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As on past releases, Serengeti is alternately political,
abstract, hilarious, and goofy. He sounds equally convincing rapping
cynical critiques as he does silly witticisms.
Chicago emcee Serengeti (neé Dave Cohen) is in many ways similar
to Robert Pollard, the mastermind behind Guided by Voices. Both are
incredibly prolific, release almost anything they write, and have
problems editing their albums. Yet music lovers keep their heads up
when either artist releases new material for a simple reason: When
Pollard or Serengeti are inspired, they are brilliant. Both let
their great everyman personalities shine through their great work
with a take-it-or leave it attitude that makes both something of
cult figures (albeit to different degrees).
It's a good thing then that on Noticeably Negro,
Serengeti sounds quite inspired. Working exclusively with
producer Midas Wells and DJ Helias (minus one song with DJ Pickel)
has resulted in a tight and unified album. Audio 8's press release
accurately describes Midas Wells' beats as "gritty, yet melodic,"
and the majority of them boast infectious samples with great drum
programming. In particular, the title track has two great
piano/keyboard riffs and "T.R.I.U.M.P.H." makes great use of a
guitar sample that strongly resembles the theme to Nintendo classic
"Contra." Simpler than his previous lush orchestrations, Midas'
backdrops allow Helias to fill in dead space with superb scratching
that can be frenetic at times, but is never intrusive. Thus,
Serengeti is well equipped to deliver a solid record, and for the
most part follows through.
As on past releases, Serengeti is alternately political,
abstract, hilarious, and goofy. He sounds equally convincing rapping
cynical critiques ("And we got kids and we can't afford 'em/ so we
just abort 'em/ or put 'em into homes/ and turn some little kids to
orphans" from "Cauc's Remix") as he does silly witticisms ("Laughing
like your aunts and uncles didn't like your brother/ or if your mom
is huge and you have to say ‘That's my mother'" from "South"). Geti
once again uses many deliveries, rotating between flows that are
charismatic, monotonous, sly, and exasperated. The grab-bag variety
approach mostly succeeds, as it did on all of his previous albums.
Then what makes Noticeably Negro different? The answer
is that the surrealism and off-the-wall comedy hijinks have been
toned down. That sense of mad-hatter whimsy is both Serengeti's
greatest strength and weakness. By downplaying it, he has eliminated
hilarious and abstract highpoints, but also the "what was he
thinking?" lows from the record. The result is his most
straightforward, focused, consistent, and accessible release yet.
Unfortunately, a few quibbles keep this project from achieving
all that it could have. Serengeti still has a few verses or lines
spread out in the record that sound as though they came from an
average or bad freestyle session. There aren't enough to sabotage
Noticeably Negro, but they are noticeable. Also, "Bubble's
Place" and "Very Ill" sport beats that are more interesting than
enjoyable and Geti doesn't rap well enough on either to save them.
Lastly, Audio 8 pressed the CDs with a printing error that makes
some songs hiccup (all in the same place, no matter which CD you
have). Eventually, the listener can get used to this issue but they
shouldn't have to in the first place.
While these problems are irritating, Noticeably Negro is
still one of Serengeti's better albums. He isn't as overtly abstract
or funny as on Noodle Arm Whimsy or Dennehy, but
Serengeti still has plenty of imagination to spare and two talented
collaborators to see his vision through. In short, Noticeably
Negro is a solid album and the ideal introduction to the world
of Serengeti. B+ | Bob McMahon
RIYL: MF Doom, Aesop Rock
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