Cosmo-free jazz, as established by Pharoah Sanders or Sun Ra, continues to largely irrigate the fertile undergrounds of the hip hop planet. Among the recent stars on its list are the last two albums of the duo Shabazz Palaces. Almost simultaneous in their release in 2017 (Sub Pop), the two discs are slightly raging, as a Seattle recording should be.
The first criticizes our relationship to technology, the second warns the world of the geopolitical risks of an America in the hands of Donald Trump. Ishmael Butler, as a classy groove pilot of the Shabazz Palaces, is calling Afrofuturism to forge a hip hop whose modernity could fail the small dormers of our phones that we describe as smart.
Since 1998, Dälek has been sailing perfectly in the open intervals with his stirring, slightly noisy and uncompromising rap. The sound constellation traced by MC Dälek and Oktopus was nourished by multiple collaborations. Whether in the company of the legendary krautrock band Faust (Derbe Respect, 2004) or at the heart of the last Hellfest’s programme. Especially within Ipecac, a label founded by Mike Patton (leader of the Faith No More light cavalry group) which hosts the foundation stone of the combo, From filthy tongue of gods and griots (2002), as well as its latest success, Endangered Philosophies (2017), an album that places Dälek's conscious rap in the face of the social movements of the African-American community confronted with the upsurge in police violence.