I contemplate the phrase "more is than isn't" like a Zen koan. Is it a moral rule? When you give more, you don't give less? What does it mean? After a while, I let go of reason, and accept the puzzle. This is how RJD2's new album works. Most of the songs give a misleading intro that twist into the other direction once you've surrendered to the initial flow. It's better to trust our musical guide, and let him tickle our eardrums with enlightenment.
It is true, a lot of this new work is spastic. On tracks like "Got There, Sugar?" and "Her Majesty's Socialist Request," the jumps are apparent and provide a gripping effect. "Got There, Sugar?" opens with ominous organ glides over-run by squealing saxophone trills and hissing hi-hat clicks. Suddenly, around two minutes in, a burst of "hey, hey, hey" chimes in and it feels like we're standing in a room of seventy people. The song turns into an irresistible up-beat romp, until it fades out just as fast as it came on. "Her Majesty's Socialist Request" speaks softly at first, a flurry of claps interspersed with a shred or two of guitar, then makes way for a seductive pungi (gourd flute) solo.
RJD2 makes solid use of pauses to his advantage. Even when an electronic artist cuts music there is a slight gap in sound, but RJD2 relishes these quiet moments even further to ensnare the listener. On "Milk Tooth" and "Behold, Numbers," this technique stands out. Chipper flute trills and piccolo chirps create a happy ambience in the opening of "Milk Tooth," only to be interrupted with a pause around one minute in, where RJD2 inserts a raucous sax and organ combination. With "Behold, Numbers" he revs up the familiar violin teases we know him for, and creates a break into a cumbia beat accompanied by bass slaps.
Interspersed throughout the album are an array of great hip-hop tracks. "Bathwater (ft. P. Blackk)" uses a trap-style kick under P. Blackk's vocals, singing about the push and pull between materialism and true happiness, "all that glitters ain't gold," "they say I'm bringing the 90's back." "See You Leave (ft. STS & Khari Mateen) pleases with a real soulful groove, a song praising the ways of a tricksy lady. "This don't sound like heaven, you must be cool with the devil," and "I hate to see you leave, but I love to watch you go." The second last track on the album, "It All Came to Me in a Dream" features Blueprint, a rapper RJD2 works with in their group Soul Position. This song breaks out the classic RJD2 sound, a heavy bass line interspersed with a filling drum set. A car starting initiates the signal for Blueprint to start spitting, "Synchronize our watches to 2014, that's when we fall in for the conquest and cream." The song does a solid job between highlighting Blueprint's voice and lyrics and RJD2's compositions.
Another unique facet about More Is Than Isn't that slips through the cracks are the three suites. I enjoy how quickly they run by the ear and are always unique playful snippets. These short tracks break the tension between the heavier compositions on the album from beginning to end.
Grade: B
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