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MH-215 Busdriver & Radioinactive With Daedelus - The Weather  Busdriver and Radioinactive have created, along with producer extraordinaire Daedelus, a million-word-a-minute marathon of inside jokes, twisted narratives and abusive free-association backed with blip-hop beats assembled from samples of children's toys, a century worth of recorded music, and other unearthed sounds, all daftly computer twisted to optimum effect. The release combines the distinct talents and trademark styles of three individuals to create a sound all its own: left-field and envelope pushing, but still grounded in solid writing, well-crafted music, and perfect execution that seems effortless. |
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| Reviews Summary |
| Two of LA's most compelling avant-garde rappers - Rolling Stone / Plush as a space-age bachelor pad - XLR8R / Hip-hop monkeyshines have never sounded so fine - Grooves / Put on a helmet; this is one hell of a ride. - Impact Press / An exciting and interesting endeavor - Dusted / Dope but freaky sh** - SF Examiner |
| Reviews | |
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| Make no mistake - The Weather is weirdo hip-hop, all right. But emcees Busdriver and Radioinactive sound completely comfortable with both their own hip-hop-itude and their own weirdo-osity. Whether they're triple-speeding their rhyme flow to keep up with the stuttering beats on "Pen's Oil" or listing more side effects than there are cures for in "Germs That May Cause the Following:" the album never feels self-consciously arty. "I don't think we're in Kansas anymore," laments nasal-voiced everyman Radio in "Carl Weathers." "I don't think we're in Timbuktu," shoots back Busdriver, sounding like a game-show announcer. And so it goes. The real star of The Weather, though, is producer Daedelus. His Bizarro World kiddie-funk beats and Sesame Street-on-goofballs keyboards and samples leave behind the overt Dj Premier worship of most indie-hop beatsmiths in favor of tipping his hat to Prince Paul. Daedelus' tracks are whimsical - lots of samples taken from old Saturday morning cartoons, vintage TV commercials, horror movies. But the drunken, sideways-leaning keyboard plinks of "Glorified Hype Man" and the slow-dissolving cool-jazz horns of "Break for 2300" are as creatively funky as the rhymers they back. - Baltimore City Paper |
2XLP/Out Of Print