The Further Adventures Of Lord Quas

production: Madlib

guests: Madvillain, MED
year of release: 2005
Hydrant Game
Don't Blink
Players Of The Game
Bus Ride
Closer feat. Madvillain
Civilization Day
11. Bartender Say
12. 1994
13. Another Demo Tape
14. Raw Deal
15. Seasons Change
16. Mr. Two Faced
17. The Exclusive feat. MED
18. Fatbacks
19. J.A.N.'s
20. Shroom Music
21. Rappacats Pt. 3
22. Stange Piano
23. Life Is...
24. The Clown (Episode C)
25. Raw Addict Pt. 2
26. Tomorrow Never Knows
27. Privacy
  Closer feat. Madvillain
The news broke before Quasimoto's album came out: Quas is Madlib. Using a special little gadget to pitch his voice, Madlib transforms into Quasimoto. On the first album he slipped into a to-be-sewn costume in order to be that one person. For this album however, Madlib conversates a lot with himself, i.e. there's many rhymes where 'Lib and Quas trade verses and pass the mic - there's rarely a solo Quas song. That's actually quite an admirable feat but also shows that Quasimoto isn't much more than a changed voice: what he says, 'Lib could say and vice versa. It also means that there's much less Quas on here, with Madlib taking up a lot of mic time.
That's however not the biggest setback this record faces. That is the 27 tracks. This album is simply way too fragmented. While the album clocks in at an admirable 56 minutes, this means the songs are two minutes on average. But if it only were that there'd be no complaint. But the songs are further fragmented; hence this snatches an idea away from you, quicker than you can say 'come on feet.' Furthermore Madlib offers a mixture of bored sounding beats, like "Greenery" or the borderline imbecilely looping on a "Raw Addict Pt. 2" that's rather shameful for a supposedly supreme beat master (Madlib's just not on top of his game, sounding like a Doom rip off on "Bartender Say" and he does just too too little to "Fat Pockets" on "Fatbacks"). Not even considering a previously used sample on "Greenery", it further features a - whilst kinda funny - lengthy vocal sample to end the song and ads another sample, only to fragmenting cut it up further.
But despite these hard to dispute complaints, many listeners will buy this religiously and will praise the bejesus out of it. But this simply isn't that good and tries way too hard. In many ways, this is a 56 minute long snippet tape, that's kinda sent to an A&R to help the artist find a direction. This is a catalogue of ideas we want to pick out our favourite 14 to 18, and then get extended versions of those. The way it is right now, it's incredibly hard to really develop a feeling for the songs and with that the whole album. And on top of that, the cool jazzy samples are gone, instead there's a mix of early 80s sounding samples and minimalist efforts like "Players In The Game" which features a rather horrible title hook line.
There are only two guests on here and they are showing what this could have been. There's "Closer" featuring Madvillain, i.e. MF Doom drops a verse. And there's "The Exclusive" featuring MED. Who both picked really nice beats, leaving all that experimental weirdness to the rest of the album. But these are not even much of collaborations, as Quas really remains quiet throughout most of both songs. Here you also realize that Quasimoto's music is not really of one particular and distinguished (and distinguishable) style. With a Madvillain and all those other million Madlib projects, this is just one amongst them, and could be on any of the other too. Even if this is an extra three to five steps to the weirdness left.
And all of that despite the still amusing tales of the wacky Quasimoto, nicely done on a "Civilization Day," "Rappacats Pt. 3," "Another Demo Tape," "1994," "Raw Deal," "Life Is…" (which is kinda nifty but will go on your nerves in about three more spins) and "The Clown (Episode C)". Even if there are good songs - or the more appropriate term is 'moment' - this record evidentially showed that Madlib overdid it. Instead of giving Quasimoto another slightly wacky album, he went full throttle over the cliff. The novelty effect has worn off and all that pure and unnecessary oddness on this album can and will alienate. This is a "J.Beez Wit The Remedy" type of album, a courageous step towards tricky and dangerous waters and away from the original coast. Of course many will praise it, but many will also be left puzzled.
review: tadah
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