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The Cunninlynguists’ first two albums, Will Rap for Food (2001) and Southernunderground (2003), mixed gleeful jackassery, tragicomic self-deprecation, and epic pathos. But with the new A Piece of Strange they’ve crafted a serious, unified piece of music, something to listen to when you’re in a melancholy mood—or want to be put in one. On Southernunderground’s “Old School,” the core duo of Kno and Deacon the Villain reimagined historical figures from Jesus to Einstein as hip-hop hooligans (“When lightnin’ struck Ben Frank’s kite and sent currents through / He was the first to electric boogaloo”), but there’s no such silliness on the new disc. Of all the MCs in the group, Kno was the best at goofing off, his goodnatured clownishness his biggest strength—but he contributes only a single verse to A Piece of Strange. Kno more than makes up for his absence on the mike, though, with his incredible presence behind the boards. I don’t know why he isn’t getting tapped on the shoulder every three seconds by another MC looking to collaborate—he could easily hold his own alongside bigname indie producers like 9th Wonder and Danger Mouse. On A Piece of Strange he’s at the height of his powers, his signature style fully formed: chipmunky sped-up samples (a trick he’s been using at least as long as Kanye), twangy guitars, wailing horns, haunting vocals, and sometimes propulsive, sometimes doleful piano, all draped over sturdy, understated beats. It’s a lush and tempestuous wash of sound that recalls the dark atmosphere of OutKast’s ATLiens. For a third of the album nobody raps—there’s either singing or no vocals at all. It’s as though Kno has decided to speak through the music. Deacon and newcomer Natti, who replaces Mr. SOS, align themselves with his introspective production, applying their southern twang and urgent delivery to purposeful rhymes about big subjects—the idylls of youth, the plague of racism, the nefariousness of the State Department, and of course the irresistible charms of their favorite green weed, a beautiful woman they make love to with every puff. The penultimate tune, “What’ll You Do?,” is a sad song without a trace of the sappiness that ruins boohoo numbers like DMX’s “Slippin’.” Deacon sounds genuine and downto- earth as he describes his frustration with life as a broke MC: “But needs outweigh cheese, tryin’ to stay in contention / ‘For the love’ is a hard reason to keep my life in suspension.” A Piece of Strange is hardly a fun record, but it’s grown-up, cohesive, and powerful—overall a pretty good trade-off. —Kabir Hamid
Lexington isn't just making country and bluegrass anymore: it's become home to a growing hip-hop scene (Meghan Cain, Posted: 11/9/06)
Horses, bourbon and farms may be what come to mind when people think of Lexington. Hip-hop music and culture may not be. But that's changing.
Over the past few years, underground hip-hop has begun to emerge here, and more people are becoming interested in the music and the culture, said Amadeus Durbin, a local hip-hop artist.
"The town of Lexington is off the charts for good hip-hop music, and people are beginning to find out Lexington has talent," Durbin said.
Brock Ward, producer of the Lexington-based group Art of Covenant, thinks that not many people know about Lexington's hip-hop culture because it is underground. He said that there isn't much of a market for any hip-hop that isn't already on the radio.
"There is a huge artist base here in Lexington (that a lot of people don't know about) as well as a lot of activity outside of the main performance halls," said Ward, a human geography and Arabic-Islamic studies junior.
Fears about a weakening scene
Even though there is an alternative hip-hop scene in Lexington, a lack of support for the scene is causing it to diminish, said local hip-hop artist Marcus Richardson.
"There is a plethora of independent musicians, whether it be hip-hop, rock or spoken word," Richardson said. "There just appears to be a diminishing amount of support for such artists."
Richardson said a lot of these artists go undiscovered because of a lack of support.
"I fear the indie scene in Lexington is gradually disappearing," Richardson said.
Richardson says although he doesn't really enjoy the hip-hop scene in Lexington, he feels he needs to make the best of what is around him.
"I do feel that Lexington's independent hip-hop scene could be stronger," Richardson said. "But you do not begin making it stronger by focusing on the problem. You move towards a solution."
Other local hip-hop artists and DJs believe a lack of creativity is preventing the hip-hop scene from blossoming.
Evan Morris, a local DJ and M.B.A. student at UK, believes local hip-hop music needs more talent.
"There are so many directions that hip-hop can go, and I think that we are trying to follow the rest of the nation too much," Morris said. "We can make our own music and make it so it's something that's new and no one will forget."
Richardson fears that The Dame and Underlying Themes are the only two music venues for independent music.
"It is difficult to open people up to something new when there are only a handful of venues willing to allow local hip-hop artists to perform," Ward said.
Several local artists believe the only way to make people more responsive to hip-hop music in Lexington is for someone from here to make it big.
It would take a miracle for the people of Lexington to be responsive, said Mario Hughley, a kinesiology junior and local DJ and hip-hop artist.
"I think someone needs to get signed with longevity," Hughley said. "They can then speak about the hip-hop culture of Lexington to give it more exposure."
The importance of the music
The increase of venues and receptiveness of the audience are very important to local hip-hop artists, but even more important to them is, of course, the music. Music is the essence of the scene - the beats, the words and the message.
"The vibe of the indie hip-hop scene in Lexington is very laid-back, calm and individual, like it should be," Hughley said.
Richardson believes all artists should remain true to themselves and only perform music that says something to listeners and is true to their lifestyle.
"I play music that makes sense to me," Richardson said. "That is all. If I say it in a song, believe it to be true."
Durbin said he doesn't rap about what he doesn't know.
"I want to perform honest songs," Durbin said. "I think that is important."
"You have a big responsibility when people listen to you," Durbin said. "(You have) a responsibility to yourself and want you want to say."
Ward said that for him, performing consists of educating, interacting and having fun. The audience is looking at him as an artist, and he wants to set a good example. He also wants people to be able to interact with one another.
"What good is art if you can't enjoy it?" Ward said.
Looking to the future
Although all of the artists love to perform, many feel Kentucky isn't the best place to foster this pursuit.
"I don't think there is a lot of opportunity here in Kentucky," Dowell said.
Hughley struggles with the stereotypes the rest of the nation has about Kentucky as well.
"Well when you think of Kentucky, you think of horses, bourbon, tobacco, basketball and all of the music that that comes along with that ... country and bluegrass," Hughley said. "So it is kind of hard getting recognized as a legitimate hip-hop artist in Lexington."
Morris feels that performing in Kentucky does pose a struggle - though some great groups have originated in Kentucky, like Nappy Roots and local hip-hop artists CunninLynguists.
Durbin believes that since Lexington is growing and expanding at such an intense rate that it is acting as a turning point for change.
"Why can't music be a part of this change as well?" Durbin said. "I think it could eventually be a launching pad."
Durbin said he can't wait to see where the music scene will be in five years.
With all of the hip-hop artists and DJs in Lexington, it will now just take time and support to foster a significant hip-hop scene.
"It will happen," Durbin said, "and it will be a beautiful thing when it does."
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Lexington isn't just making country and bluegrass anymore: it's become home to a growing hip-hop scene