Album Review: Jyroscope - Mute
We are now witnessing the inclination of music at greater lengths. This catastrophe stems from the oversaturation of weekly music releases absent of great marketing where artists are not only in competition but utilize a plethora of maladroit publicity stunt fuckery to garner attention and music sales increase. Not to mention the music industry creates a wanderlust of talentless one hit wonders than invest in artist of quality and caliber.
Foremost, this tragedy is also evident in hip-hop enveloped from the death of poetics that gave the genre her birthmark, the execrable messages delivered as meaningless, obstructing, to absenteeism in music, and the incapacity to produce something impactful yet significant.
It is artists like Chicago’s own Jyroscope (comprised of group members I.B. Fokuz, Collasoul, and DJ Seanile) that are appreciated for their artistic propensity, yet go unnoticed. The group, who also make up what is considered the Wu-Tang Clan of Chicago Tomorrow’s Kings, have always been known to have taste in artistry, eclectic, and masterful in their craft. These puissant emcees who serve as a protean community of artistic thinkers and lyrical philosophers contemplate outside the box by incorporating different genres that seamlessly blend to their hip-hop soundscape. This is evident throughout their substantial music catalogue. Two-thousand eleven’s Ragtime and 2016’s On the House are strokes of hip-hop genius complementary to ragtime and house music genres.
Mute, Jyroscope’s latest paragon is the group’s most experimental to date. It becomes the inaugural of the group’s music career as they bridge ragtime and house genres with infused rock and a smidgen of alternative to their hip-hop powerhouse without compromising to the current signature sound in mainstream. “Quasi” and “Eternally” is the group’s razor sharp lyrical dexterousness and affluent storytelling at best. While Jyroscope is mostly known for their hardcore demeanor, they can come across as witty and satirical. “Boys and Girls Club” is archetype. The anthem partially speaks on the Chicago music scene as segregated, cliquish, and privileged as a whole evident in the lyric, “The Internet is cruel/Your children are too/ Some people live high school/In the clubs like he can get in but not you.”
The album goes from lambent to tenebrous in content and in sound with the group’s most truthful “Relationship Goals,” exploring and examining a society fixated on people of color yet fearful of them. The scratches provided by DJ Seanile fused with President Trump’s speech in the song’s beginning fuels Jyroscope’s thought provocation while complimenting their lyrical ammunition. “I Am Everything” highlight the growth of each member as artist foremost men that live by principles, morals, ethics apparent in their poetics, “Father/ Husband/ Brother/ Lover/ Martyr/ God / Uncle/ Cousin/ Teacher/Listener/ Pupil/ Provider/ Protector/ Warrior…King/ I Am Everything.”
Hector De La Rosa