Review Summary: One of the most audacious and ambitious hip-hop records of the last decade
The vision at the core of this unusually grandiose hip-hop release is truly startling. A stalwart of underground hip-hop and famed for his conceptually complex rap releases, Kaseem Ryan, better known as Ka, is the creative driving force behind the risky concept of Orpheus vs. The Sirens. The album is a creative journey through the youth, adventures and misadventures of the rapper, using Greek mythology as a framing device. It's certainly bol and more than a little eccentric, but the curious technique of presenting a perspective through the lens of myth and legend forms a sincere and intricate dichotomy that is able to succinctly make its points whilst simultaneously stylising the theme in a remarkably innovative way. Ka, 46 years old at the time of this release, demonstrates an emotional maturity that is able to shine through the wistful strings and gentle percussive motifs, whilst all the while projecting a dreamlike eloquence with the air of a gifted storyteller spinning yarns in the glow of a golden sun. Through his impressively layered delivery and the efforts of producer Animoss, the release is a beautifully constructed journey, every bit as epic is the concept demands.
Whilst relatively easy to pigeonhole as hip-hop, this is a very reductive way of categorising Orpheus vs. The Sirens. Ka's vocal delivery certainly conforms to what is expected of a rap release, with his misty, lackadaisical flow contorting and fluidly meandering around the orchestral musicality. The production afforded to his actual delivery is tasteful and minimal, with Animoss occasionally utilising echo effects, synthy warps that seem to blur the vocal with the music itself, and a lucid layering effect that dramatically enhances the tone whilst remaining relevant to the concept. On the track 'Orpheus', for example, the gorgeously looped guitar lick, distorted and muddied amongst a a thudding beat cycles as a Ka's reverberating delivery flits around the production like a conversation scattered between various players in a high-ceilinged chamber. When paired with the lyrics, which address social and personal issues, the effect feels like a judgment; attacking, relentless. It's a remarkably shrewd production choice and the shrill hook renders the effect of the cut extremely memorable. Throughout the record, the use of lush strings, simple bass, choral tics and subdued percussion produce a combination of sophisticated, evocative songs that serve as innovative metronomes for Ka's lyricism. Not only this, they perfectly encapsulate the theme of the release by being all at once intimate and soothing, and yet detached and even transcendent, like the strains of a melody half-remembered from a dream. 'Hades' further exemplifies this, its gentle loop a delicate whirlwind of controlled tension and ethereal bliss, punctuated by crashing cymbals that jar without disrupting the flow. It's consistently well-judged, and abstract without ever feeling pretentious.
Fifth track 'Argo' almost feels like a microcosm of the epic sense of tonal scale contained on the album, with sweeping strings and a din that evokes imagery of sunlight breaking through clouds in an azure sky. An angelic mantra repeating the same note trills like birdsong at the end of every fourth bar, as a plodding drum keeps simple pace. All the while, Ka's flow dances around the experience, finding phantom melodies and rhythms in the protracted foreground, adding extra dimensions to the composition whilst echoing the tone of opulence. Quite simply, it feels heavenly. This overall feel of celestial luxury is assisted by brief asides that narrate key moments from the incorporated myths, and these are always pertinent to the theme of the song at hand, allowing the thematic content of the lyrics to connect with the broader structure that serves as the canvas. There is never a sense of twisting established narrative so that the pieces will fit or taking excessive artistic liberties with the atmospheric ambience- all elements feel organic and appropriate to the experience. 'The Punishment of Sisyphus' deserves a special mention in this respect, especially its brief use of more modern instrumentation. A beautiful and elegant composition, with a heartfelt rhythm and heavy emotional weight to its imagery, the track also creatively utilises turntables to accentuate melody. These stuttering motifs, whilst having a slight feel of idiosyncrasy, are implemented smoothly and fit the style of Ka's rhymes delightfully. The result is one of triumphant creativity; contextually outlandish but sublimely well-utilised.
The particular feel of Orpheus vs. The Sirens is an abstract one. This is not to say that the themes are not graspable nor that the music will not appeal to the average person- in fact, far from it; in many respects I feel that this is one of the most accessible hip-hop albums I've ever listened to. The reason I deem it abstract concerns the hip hop fanbase more than the music itself. The alternative style of the instrumentals, and the light-footed nature of flows may prove to be too much of a transition for those weaned on the more traditional sound. As a duo Hermit and the Recluse saunter where others stomp. They ask questions where others would shoot first. They float where others stay at ground level. For those with the right disposition, Orpheus vs. The Sirens is a bewitching, hypnotic and graceful ride, and these are not words I would tend to associate with hip hop as a genre. For those unfamiliar with Ka's solo work or his previous collaborative efforts, the vibe tends to be moody, atmospheric and stark. On this record, the only artists I was able to dry comparisons with, however vague, were Billy Woods and Deltron 3030- albeit a degree or two more understated. Nonetheless, the mixture of Ka's style with Animoss's blissful production remains very much its own beast; it's rich, deft and pure- an elaborate statement from an artist battle-wizened by life, profession and environment.
