RJD2 Gets Confusing

The recent notice of Def Jux ostensibly cutting off operations is worth a mention when discussing the latest RJD2 album, The Colossus, for a few reasons.

The last fully rap focused disc that this former Columbus – he now calls Philly home – deejay and producer issued was the 2004 Since We Last Spoke. It was released on the aforementioned Def Jux imprint. In the time since then, RJD2 has gone on to work in as much pop related fair as anything else. His last album notwithstanding, the contributions that the producer has made to television in the form of Mad Men’s theme song and a variety of other commercial projects might not have sounded the death nell for RJ’s credentials, but points to the embrace of underground rap stuffs by above ground culture.

And since the general bent of underground rap stuffs has moved closer and closer to radio ready tracks – Asher Rother, Cudi or whoever – it’s not a surprise at this point that RJ has chosen to continue on the trajectory that The Third Hand pointed towards. It does, too a certain extent, explain why Def Jux isn’t any longer a viable imprint: if you can find a few guys to release work that’s aesthetically tied to the underground and generally accessible, what’s the point of indie labels?

Despite the far reaching implications of RJ’s newest release, there are a few moments that might win back fans that felt ostracized by the sucrose constructions of the deejay’s 2007 release.

The tandem of “Tin Flower” and “Small Plans” seems to work under the auspices of hip hop. Coming first are the flute melodies and backing beat that might not have been strong enough for inclusion on Dead Ringer, but possesses enough flair as to separate itself from the pop oriented tracks here. The latter track sports something of a dance floor vibe, but remains rooted in beats and blaps to the point where any perceived digital shortcomings can be forgiven.

Included amongst the occasional rap related tracks, though, are a litany of offenses ranging from average raps, attempts at chart success and poorly devised guest appearances.

Early on a singer named Kenna finds a feature on “Games You Can Win.” And while the track might have fit seamlessly onto some R&B focused album, it seems a preposterous track to stick in the second slot here. The performances of the singer and RJ can’t be questioned – this is all well crafted, just not entertaining.

Even more startling is the inclusion of Columbus based emcee Illogic (I guess the producer hasn’t forgotten his past completely) that isn’t able to display the guest’s lyrical ability. The track’s just kind of a bore.

But at this point in RJ’s career, he can do anything he wants – and that’s the point of tracks like “The Glow,” which finds the producer crooning on the mic. It’s not quite a ‘90s styled pop track, but at times recalls any number of lame rock ensembles.

RJ’s set to make a mint off the disc, so as long as he’s satisfied, folks should probably just clam up. We’ve all seen this coming. And to be truthful, The Colossus is a damn sight better than The Third Hand.