Customer Reviews

Trinity: Past Present & Future

5 star:		(10)
4 star:		(15)
3 star:		(2)
2 star:		(4)
1 star:		(5)

 

 

Slum Village's new album Trinity is an absolute must have for any real hip hop purist out there. If you liked their previous album Fantastic Volume 2. You will probably enjoy Trinity. The only difference with Trinity is that the superb beat-smith J-Dilla is no-longer a part of the trio. However J-Dilla contributes his futuristic authentic production on 3 tracks. J-Dilla's lyrical replacement on this installment is Detroit underground M.C.Elzhai. Yo this kid is nice!!! Every time this dude spits he comes off like a used rubber! With the addition of a proven lyracist like Elzhai, it makes Batain and T3 (who normally have a go with the flo style) step up their delivery and lyrical content. If Elzhai dosen't receive a quotable from any of his verses on this album somethings wrong. On "one" (probably the best track on the album) Elzhai murders it, when he says "It takes One hit for a wack rapper to make millions, causing the illest niggaz to switch and spit what they aint feelin". Other standouts are "Disco", "What is This", "La La", and Unisex. Despite some of the lackluster reviews that this album received, this is a good album that represents the progressive and original side of hip hop, which isn't too visible these days. This album will satisfy any hip hop purists.
Overall, Trinity is a decent follow up to the underground classic Fantastic Vol 2. The production was better on Fantastic. The production on this album is good but not great. But the lyrics have greatly improved this time.

When the video for "Tainted" was first seen on TV, a lot of people said, "Uh oh, where's JayDee?" Well, the infamous super producer Jay Dilla left Slum Village, and when that happened, many people assumed a downward spiral would occur (you know, like when Kay Gee left Naughty By Nature). It's already a problem when the only member of the group anyone gives props to is the DJ, but after he leaves, then what?

While JayDee gave up his production credits, the music on this album isn't TERRIBLE. Still, you can really feel the loss, especially in the disorganized sounds of "Star"; and "Unisex" is so chopped-up that it's not even bootleg-worthy. JayDee does actually show up for tracks like "Let's", "One" and "H**s"; you'll just wish he stuck around for the whole album.

A new rapper named Elzhi is recruited for this album, but he really doesn't belong here. What I mean is that he should have his own album, because his rhyming is so dope that he raps circles around Baatin and T3 on EVERY TRACK. And in many places he ends up saving the songs, especially "Disco" and "La La". And we all know that Baatin and T3's rhymes are usually very plain, but it still seems like on this album they took a step down from that Fantastic sound. Also I think they're being a little too experimental in their rhyming, because on tracks like "All-Ta-Ment" (ultimate) and the aforementioned "H**s", I'm not even sure that's them rapping. Maybe when JayDee was still part of the group, the beats were so intense that it gave them more energy to try and bring it. But on here, how can they expect the crowd to "Get Live" if THEY don't?

For Fantastic, Vol.2 people bought the album only for the beats. For THIS album, people should buy it only for Elzhi. All in all, though, Slum Village still has a little ways to go for people to buy their albums for the right reason: EVERYTHING.

Slum Village ~ Trinity (Past, Present, Future)

Detroit underground group Slum Village was producer Jay Dee's side project to his production and other efforts. On their second CD, Dilla has now left the group and it was just MC's Baatin & T3. One might think a group founded by a beatmaker who has worked with the likes of Common, ATCQ, and The Pharcyde would be as entertaining and ill on the mic as those kats. Sadly they aren't. Baatin & T3 both have skills ranging from bellow to average at times. Their topics are generally skirt chasing and other BS that wouldn't be so bad if the lyrics were strong. Without Jay Dee's production and no notable guest appearances I was even more sceptical of this release than I was their first. Luckily they did do one key thing to improve the group, they brought in the young hungry rapper, Elzhi. He has that distinct Detroit delivery at times and strong battle rap lyrics that the group desperately needed. So my emcee fears are actually put down a little, but still what about the beats? The production for the most part is handled by a group of relatively unknown producers (Curtis Cross, Karriem Riggins, Waajeed O'Bryant, and T3 himself) but Jay Dilla hasn't totally left them high and dry (he does 3 tracks) and DJ Hi-Tek and Scott Storch lend their hands (1 song each). All in all the production is polished, smooth and soulful but it feels underdeveloped. Although the guests aren't as star studded as Fantastic, DJ Dez's cuts are complimentary to the production where featured and Dwele's vocals are a nice touch as well. The album also has the makings of an interesting concept labelling the songs: past, present and future. Although it's an interesting idea it isn't fully realized because there doesn't seem to be a pattern in the labeling. Now I'll discuss the meat and potatoes or lack there of...

Insane ~ After two intros "Insane" gets things started with Baatin & Elzhi sharing the mic. I was expecting a really energized track with the title being insane and it being the opening track. Unfortunately the beat done by Waajeed O'Bryant is a fairly repetitive muted horn sounding synth that doesn't veer too much from the same path. It does build a head nodding vibe but not much else. Baatin kinda puts me to sleep on this track with his slow flow and whiny delivery. Elzhi comes and steals the show with his second rapid verse.

Tainted ft/ Dwele ~ All three MC's drop verses on this one. To me Elzhi doesn't actually steal the show totally here. Him & T3 drop relationship type verses, which are both decent. T3 talks about how he is better than most dudes in the love department who's love isn't real. Elzhi in a real short spit talks about his views on relationships. Baatin is the glue in this joint. His middle verse between them converses about the fake love in the industry. Dwele's sultry voice lays down the chorus which is really captivating combined with the beat. For the beat itself Karriem Riggins really comes through. He uses hollow sounding percussion, flowing soft organ, and deep loving bass. The vocals and production work together to create a kool, smooth and classic feel.

Disco ~ `Disco" was a good choice for a single, but the remix with Timbaland doesn't really work. This LP version is produced by T3 and has a mindless appeal to it. Utilizing funky keys and bass but it ultimately comes off kinda weak. It's a club oriented track that doesn't just want you dancing in the club but in the barber shops too. It's fun, but really a cheap thrill. Unfortunately it lacks any substance and falls flat.

One ~ A lot of songs other than the singles "Tainted" and "Disco" have a heavy filler vibe to them. They often sound appealing, they just don't have that extra element that separates average from good. "One" is a song that doesn't seem to be geared as a single but it doesn't seem to be filler either. It is purposefully crafted as solid piece of work. Jay Dee shows up for the production on this joint. The problem is it really stands out and makes the other music look pedestrian. He lends almost a dark effect, with paranoid jazz keys, booming strings like a cello, choppy drums and rolling bass. There is also some good wordplay on behalf of SV using the theme of "one" consistently throughout the song.

Trinity (Interlude) ~ Right in here you get the bulk of quality on the album ending here. This cut has the three kats basically telling everyone where they have come from to the place they are at. Curtis Cross does his thing on the boards to make a hard bass driven beat with nice synthesizers and nice turntable work from DJ Dez (nothing outstanding mind you).

This is a pretty bad album there just isn't enough here to justify 23 tacks. They could do some things to make a better release as a whole in my opinion. Firstly let Elzhi do most of the rapping, T3 is pretty average and undistinguishable, Baatin has ok flow and his own delivery. Baatin has left the group now so I don't think we'll be hearing much from him. They should add a full producer to the group, T3 does an alright job on his songs so he should possibly handle a couple of joints on the next one. The producers they used were alright but Karriem Riggins is really the only one that sticks out. I liked the rest of his work with SV & Common as well. Get better Dj's on your ish, Dez is ok but nothing to write home about in my humble opinion. Get more guests on your albums for variety. I think if they don't make serious moves they will fade away. 2 stars, buy it if you like it after a listen. Peace, love & soul...

Aart from 1 or two tracks, one at the most (Tainted - and even then it get annoying), cop the bootleg!

There is something of a paradox in hip-hop; the best hip hop really doesn't sound so great at first, while some of the worst hip hop sounds amazing at first, but really doesn't lend itself to repeated listens. Case in point: Scarface's new "buzzoworthy" song, My Block. It sports a very catch piano loop and an equally catchy chorus. After listening to it a few times, one realizes how simplistic it is: the chorus is unintelligent and the short loop is repeated without ever changing. On the other side, however, we have Slum Village's new album, which arguably falls victim to the other phenomenon: upon the first few listens the production sounds limp and unbelievably bland. This will come as a disappointment for most people who purchase the album on the strength of the instantly catchy single "Tainted." For those with patience however, the album will slowly reveal itself and reward in the process. The beats are muted and subtle but also complex and diverse, and the lyrics (save for a few throw away battle raps) are intelligent and impressive (particularly from newcomer Elzhi, who reminds me of Posdnous from De La Soul in his ability to impress without relying on flashy gimmicks). This certainly isn't the party album that it advertises itself to be but those with patience who are ready for some initial disappointment will eventually be rewarded. Sadly, the album doesn't achieve the epic status that it tries to (the concept is that the songs are roughly divided among tracks representing the past, present and future of hip hop, the reality is that even the most experience ear can't distinguish which tracks are supposed to represent which time period) but it may still prove itself to be a slept on, laid back classic in the same vein as A Tribe Called Quests initially-rejected swan song "The Love Movement."

I can't believe that so many people bashed this album. I currently own all the SV joints and this one hands down is my favorite. So I guess the people are divided on this one, but I loved and still am "loving it"

Detroit, MI

Another tragic release using the 'N' word to masquerade as art. Feeding Black youth this garbage only increases Black self-hate.

I bought this thinking these guys were innovative yet nothing on this cd stands out to me. tainted feat dwele is the best song on the cd , maybe that's why it was the first single. one thing I dislike about this is the skits, interludes , and for crying out loud 2 intros!!! why do you need two intros? there are about 4 good tracks out of 22 the rest are a bit bland if your looking for something new or different don't look here , I'm sure they'll do better next time or atleast I hope they will. not the second coming of tribe sorry.

This album was a disappointment. The first single was just a tease, to reel you, but overall it's defintely no Fantasic vol. 2. Jay-Dee, pleeeeeeease come back. They need you.

Profound lyricism has never been Slum Village's strong suit-Jay Dee's mellifluous hip hop beats were always the group's ace in the hole. While no longer a formal SV member, the stellar producer contributes three in-novative tracks to their latest album, upholding the rhythmic quality of their previous work. Other producers help maintain Trinity's low-lit vibe, among them DJ Hi-Tek, Scott Storch, and jazz musician Kareem Riggins, who accents a harmonious R&B chorus with sharp keyboard textures on the standout track "Tainted."

Though T3 and Baatin's verbal syncopations punctuate Trinity's big-bottomed sound, their words are consistently trite. Fortunately, new group member Elzhi ups the lyrical ante, providing densely layered verses. On the skittish "One," he raps, "It took one hit, tongue kiss and make come quick / It took one hit for a wack rapper to make millions / Causin' the illest... to switch and spit what they ain't feelin'." SV has said that Trinity represents past, present, and future; if so, Elzhi looks like their trump card for tomorrow.