Mos Def is many things. He is an MC, thespian, boogeyman and revolutionary. But one thing he is not is adherent to the pigeonhole that is placed upon him. When we tell him to go up, he turns upside down. We can ask him to go left but he will go backwards. And when he is told what he should do, he rebels and well, does what the f%#$ he wants to do.
So what does this mean? It means Mos Def will never remake Black On Both Sides. That doesn’t take away from his brilliance nor does it mean that he’s lost that aptitude that keeps us wanting more. It boils down to a simple concept; Mos Def is an artist that is going to reside where his music and craft take him. And as heartless as it sounds, he isn’t going to change his mantra for the sake of satisfying you, me or anyone else. BOBS was released exactly ten years ago and that is where Mos Def leaves that album. He is about forward progression and nothing is going to prevent that; not even this dichotomy we call Hip Hop.
Mos wastes no time reminding us why we’ve missed his presence on the mic. “Auditorium” featuring Slick Rick comes in blazing like a fully loaded Mossberg. Mos clues us in as to why he still is a lyrical force: “You feel it in the street, the people breathe without hope/the going through the motion, they dimming down the focus /The focus get clear then the light turn sharp/ and the eyes grow teary, the mind grow weary/ I speak it so clearly, sometimes ya’ll don’t hear me.” Not one to play the background, Rick allows us to close our eyes as he narrates a story of an Iraqi soldier who has an interesting encounter. The Middle Eastern energy throughout heightens the concentration of the beat creating an illusion that’s borderline perfection.
Like the modern day griot he is, Mos gives us “bright moments that always come back vivid” on “Life In Marvelous Times.” The beat comes across like a menagerie of experimental sounds. And “BD” brings forth a wealth of sentiment that places us in our past, present and future, all in one verse. “No Hay Nada Mas” shows his versatility as he flows effortlessly in Spanish to a backdrop that is picturesque. His voice becomes a lyrical paintbrush while the beat serves as his canvas with the salacious guitar and Asian influence that gives it an extra layer of vitality.
What may seem like a predictable undertone on the track, “Quiet Dog Bite Hard” is the very instance that makes it pleasing. As simplistic as the snap, clap and titled drums that hang in the background, Mos surmounts the beat with his jagged delivery. And his constant mention of “maintain the rock” has aged and becomes obsolete while lacking the message it offered in earlier times.
Mos is no slouch when it comes to individuality but “Priority” seems like it would’ve faired better had it provided a more distinct sound. It comes off a bit dated production wise but doesn’t completely leave an aura of replication.
“Don’t call it a come back” as Black Star makes an appearance on the track “History.” Kweli and Mos haven’t lost that invigorating chemistry as they glide over Dilla‘s beat. Both emcees lyrical dominance is uncanny as they manipulate words with metaphorical ascendancy. The intoxicating sample over Dilla’s drums is a perfect liason to “Casa Bey.” This track sounds like an old school game show theme that we secretly knew could be a dope beat if given the right producer and emcee to capitalize on it.
Ultimately, The Ecstatic is a sturdy album but some feeble points do emerge. Some tracks don’t add to the cohesiveness this album can have. And Georgia Ann Muldrow and Slick Rick outshine Mos, as they completely own the songs they appear on. Nevertheless, Mos is definitely eager for the mic but what hinders him is the standard he will forever be held to. It seems like he created a cloud over his own artistic development that he might never escape. But the fact remains: this album encompasses where Mos Def is now and he does provide an abundance of treasures that are as precise as a robotic arm shaping metal. This album gives us tentative production from Madlib, Oh No and J Dilla that coincide with Black Dante’s illustrious flow. Overall, The Ecstatic is a strong enough to cast its own shadow and stand alone, as a phenomenal album that gives a middle finger to naysayers that can’t let go of what once was.
90/100
“The Embassy”
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“Priority”
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“Wahid”
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