Dirty Projectors

"Bitte Orca"

Domino Records

Release: Out Now

5 out of 5 Stars

Since David Longstreth first introduced himself early this millennium, we have been treated to quite an interesting path.

This path has been chock full of twists and turns, swirling like tie-dye surrounded by a hall of mirrors. You never know what you are going to get from one of his creations.

From the scattered re-imagination of Black Flag (“Rise Above”) to hyperkinetic clapping beats (“Getty Address”), Dirty Projectors has managed to craft a sort of Frankenstein of afro-beats, strings and other inventions jolted to life by the electric Longstreth.

And while previous releases have proved highly imaginative and whimsical, “Bitte Orca” has managed to balance the ingenuity of past releases while bringing an element of accessibility to the formula that truly balances everything out.

While the inventiveness of early work proved very exciting, these ideas sometimes came across scattered, and sometimes, almost unlistenable. There is something a bit challenging about Dirty Projectors' music, a kind of unevenness to it all.

The music never feels like it goes where you think it should, but in retrospect, you know that if it did, it wouldn’t have turned out so stunning. You get something you didn’t know you wanted, and the music is all the better for it.

“Bitte Orca” kicks off with the strutting “Cannibal Resource” that hikes up a mountain before rushing down a waterfall.

“Two Doves” is stripped down perfection, recalling images of first kisses and walks down the aisle with sultry vocals and delicate strings that bounce along with a strolling acoustic line.

Things pick up with the disco-ball crash of “Useful Chamber” that brings you into a trance before shattering into shimmering shards. The patch-worked “Remade Horizon” and meandering “The Bride” move a little slow, but soaring “Temecula Sunrise” dips between riverside and sunshine to warm your core.

If Dirty Projectors has ever crafted a true “single,” then “Stillness Is The Move” is it. A jittery synthetic hook maps an outline, while an occasional splash of strings give a sense of elegance under the hauntingly gorgeous shrill of innocent vocals.

“Bitte Orca” is a record that grows on you with each listen, leaving you with a new tidbit to uncover with each intake. It’s a gorgeous path you are set on, and you will keep coming to discover more, like an indie Indiana Jones.

Dirty Projectors has previously existed with their head in the clouds, but “Bitte Orca” feels much more grounded in reality. Not only is it full of ideas, but it's starting to come to fruition. As frighteningly good as these ideas are, Dirty Projectors is sure to have other bands shaking in their boots.

Mos Def

"The Ecstatic"

Downtown Records

Release: Out Now

4.5 out of 5 Stars

I have long proclaimed Mos Def as one of the most talented emcees around. In fact, if I had to pick one rapper as my representative in a rap battle, he is the one I would choose.

He’s quick on his feet, has a sharp wit and is truly original with his signature delivery. One of the few “Conscious Rappers” still breathing, Mos Def brings a message worth hearing and fun to listen to along the way.

However, he has sort of stumbled with his past few releases. While Mos Def’s screen career has been gaining speed, his music has seen a steady deterioration since his solo debut, and his last release, “True Magic,” was pretty much a snooze.

So with “The Ecstatic,” I was wondering which Mos Def I would get. I got something better than I would have ever expected.

In my mind, Mos Def has always sort of been hampered by uninteresting, even boring beats. With “The Ecstatic,” the samples are lifted straight from the days of old with a touch of the new. Full of sweat and soul, each beat is immaculate and finally provides Mos Def with the base he deserves.

“The Ecstatic” is truly a throwback to the good old days. It has a timeless feel that will leave the album relevant for decades, all the while screaming to be heard on vinyl.

Mos Def hops back and forth seamlessly through the album that cuts out all the fat, leaving most of the songs around two to three minutes.

The crunchy “Twilite Speedball” and clapping “Life In Marvelous Times” will have you rocking in no time.

“Casa Bey” reeks of the ‘70s and jheri curl, while the grainy “Supermagic” steals you away to Bed Stuy. “Auditorium” seems to embody the album the best, feeling retro and immediate.

“Quiet Dog” is truly exceptional and one of the best pure hip-hop songs of recent memory. Over a backdrop of handclaps and bellowing bass, Mos Def slurs through with no inhibition, pausing for a brief bongo call before hopping right back in.

It’s good to see Mos Def back on top of his game. He might not be dethroning Lil’ Wayne or Kanye West anytime soon, he shows exactly why nearly every rapper claims him as an influence. He doesn’t hide behind any gimmicks, is only quietly confident and won’t be dominating the airwaves anytime soon, but that respect he receives is all the validation he needs.

I know I would want him in my corner any day.

-Joshua Boydston is a psychology sophomore