Slaughterhouse: Slaughterhouse

“Supergroup” is a word that is seldom justified in hip hop. Sure, they may start off a supergroup, but end up being a superdud. Perhaps it is hype that surrounds the compilation of a multiple high profile hip hop act that puts a damper on the product at hand, or perhaps the product itself really isn’t that good. Look at the New York Rangers, the New York Mets, hell, 80% of New York sport teams; all contain remarkable talent, individual talent that cannot succeed as a group. Enter Slaughterhouse. Royce Da 5’9, Joe Budden, Joell Ortiz, and Crooked I: a prime emcee with leadership quality, a multi-facet wordsmith with fire in his belly, an ambitious, rugged newcomer, and a savvy and seasoned veteran respectively. These are the ingredients for the success that is the self-titled debut from the now-proven supergroup.

Appropriately, “Sound Off,” acts as an introduction not only to the album, but to the group. The proclaimed leader Royce leads way, while Joell follows with a verse unable to be justified in words because of how dope it is. StreetRunner provides the remarkably fitting production, allowing just enough room for each emcee to shine, at the same time, assert their own public service announcement right then and there. In fact, production may be one of the most difficult things when dealing with a group like this. How do you make a beat that remains fresh over four different emcees? Well, StreetRunner does it twice with the aforementioned intro and “Not Tonight,” which also displays some of the best one liners on the album, namely Crooked’s “If your flow is Aquafina, I’m Katrina.”

Another impressive collaboration of production and emceeing is heard on the Alchemist banger, “Microphone.” Entangling Rakim’s voice* with deep, dark keys and the trademark “Microphone Fiend” breakbeat in itself is brilliant, but to generate the ferocity that it does out of all four emcees is another feat. “Too many blueprints not enough architects” Budden claims on his outstanding verse. He’s undoubtedly throwing jabs and firing back on the whole Method Man issue, but moreover, it’s his hunger that stands out. Joey, it is this hunger, this drive that makes you such a potentially great emcee.

Joe addresses his misunderstood year again on “Cut You Loose,” the album’s standout joint and seemingly anti-Slaughterhouse track. Joe, alongside the other three emcees display memorable moments as the song, given one hell of a soulful beat via Mr. Porter, is about each emcees attachment and love/hate relationship with hip hop. Not only is each story quite gripping and heartfelt, but the group believably personifies the genre. Hip Hop is put into a physical presence, (H.E.R, if you will) and Slaughterhouse are no where near as dirty and violent as their name perceives them to be. Instead, they are humble, retrospective, motivated, and so damn thankful. It would’ve been a pleasure to hear more songs like this on the album, but then we wouldn’t have bangers like “The One” and the acquired taste of “Cuckoo,” both produced by 2009 Producer of the Year candidate, DJ Khalil.

Slaughterhouse is split into two parts, the first half being that type of hip hop synonymous with the group and album name, while the second half is completely different not only in content, but in atmosphere, vibe, and momentum. While the listener’s ears are bombarded with haymakers both lyrically and on the boards throughout the first 30 minutes, the latter half entails a type of serious and rather emotional state. Not to say it isn’t done well, it is just a large, drastic change of pace. Furthermore, there’s still plenty left to be desired. The Pharoahe Monch chorus-only “Salute,” and the uninterested “Pray” are some of the duller moments on the LP, but the concepts are there to help make this a great 50/50 split in terms of album construction.

If someone emerges out of this group as a “superstar,” it is Joell Ortiz. He not only sets foot on every track as a verbal threat, but he becomes a mainstay, a routinely best-of-the-best rapper on every track. Whether it is his rapid fire flow or his double-take multis or his lyrical backhands to rappers, he impresses, thoroughly.

One thing 2009 has seen is the resurgence of boom bap, both production wise and whatever lyrical equivalent. That lyrical style seen in the early to mid 90’s is seen throughout this project. Street stories, braggadocio, unsaturated, blunt, yet, fundamental text, etc. The attitude is here too. These guys master the we-don’t-care-what-the-f-you-lookin’-at stare down stance on the microphone. Still, this isn’t to say these four horsemen don’t have the capability to display tremendous lyricism of the thought provoking and intriguing kind. In fact, Slaughterhouse touches all of the edges of the enclosed shape of hip hop, albeit, some better than others, but they have undoubtedly set the bar high for any forthcoming projects with this; a World Series victory.

*Edit: That’s in fact Evidence’s voice. Confirmed via Twitter

87/100

Cut You Loose

Microphone

Sound Off

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