Retrospective Review: Movies for the Blind, by Cage

by Dustin

mftb

Halloween is always a fun time of the year. The kiddos are out in spooky costumes collecting enough candy to become diabetic at eight years old, young adults are out in costumes slutty enough to make a stripper wince, and everyone is generally just out to have a good time. More importantly for this site however, there’s also a huge array of horror themed hip-hop out there to fit the mood of the season. We’re not talking about struggle-Juggalo horrorcore however. What we want to discuss is the artists that went deeper, combining horror elements with conventional hip-hop to create near-movie like albums.

Welcome to Extraordinary Nobodies’ first ever Halloween Week, where we will have a look at four of our favorite horror inspired albums for an entire week leading up to Halloween (though surely you have figured that out by now).

The first album on the menu is perhaps the least Halloween-flavoured of the bunch, but it’s got one foot firmly planted in the horror genre. Cage’s Movies for the Blind, released in 2002, combined shock rap with New York hip-hop in a way not many had attempted. Though he’s probably most notorious for a short lived beef with rap megastar Eminem, Cage’s first two releases are regarded by many as underground classics. Movies for the Blind started it all, and it’s a record that will leave you feeling utterly disgusted in the best way possible.

Lyrically, Movies for the Blind is the ultimate channeling of rage, drug abuse, and mental illness into bar after bar of tantalizingly shocking lines. Setting the tone is an album opener with Cage expressing an unbridled affinity for PCP and destruction. The album doesn’t quit either, with jump-scare like lyrics woven into even the most New York sounding tracks to keep you on edge. No content is off the table on this record. Murder, suicide, and violence find themselves as staples on what is a freak-show of atrocities. Dips into the norm are rare, but when they do happen it serves as a necessary break from the amazingly grotesque images Cage paints with his words.

Blue collar to corporate blessed the unfortunate,
Like when I put my foot down that bitch still aborted it,
Stuck the canister under my jacket like the lucky one,
‘Uh, sir you can’t leave with that,’ bitch this my fucking son!
(Too Much)

Unlike Hell’s Winter, which saw Cage take a more introspective approach to his music, Movies for the Blind lacks any form of self-awareness. It is an album with an emcee at his most unhinged, unloading rage and hate at anyone who will listen. It’s beautifully executed, and forces you to feel a level of discomfort that most horrorcore albums simply haven’t been able to achieve.

His charisma is also undeniable. It gets to the point that he nearly comes across as a sociopath.

I’m a suicidal failure, look my life’s a failure,
I can’t make it in rap, even my birth’s an error,
Do what I can to catch a quick death,
But I’m meant to be here and that’s the fuckin’ hell I live with.
(Suicidal Failure)

Interestingly, the production on Movies for the Blind is relatively subdue and typical for the underground New York scene at the time. The album featured production primarily by DJ Mighty Mi, but also the likes of El-P, Necro, and Camu Tao (plus a handful of others). With the lineup, it’s no surprise that the sound is so distinctly east coast. Movies for the Blind fools you into nodding along with the gritty production, while throwing lines about suicide and death in your face. The contrast is absolutely wonderful to experience; moreover, the instrumentals are brilliantly cohesive throughout.

Movies for the Blind may not be the ultimate Halloween record, but there are qualities to it that definitely make it a terrifying listening. It’s quite interesting how this album plays out like a series of short snuff films. It’s more disturbing than scary, but it remains as grimy today as it was 14 years ago upon release. Movies for the Blind is also a gem from a time where Definitive Jux and Eastern Conference (the latter of which would release the album) were just beginning to take over the New York underground scene. Whether you’re interested in records from that era, or just looking for something gory to celebrate Halloween, Movies for the Blind remains an underground classic that is wholeheartedly recommendable.

Not for the faint of heart, however.

Advertisements

Album Review: Blueprint – Vigilante Genesis

by Dustin

VG

8/10

How suitable that we’d close out May with a review of a new Blueprint project. Blueprint, of course, was our featured artist at the start of the month. The veteran underground emcee has teamed up with longtime collaborator Aesop Rock to deliver this brand new EP, Vigilante Genesis.

Though it weighs in at a modest nineteen minutes, Vigilante Genesis is anything but short on content. Rather than being a collection of assorted songs, this project is basically a miniature concept album. Taking elements from hip-hop culture and the murder mystery genre, Vigilante Genesis follows a story of a graffiti artist looking to bring justice upon those who mistakenly murdered a fellow tagger. Each track adds a piece to the tale, building a world much like an old-school story-based radio show.

When these greedy motherfuckers try to take what I love,
I write ‘greed’ in red ink, let it drip like blood,
Punk-ass security, they circle in shifts,
Seemed like five minutes but I time it at six,
And I done come too far to go out like a bitch,
So I chill behind a dumpster, hit my target, and dip.
(Vigilante Genesis)

Putting the story aside for a moment, Blueprint as a rapper shows up as sharp as ever. He felt very engaged in the story, providing a fitting first person narrative to match the tone of the story. As a general rule Blueprint is quite charismatic on the mic, and this is true for Vigilante Genesis. His writing was sharp, but at the same time never detracted from the concept just to complete a grander rhyme scheme. He’s straightforward in all the proper ways, which lead to a simple-to-follow listen.

Abstract has a longstanding place in hip-hop, but the route Blueprint took definitely worked most efficiently for this kind of concept.

He tearing up like “oh shit, I thought you was dead”,
Nah man, you and your mans killed the wrong kid,
I could kill you now for the sake of revenge,
Or you can come with me and tell the cops what you did.
(Ten Paces)

Aesop Rock provided the production for Vigilante Genesis, and those familiar with his instrumental work would be able to recognize this instantly. The beats feel like they could fit seamlessly within either of his last two solo releases. The production matches very well with Blueprints vocals, and maintains consistency throughout the entirety of the EP.

Aesop did a lovely job at setting the mood, and Blueprint knocked it out of the park with his slick story telling.

As a whole, this is a can’t-miss EP if you’re a fan of Blueprint’s work. Perhaps it’s a little bit of an adventure away from what he usually does as an artist, but he pulls it off well. General hip-hop fans will most likely enjoy this tape as well. The story is easy to understand, but interesting enough to hold the listeners interest; moreover, this is probably Blueprint’s most accessible tapes in terms of overall sound. Give it a listen, it may just be one of the top projects of 2016 by year’s end.