by Charles Davis
Reality is relative. No here there or anywhere, as the multiverse swallows itself; a big bang in a black hole. Beyond an apocalypse; a denumerable and ever-expanding spaciotemporal megacosm. To what praxis is truth amidst the furthest, anoetic reaches of the mind? When is 'now' along an unending wheel/line of time?
In our shared collective experience, we're blessed with the art of hip hop reaching its most radiant height to date; it has effectively become the dominant form of vocal-driven music in the world today. However - a double edged sword - along with this role comes the weight of corruption, and a heightened opportunity for genuinity to be compromised via the pursuit of consumer friendly production. Those of us who know, know. We ultimately desire that unshakable foundation of truth we once knew amidst this mosaic of chaos that surrounds us - real recognizes real, as they say. Imaginary Everything, the collaborative effort from MC Namir Blade and producer L'Orange, offers this truth, one way or the other - it offers us a sanctuary from the greater storm of insincere pathos.
From out of nowhere, an intricate whirlwind of wordsmithery hits in the form of Namir Blade’s stunning lyrical depth and rhythmic profundity. Equal parts Del The Funky Homosapien, Charley Patton, and Max Roach, he combines the palatability of a Future with the adventurousness of an Ornette Coleman, managing to spin the most complex phrasings into a properly spiced and melodically appetizing cuisine. There is a playful-yet-deadly underpin to the emotional juxtaposition; throughout the work, lines are blurred between actuality and imagination - what is 'Imaginary', exactly? These questions are what intrigue and entrance the audience, as Blade's language hypnotizes through the storytelling spells of the ancients. With a subtle ear, we begin to question our own world; our own personhood.
Collaborator/cooperator/co-conspirator L'Orange consistently lays out backdrop after backdrop, painting a full-spectrumed galaxy on each canvas for both Namir Blade and the listener to explore. With a range of sound encompassing multiple genres and sonic spectrums, each cut and sample spun is more wondrous than the next; twists and turns spanning the full continuum, and diverting any course into new, unexplored territory. As someone said, recently: 'Muggs begat Alchemist, as Alchemist begat L'Orange' - regardless of validity, after a full play-through of Imaginary Everything, one would have no choice but to admit it is an effective analogy - and it is a compliment of the highest order, to all involved.
Wholly unique and original, this is music for pure hip hop heads; yet, in double contrast, both catchy and exploratory, and thusly for pop fans or audial pioneers alike. If you've been following hip hop over the last few years, you already know the great Mello Music Group, and it would come as no surprise to know they've sponsored such an exhilarating and barrier-pushing piece. With features from the amazing Quelle Chris, Solemn Brigham (of Marlowe), Fly Anakin, and Jordan Webb working to balance the voracity of Namir Blade's hypnotic orating, this dish is seasoned to absolute perfection. A truly masterful work, seemingly both effortlessly and painstakingly crafted - as only those who exhibit true brilliance are capable of - Imaginary Everything is everything you want from a hip hop record, and everything you didn't yet know you needed.