, spinning highly technical rhymes over buzzing, lo-fi beats with virtually no concessions to melody or polish. It comes as no surprise that onetime {$Company Flow} leader {$El-P}'s solo debut, {^Fantastic Damage}, takes a similar approach -- yet it's a logical and distinct progression from the sound that made {$Company Flow} such seminal figures in {\underground rap}. {^Fantastic Damage} is even more aggressive and confrontational in its approach, and this time out, {$El-P} himself is solely responsible for the sonic backdrop, producing the entire record by himself. If the production sounds a little fuller than {$Company Flow}'s essential {^Funcrusher Plus}, it's likely because in many places, {$El-P} has fleshed out his scuzzy, banging, stop-start percussion tracks with abrasive, distorted noise, which sounds like nothing so much as the furies unleashed. There are also plenty of tinny, blooping vintage synths that lend the music a cold, inhuman air -- and that's no doubt intentional, because {^Fantastic Damage} paints a chilling portrait of contemporary society that's so bleak it often crosses into the apocalyptic. The music makes {$El-P}'s paranoid totalitarian nightmares totally convincing, not just because of its sheer wallop, but also in the subtler details that emerge with repeated listens -- the bizarre sound snippets and ghostly washes that seem to teeter on the edge of madness. Throughout the record, {$El-P} proves he's one of the most technically gifted MCs of his time, spitting out near-impossible phrases and rhythmic variations that simply leave the listener's head spinning. Accessible it isn't, but {^Fantastic Damage} constitutes some of the most challenging, lyrically dense {\hip-hop} around, assembled by one of the genre's true independent mavericks. ~ Steve Huey, All Music Guide

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Deep Space 9mm/Tuned Mass Damper
Released: Apr 16, 2002
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Urban Renewal: Dead Light/Train Buffer
Released: Apr 16, 2002
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El-P Presents Cannibal Oxtrumentals
Released: Mar 19, 2002
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Usually, instrumental {\hip-hop} albums are of limited appeal to most consumers. Without the skillful rhyming of a charismatic MC, even the most artfully constructed beats simply are not especially... Continue[+]

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