By Martin Castro (Contributor) – Email
Print Edition: February 18, 2015
Lupe Fiasco’s Tetsuo & Youth is, in terms of lyrics and length, a very dense record. But for all its content, T&Y holds the listener’s attention with an eclectic selection of tracks.
The aptly-named “Mural” is one of the most impressive songs on the record. Over crashing cymbals and piano trills (starkly different production from what most hip-hop producers put out), Lupe throws a barrage of highly visual lyricism at the listener, seamlessly jumping from one image to another. Fun fact: at 1337 words, “Mural” is probably longer than most high-school essays.
Lacking a chorus, “Mural” is one jaw-dropping nine-minute-long verse, during which free-association and wordplay are used to paint stunningly clear and entertaining images: “Overweight taster of kings’ food that kills crews / oblivious feather-weight baker who autographed cakes whenever his quill moves over your meal / you simple as a Buddhist monk in a temple standing in some heel groove with the abbot, practicing stillness / real still ‘til he realizes his realness / defeats Samsara, achieves nirvana and brilliance.”
“Blur My Hands” is a perfect synthesis of rap and soul, an amalgamation evident throughout the record. Featuring a sung chorus which is more R&B than rap, the track also includes wordplay and alliteration in abundance: “Can’t match wit with warriors … / Similarly can’t mix matchsticks with forests … I match matchsticks with wicks.” The R&B aesthetic is carried over to “Dots & Lines,” which starts with a hilariously surprising banjo solo.
Yup, A banjo solo. “Dots & Lines” announces its presence via bitchin’ banjo solo. The tune is laid-back and features a sublime chorus, as well as immeasurably appealing violin. As much an R&B track as its predecessor, “Dots & Lines” also delivers some poignant and impressive lyricism: “To make gold from garbage, is not the alchemical point of this math / but truth be told, it’s the pursuit of gold that turns the goals of men into trash.”
“Prisoner 1 & 2” follows (of which only part 1 is noteworthy). Lupe spits rhymes in as warm and soulful a way as I’ve ever heard: “Love is looking over various errors, and hate is habitually accelerating terror everywhere.” A cello and violin form the backbone, culminating in the bridge between parts 1 and 2, incorporating a violin riff, stomping of feet, and the rattling of a cell door being closed. The track’s almost as soulful as a gospel song.
“Little Death” is pure R&B. Each verse represents a different religious paradigm and the way it clashes with politics, separated by a beautifully sung chorus courtesy of Nikki Jean. “No Scratches” follows “Little Death,” and both work together as the album’s peak.
“Chopper,” arguably the most commercial hip-hop track on the album, has seven different rappers each delivering a full verse, layered over an oscillating bass humming throughout with a synthesizer reminiscent of a siren. Even with all the different rappers, the nine-minute track works flawlessly.
“Deliver” sees Lupe in top form, speaking on how the “pizza man don’t come here no more” (read: peace of man don’t come here no more). Both “Madonna” and “Adoration of the Magi” work off of each other’s strengths, and are two of the most memorable and entertaining tracks on Tetsuo & Youth. These are two of the most soulful choruses on the record, featuring immaculate verses peppered with poignancy. Lupe has pulled out all the stops.
