Busdriver - Jhelli Beam reviews
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A B C D E F G H I J K L M N O P Q R S T U V W X Y
| Urb |
 Jhelli Beam opens with "Split Seconds (Between Nannies and Swamis)," Busdriver's simplest, most accessible rap jam, eschewing the bursts of rapid rap flows that usually accompany his slower style, and only occasionally bringing in a bit of sing-song. It's a safe and somewhat subtle way to draw in new listeners unwilling (or unable) to digest his normally weird output, although they're sure to be surprised when the rest of the album kicks in, as it does with "Me-Time (with The Pulmonary Palimpsets)," a song whose piano sample brings to mind "Imaginary Places," his hit song from Temporary Forever, arguably Busdriver's best album so far. In fact, Jhelli Beam has more in common with Temporary Forever than with any of his other albums, although the many layers of samples and sounds on the electronic- and rock-influenced hip hop production here can be a little much at times. Sure, Busdriver could work a bit on his hooks—while the simple chorus to "Scoliosis Jones" is almost annoyingly catchy, the chorus that closes "Me-Time" evolves into a big mess—fans will only care that Busdriver continues to excel at chopping flows while bragging, boasting and mocking wack emcees through his humorous, abstract raps. Rappers Nocando and Mikah 9 offer a respite from Busdriver's dense lyricism, and indie rockers Nick Thorburn (Islands) and John Dietrich (Deerhoof) lend some assistance, especially on the choruses of, respectively, "Happy Insider" and "Fishy Face." While there's some experimentation with new ideas here, Jhelli Beam is familiar enough to leave Busdriver fans more than satisfied. Unfortunately, it's also unlikely to convert many newcomers to the cause....full text |
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| Popmatters |
Before I get started, I have to confess that Regan Farquhar (a.k.a. Busdriver) is one of my favorite emcees kickin’ it today. He could scat fart sounds for an hour and I would still buy it. As such, this review is bound to be a little biased. So, with objectivity as my aim, I will do my best to examine the weaknesses of Regan’s seventh odd full-length throughout this review.
First, the beats; there is little fault to be found in the raw instrumentals. Regan enlisted the finest producers in Los Angeles for his third official album, Jhelli Beam, including the likes of Elvin “Nobody” Estella, Daedelus, Free the Robots, and future legend Nosaj Thing. As such, the instrumentals are the absolute cream of underground hip-hop today....full text |
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| Thephoenix |
For a guy whose layered rhymes are less accessible than Hilary Duff's muff, Busdriver designs relatively people-friendly hip-hop. Some of the Los Angeles outcast's backdrops sound as if they'd fallen off the El-P tree, but as executive maestro (beats were mostly handled by Daedelus and Nobody) he cobbles awkward glitches into tapestries on which he can hang his complex comic scripts.
It's remarkable how much mayhem occurs on any given Bus ride: the drum-punched "World Agape" drags you through at least four climaxes, and "I've Always Known" coasts on a Slinky synth loop but finds Busdriver alluding to Barney the Dinosaur and Boutros Boutros-Ghali in the same bar. One consistency across all of Jhelli Beam — and particularly on such select selections as the introductory "Split Seconds" — is Busdriver's enduring verbal dexterity. I would bet ducats that this Project Blowed alum snaps faster than Qwel, Krayzie Bone, and even Twista....full text |
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