Chewing on Glass smashes our preconceptions of what
hip-hop should sound like. This outstanding album is
loaded with jagged instrumentals, masterfully scratched
up samples and robotic rapping. The result is a psyche-rock/jazz
masterpiece that references a massive amount of recording
space in its 45 intense minutes. Think Miles Davis meets
DJ Shadow on a very bad acid trip.
Sixtoo (Vaughn Rob Squire) is a product of the same
underground scene that has already spawned the likes
of Sage Francis and Buck 65, the latter having worked
with and supported him from the start. Since dropping
his first tape, Superstar Props, back in 1994,
his musical ethic has veered towards unlocking a whole
new hip hop sound built on dark, brooding samples and
meticulously constructed beats.
This record secures Sixtoo’s position as the master
sampler. Ever the faithful B-Boy, his instruments of
choice remain his sampler and turntables as he searches
for an outlet for his lyrical anger and self-derision.
A decade of development has seen him evolve from moody
MC to mature and breathtakingly innovative producer
capable of spinning melodies that evoke darkness, dislocation
and the chill of a Canadian winter.
After releasing the fully instrumental Duration
(2000), he signed to UK-based independent Vertical Forms
and followed it up with the lyricised Antagonist
Survival Kit. This dark-ass record gave us the
best of both Sixtoo’s worlds, on the mic for half
of it and hitting the SP hard for the rest. With Ninja
Tune’s interest aroused on both sides of the Atlantic,
he started work on Chewing Glass guided by
the vague desire to create something that sounded like
a live band.
Four months in he scrapped every single beat in search
of this new direction. Experimenting with an electric
Rhodes piano sparked off the idea that this record would
not be solely based on mining wax for samples. Tracks
were constructed from live sources, funnelled into his
sampler and painstakingly arranged. Where he once made
sure his compositions were as dense as possible, the
new album incorporates space paying homage to less visible
influences such as Sun Ra.
There’s no doubting that Sixtoo is taking hip-hop
to another level. As his vision of the album progressed,
Sixtoo placed a number of strategic calls to friends
and acquaintances, from Krautrock god Damo Suzuki of
Can and Norsola, and Thierry from the mysterious Godspeed
You Black Emperor to Eric Craven from The Hanged Up.
All of whom can be referenced within the sliced and
diced signature Sixtoo sound.
While the majority of the album features sophisticated
rock and jazz blends, opening track Boxcutter Emporium
Part 1 is ear-shatteringly original. Loaded with
his trademark scratches and samples, it takes you on
a messy, dubbed-out ride to the sombre side of your
conscience. The main section is filled organic-sounding
distorted sawtooth guitars and driving drums that create
a downbeat but menacing momentum.
Sixtoo continues to prove his prowess as a musician
and innovator on tracks such as Storm Clouds
and Silver Linings, which is set over some
continuous breakneck drums and sound akin to some kind
of compressed snare-heavy live band drum and bass. Layered
over it are more no-wave guitars and Damo Suzuki crooning
like Bowie, growling like Aretha and screeching like
Lenny Kravitz.
A massive amount of recording space is referenced in
45 minutes. Other standout tracks include Old Days
Architecture, lurching forward with an unsettling
breakbeaty feel and dark elegance, while Snake Bite’s
tight tune opens with sneaky and slightly sinister percussive
rattling sounds that gradually builds up with layers
of graceful dark cello and background distortion, creating
a powerful electrical storm.
Chewing On Glass is essentially a psyche rock/jazz
masterpiece made by a long-time hip-hop producer dedicated
to pushing the genre forward. With a little help from
his friends, Sixtoo has succeeded in marrying an organic
approach with one that incorporates the current movements
of micro-sampling and effects to produce a sound that
breathes life and soul back into instrumental hip hop.
Serena Kutchinsky
4.2/5 |
