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p r o u d l y p r e s e n t s ..::
░ Artist | Pharoahe Monch
Title | Desire
Genre | Hip-Hop
Source | CDDA
Format | Album
Label | Street Records Corporation / Universal Motown
Catalog | B0009368-02
Released | 2007
Ripped | 2021
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Quality | 293 kbps avg at 44.1 kHz ▄▄███▀▀
Encoder | Lame 3.100 V0 ▄▄██▀▀ ░
Size | 111.36 MB ▄▄█████▀ ░░░
Playtime | 50:54 ▄███▄▄▄▄▄ ▄█▀ ▓█▄ ░░
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░ R E L E A S E I N F O R M A T I O N
Pharoahe Monch has a stunning hip-hop pedigree. The Queens-born MC
went to high school with Mobb Deep's Havoc and Prodigy, founded the
seminal Organized Konfusion with Prince Po, and ghostwrote for Diddy
on Press Play. But the brain-bending lyricist remains best known for
a quartet of laddering synth bleats (the uncleared Godzilla sample
from "Simon Says" that got his debut solo album, Internal Affairs,
pulled from shelves) and a command to "get the fuck up" so
irrefutable in that "how the fuck up?" was the only possible
response.
His long-delayed sophomore album, Desire, is primed to change that.
It's a best-of-both-worlds record, formulated something like this:
backpack-rap's sense of social justice (minus shrill
self-righteousness) and overclocked verbiage (minus rhythmic
malaise) plus the trap star's outsized charisma (minus deadening
conspicuous consumption) and furious delivery (plus rampant
conspiracy theories). Monch knows it, too, neatly summarizing the
dichotomy on "What It Is": "They thought I was backpack/ Slept/
Didn't know that that he kept inside the knapsack..."
This sort of deft reversal characterizes Monch's lyrics ("Slave to a
label, but I still own my masters," he spits on the title track), as
does an existential and oblique approach to well-worn gunplay
scenarios. Vocally, he's like a Yankee Ludacris, except that he
peppers his durable, booming vernacular with showy clusters of
tongue-twisting homophones. And like Nas in his prime, Monch
combines several skill sets into a seamless package: A vivid
narrative imagination and the control to bring it to life, a knack
for dizzying extended metaphors and haymaker punchlines, and a
complex moral sense.
Any given track on Desire displays one or two of these attributes--
"Let's Go" sustains a rhyme scheme built around the names of various
handheld peripherals; the braggadocio-driven title track is full of
wild puns like "even if you were ashes you couldn't "urn"-- but the
best embody them all. In the epic, revenge-fantasy closer "Trilogy",
a chorus comprised of Mr. Porter (in the funky first act), Dwele (in
the elegiac second), and Tone (in the boom-bap third) provides
narrative compression and interior monologue. "Trilogy"'s fantastic
pacing and its use of music as a storytelling supplement only adds
to its high-wire tension.
Monch might flounder into familiar indie territory if his music
weren't so lucid and lively. He gives his backup singers and
shapeshifting beats plenty of room to breathe, especially on the
tracks he produced himself. On the anthemic "Push", he drops in for
one climatic verse after a long gospel workout moistened by Tower of
Power horns, and on "Body Baby", he forgoes his usual boom in favor
of brisk syllabic shards that slot neatly into the music's
juke-joint bounce. Producers like 99 Fingaz, Alchemist, and Detroit
up-and-comer Black Milk give Monch the kind of extraterrestrial soul
he's built for. The only duds are the genre exercises: The
maddeningly insistent guitar noodles during the Public Enemy
throwback "Welcome to the Terrordome" are a long way from the Bomb
Squad's Prince-sampled shredding, while the disposable "Bar Tap"
shows that club tracks aren't one of Monch's strong suits.
Monch also handled production on "What it Is", where conspiratorial
whispers and an urgent synth monotone make the thread of paranoia
running through the record sonically explicit. This conspiratorial
bent, combined with the album's interludes (which range from
civil-rights polemics, meditations on telekinesis, and a satire of
Clear Channel-controlled FM radio), give it a recondite feel. Yet
Monch's fantastical side is tempered by hyper-modern references to
the Iraq war, stem cell research, Hurricane Katrina, and*,* in a
clear moment of weakness, Queer Eye for the Straight Guy. His
penchant for working hot-button topics into his rhyme schemes is so
pronounced that you almost expect to hear about troop surges and
colony collapse.
The long wait for Desire is due largely to the Rawkus/Geffen
debacle, and Monch isn't happy about it-- as on Clipse's Hell Hath
No Fury, his frustration with being stuck in label-purgatory is
apparent in pockets of the album. The first time he speaks, on the
whammy-barred screed "Push", it's to liken the rap industry, with
its "choruses of cocaine, tales of black heat," to indentured
servitude. "Now switch that advance for your emancipation!" This
angry-prole stance pervades the album; Monch seems more concerned
about labels fucking with his personal agency than his money. He
doesn't take pride in wealth like cocaine rappers, nor does he take
pride in poverty like their undie foils-- he seems more interested
in specific self-definition than on picking a side in rap's culture
war. At a time when a thread of unquestioning capitalist
acquiescence runs through an otherwise lively and diverse rap
climate, Monch's embattled anarchism isn't just refreshing, it's
inspiring.
Includes US bonus track: Book Of Judges
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ooh ye.. ░ ▀██████████████▄░▀███████▀
▀▀████████████▄▄▄▄ ▀
::t r a c k l i s t ::: ▀██████▀▀
::: . ▀▀
------------------------------------------------------------------------------
01. Intro (Prod. T. Jamerson) 0:32
02. Free (Prod. Davel "Bo" McKenzie AKA 99 Fingaz & Kellen "J. Clyde" 3:34
Ford)
03. Desire (Feat. Showtyme) (Prod. The Alchemist) 3:32
04. Push (Feat. Showtyme, Mela Machinko & Tower Of Power) (Prod. T. 2:52
Jamerson)
05. Welcome To The Terrordome (Prod. Grind Music) 3:31
06. What It Is (Prod. T. Jamerson & Lee Stone) 2:56
07. When The Gun Draws (Feat. Mr. Porter) (Prod. Mr. Porter) 3:16
08. Let's Go (Feat. Mela Machinko) (Prod. Black Milk) 4:16
09. Body Baby (Prod. T. Jamerson & Mr. Porter) 3:18
10. Bar Tap (Feat. Mela Machinko) (Prod. Black Milk) 3:08
11. Hold On (Feat. Erykah Badu) (Prod. Lee Stone) 3:49
12. So Good (Prod. T. Jamerson) 3:15
13. Trilogy (Act 1, Act 2, Act 3) (Feat. Mr. Porter, Dwele & Tone) 9:23
(Prod. Mr. Porter)
14. Book Of Judges (Prod. Ill Will Fulton) 3:32
-----
50:54
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░ Special Thanks to DSP CMS FTD KrbZ JCE FuFFeNS IGR iMPG diss
░ and all rippers that have and continue to rip quality music. ░
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