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SXSW hip-hop fusion: K. Flay, Idle Warship, Robert Glasper

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IMG_1105.JPGAUSTIN, Texas -- Kristine Flaherty grew up in Wilmette. She went to Stanford. She's also a helluva rapper.

With frenetic flow and live-wire, chicken-dance moves, K. Flay barreled through a Friday showcase at Austin's Red Eyed Fly, crumpling labels and defying genres. Backed by an excellent live drummer, Nicholas Suhr, she crafted loops and samples with real finesse, utilizing grinding guitar sounds and squawky electronic noises for melody and music more than mere beats and punctuation. "We're going to go to a fun place in our minds," she said by way of introducing one song. It was less invitation than advisory -- she picked up drumsticks and attacked her own percussion pad, and she and Suhr lost themselves momentarily in a rhythmic freakout of ecstatic proportions.

K. Flay's sharpest weapon, though, is her fast-talking tongue. Her words-per-minute reached the red line almost every time. One song began with a slow, easygoing beat (no drummer), as she started rapping along. The beat kept modulating, faster and faster, and for three or four minutes she kept slinging syllables without a single flub or nonsense gibberish. Who knows what she wound up saying? But given the rest of her wisecracking, hard-hearted material -- all that's out thus far is an EP, "Eyes Shut," available free on her web site -- it's worth hearing at any speed.

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Idle Warship -- a new collaboration between acclaimed rapper Talib Kweli and Philly soul singer Res -- released an album last fall that was mostly great, a fizzy mix of hip-hop, R&B and rock with just the right balance between all three. The group's SXSW showcases were highly anticipated -- but, alas, their Friday afternoon show was ho-hum.

Backed by a live quartet, Kweli and Res ping-ponged their vocal duties and spent an inordinate amount of time asking the crowd for cheers instead of earning them. Kweli turned the word "soul" in one song into a falsetto, drawn-out "Soul Train" nod, but the music, which is buoyant and bouncy on record, lurched and lagged live. Even the synth underpinning of Corey Hart's "Sunglasses at Night" in the song "Steady," which eventually morphed into the whole band singing the Eurhythmics' "Sweet Dreams," failed to brighten the desperate energy on stage. The term "rap-rock" has certain negative connotations; this isn't really rap-rock, but it's close. A 21st-century Digable Planets, unfortunately, they ain't.

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In one sense, I'd like to thank the sound engineers who had difficulty getting things in gear for the Robert Glasper Experiment showcase late Thursday night at the Elephant Room. Without their delay, some room in the tiny, dank club might not have opened up and I'd have missed the whole show standing on queue. The sound was substandard even when the show got under way, but those who made it in heard enough to justify the hype that brought us there.

Glasper is a hip-hop wunderkind. Glasper is a jazz juggernaut. A pianist, a Texas native, he seems to be knitting a new kind of fusion. A set that opens with Coltrane (sax player Casey Benjamin is pretty wicked, see video below) and nearly winds up with Nirvana's "Smells Like Teen Spirit" might only turn the head of zeitgeist interpreters like Brad Mehldau, but Glasper's quartet followed their open-minded explorations through the jazz tones, hip-hop beats and raucous rock with more ferocity than irony. His latest album, "Black Radio" (Blue Note), does the same thing and features guests like Mos Def and Chicago's Lupe Fiasco.



... and there's more SXSW 2012 coverage here!

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Thomas Conner

Thomas Conner covers pop music for the Chicago Sun-Times. Contact him via e-mail.

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This page contains a single entry by Thomas Conner published on March 16, 2012 5:51 PM.

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