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MH-264 K-The-I??? - Yesterday, Today & Tomorrow  K-The-I??? marks a thunderous return to Mush with his latest full-length, Yesterday, Today & Tomorrow. Production on the album is handled entirely by Thavius Beck, his first project since he finished work on Saul Willaims' Niggy Tardust alongside Trent Reznor. Where his debut, Broken Love Letter, focused on past loves gone wrong, Yesterday, Today & Tomorrow is a collection of songs about the MC's cross country relocation, and trying to come to terms with how his life has changed from that. The result is a work of singular focus that catches K-The-I??? at his strongest, dropping ingenious lyrics over Blade Runner beats. The album features a stellar line-up of guest MCs as High Priest of a newly reunited Antipop Consortium, Busdriver, Subtitle, Scribble Jam winner Nocando, Vyle, and Mestizo all drop in. Thavius Beck even leaves the producer's desk and steps in front of the mic for a track. For fans looking for an album that ties hip-hop's past, present and future, K-The-I???'s Yesterday, Today & Tomorrow delivers. |
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| Reviews Summary |
| K's back and kicking - stand clear - NME / Rewards as much as it refuses to compromise - The Wire / Another strong notch on the post of lyrically-progressive hip-hop - Hip-Hop Connection / Go cop this s**t; it's the future of hip-hop - Lost At Sea / Twists the accepted notion of hip-hop into new shapes - Knowledge |
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| Sometimes, one wonders whether remix albums have a tendency towards “placeholder” status. Do they add anything significant to a band’s catalog, or are they merely a way to bide time until the next release is ready? In the case of Love Your Abuser Remixed, Lymbyc Systym and a collection of electronica collaborators have crafted imaginative reworkings that make the CD well worth attention as a “proper” release rather than a “placeholder.” The band’s own remix of “Birds” suggests that their overall vision for the project was to impart a more ambient sensibility to the music. Cohorts like Album Leaf and Bibio share this sentiment, layering repeating ostinati and washes of harmony in aurally pleasing fashion. There’s still variation to be had; Daedelus’s remix of “So We Can Sleep” interpolates subversive twittering chatter between wide swaths of chordal vamps; Eliot Lipp’s version of “Pittsburgh Left” features his trademark glitchy-yet-danceable vibe. The total is a pleasing collection that rivals the album proper. - Sequenza21 |
