Posted on 12/15/2008
Turn on the Radio! Turn on that good shit!! Exile takes you on an acoustic journey through his formative muse, the radio, on his latest effort--Radio. It has been described as a pause tape, promotional tool, and mix-tape. The project is hip-hop, it’s creatively experimental, and it’s effective in emphatically driving home the point that high levels of artistry are required to make good hip-hop. It exudes an artistry that makes me proud to call it hip-hop. Radio is an instrumental project in which, most, if not all, vocals and beats were sampled directly from the radio.

The opening tracks, “Frequency” and “Population Control,” were no less than pure bliss. The latter is best described as ear candy, offering exquisite acoustics, with the project’s tour guide android (think the phembot from Tribe’s Midnight Marauders) shouting “people everywhere,” his familiar robotic lingo falls into a deep rhythmic pocket; creating symbiosis with the music. The project is sprinkled radio vocals, some seemingly off the AM frequency, and its overall vibe is laden with 70’s style bandwidth and frequency mutations and interference.

I only planned to listen to a couple of tracks on first listen, but couldn’t cut off the Radio. I had to let it rock—constantly rewinding, re-listening. “Watch Out! False Prophet” offers deep plodding, grinding bass and percussion accompanied by tap dancing snares. Radio has that “it” factor, that tincture of funk and rhythm that only comes forth through the process of natural selection, progression, and transgression. This effort transcends the norm, and dares other producers to follow.

“It’s Coming Down” freaks “Always and Forever” in such an unimaginable and unexpected, and certainly abstract way, it’s so unreasonable, as evenly sprinkled vocals that season the track like exotic spices from the developing world. Songs rock then morph into outro bridges. There is no structure, there is no predictability, and thus, there is no industry influence. Radio also manages to touches on poli-sci issues such as the alleged patriot act, medicinal marijuana, and telecommunications companies spying. It condemns the patriot act’s exploitive and divisive nature, calling it out its bold-face sheer abuse of power. This is accomplished of course through more radio samples. Radio delivers bouncy soul-spangled goodness.

Over haunting echoes of delayed percussion, the anguished operatic cries of a female vocalist, provide the signature groove of “The Sound is God.” The sound is definitely out of this world, and the goodness of the groove is overwhelming and truly undeniable. The sunny feel good bass-line and diversity is truly official. The CD’s unique artwork seems to cater to this particular cut. On Exile’s Radio, vocal samples are well placed, sleigh bells ring and sirens wail. Tribal Xylophone keys instruct you to fall in line with the infectious groove and tune-in to its high-level (see “Love Line) frequencies. The android host doesn’t appear on the Radio too much, and like much of its elements, it is delivered in deliberately measured doses.

Exile is a technician: he articulates well through instrumentation, concepts, imagination and risk taking. He reminds you of when the radio was our friend, our window to the world, our positive influence. Maybe Radio is the symbolic prodigal son that we will embrace with open arms somewhere down the line. Radio; however is that shit, so once you’ve tuned in, keep it right there, and “Stay Tuned.” The android tour guide warns you “Don’t touch that DIAAALLLLLLLL!”

- Mel Blunt