Tag: Georgia Anne Muldrow

eLZhi – “Zhigeist” review

This is the 4th full-length album from Detroit veteran eLZhi. Rising to prominence as a member of Slum Village shortly after the departure of the late J Dilla about 2 decades ago, he eventually saw success of his own with his classic solo debut The Preface in the summer of ‘08 & was followed up 8 years later with Lead Poison. His last album 7 Times Down, 8 Times Up just celebrated it’s 1 year anniversary a few months back & that happens to be my 2nd favorite of his behind The Preface due to JR Swiftz’ stellar production as well as it’s resilience heavy concept. However, eLZhi is now enlisting Georgia Anne Muldrow behind the boards for Zhigeist.

After the “News from the Ship” intro, the first song “Amnesia” sets off the album with a peppy ballad advising not to forget that you’re loved whereas “Every Moment” goes into soulful territory talking about decorating every day in your own way. “King Shit (Say Word)” mixes some pianos & synthesizers to declare himself royalty leading into “Understanding”, which swaps out the synths for a funky bass-line talking about comprehending one another.

Meanwhile on “Already Gone”, we have eLZhi keeping the funk going describing himself as somewhat of a mystery just before “Strangeland” works in some keys & dusty drums to talk about being king. “Pros & Cons” comes through with a powerful dedication to all his peoples while the song “Nefertiti” goes into a more romantic direction & it’s just alright. But after the interlude, “Compassion” closes out the album fantastically by going back into a funkier route thanking listeners.

I’m always excited for new eLZhi given that he’s one of my top 5 emcees to ever come out of my hometown & he sure did deliver here. I find it intriguing the way Georgia blends elements of multiple genres in her production & together, they deliver a damn near perfect love letter to people of color.

Score: 4.5/5

Georgia Anne Muldrow – “Overload” review

This is the 9th studio LP from Los Angeles, California singer/songwriter, rapper & producer Georgia Anne Muldrow. Self-producing her 2006 debut album Olesi: Fragments of an Earth under Stones Throw Records, the sophomore effort Umsindo was as positively received although Early alongside King’s Ballad & Owed to Mama Rickie’s reception were generally lukewarm. Seeds produced by Madlib however would become the most revered entry in her whole discography, coming off Oligarchy Sucks! & A Thoughtiverse Unmarred to make her Brainfeeder Records debut with Overload.

After the “I.O.T.A. (Instrument Of The Ancestors)” intro, the first song “Play It Up” advises the star that guides & leads her through not to worry about the haters whereas the title track blends contemporary R&B with hip hop & trap thanks to Mike & Keys and DJ Khalil confessing that she’s been overwhelmed by work lately. “Blam” goes for a neo-soul vibe singing about picking up a gun & pulling the trigger out of self defense leading into the “Williehook” skit.

“Aerosol” embraces a psychedelic soul sound describing finding beauty within your average urban neighborhood while “Vital Transformation” sings about all of us being meant to evolve. “You Can Always Count on Me” kicks off the 2nd half uniquely covering a song off The Gap Band’s eponymous 3rd album just before “These Are the Things I Really Like About You” featuring Declaime finds the 2 joining forces so they can tell each other what they enjoy the most regarding one another.

The track “Canadian Hillbilly” pushes towards Overload’s conclusion singing about her husband always being by her side no matter what life throws at her while the jazz-infused “Conmigo” pleads for those listening to cherish everyone that we keep close to our hearts. And prior to the “Ciao” outro, “Bobbie’s Dittie” spends the last 4 & a half minutes experimenting with jazz fusion singing about how fake the bruise we take from love is once we’ve awoken.

Seeds remains my favorite album of Georgia Anne Muldrow’s with Olesi: Fragments of an Earth, but Overload comfortably places itself behind the latter amongst her most celebrated material & vindicates every reason why Flying Lotus signed her to Brainfeeder. The production’s more on the neo-soul, alternative R&B, synth-funk & psychedelic soul side of things rather than continuing to emphasize the predecessor’s heavy boom bap/conscious hip hop influences & she’s thematically healing from the pain society has caused.

Score: 4/5