P.O.S. “Never Better” Review
Three minutes into Never Better, P.O.S. has already taken stabs at the government, gawked at the recession, used Macho Man as a verb, referenced The Dude, and gave shout-outs to both his crew (Doomtree) and his label (Rhymesayers). And “Let it Rattle” is one of the mellowest tracks on the MC’s third full-length release. Never Better is an album as highly anticipated as any recent Twin Cities’ releases, but saying that it makes good on expectation might not be doing it justice. Saying that the record meets the standard set by last year’s Doomtree, Cecil Otter or Mike Mictlan and Lazerbeak releases would be true, but might not be true enough. Roughly two years ago, I first heard tracks from an album that has since changed the way I think about hip hop and the way I listen to MCs. That album was El-P’s epic I’ll Sleep When You’re Dead, and to express the immediate awe experienced when listening to Never Better, that might be the only fitting comparison.
Following “Let it Rattle,” the first thing that pops out of the speakers is the raging drum loop that introduces “Drumroll (We’re All Thirsty).” Blazing percussion plays a recurring role throughout Never Better, reappearing in full force on “Purexed” and “The Basics (Alright).” To give you a better idea, take the organ intro from Common’s “The People,” introduce the song with a few bars, then dive straight into a thrash-metal snare loop—that’s what you’ll hear with “Purexed.” But it’s not just the drum ‘n bass loops (sans ‘n bass) that draw you in, it’s the entire musical body—“The Basics” delivers a snap that almost overshadows its insane beat, adding another loop that sounds a bit like an elderly version of those chipmunks Kanye used to sample. The whole thing is unlike anything I’ve heard before.
photo by Dan Monick
That’s not to discount the other tracks on the album, many of which have beats that shred apart 20 years of influence. “Savion Glover” combines a beat with borderline-lazy scratches, in replicating a sound similar to that of a lot of late-80’s b-boy hip hop. Doomtree’s Lazerbeak provides the powerful beat for “Goodbye,” one that parallels a lot of what was heard on Brother Ali’s The Undisputed Truth—it’s fitting then, that P.O.S. somewhat emulates the MC’s rhyming style on the track. But like When You’re Dead, Never Better thrives on the unusual collaboration between sound and lyrics—something the album is far from short on.
The complicated aspect of the record isn’t just in keeping up with the rapid-fire release with which P.O.S. expels his lyrics, but understanding what message is at their core. Take, for example, the previously mentioned “Let it Rattle;” there are bits and pieces that stand out, but to find common ground throughout the entire song is far from an easy thing to do. Without CliffsNotes, it’s nearly impossible to trace an impression of what the tracks on Never Better are about—but there lies the art behind the sound. On “Drumroll,” P.O.S. speeds through bar after bar of seemingly unconnected lyrics, before unleashing a set buried deep inside: “These preachers speak from their pockets/These teachers reach but can’t stop it/Seedlings poisoned so lost just/Followin’ prophets to nonsense.” That momentary lyrical clarity isn’t exclusive to just “Drumroll,” either, for throughout Never Better are bits of poetry that present relevant themes within a confusing context. That is life, is it not—bits and pieces of truth and thought heavily burdened by surrounding noise and seemingly unconnected themes?
Poetry within any context is something meant to be appreciated, but not automatically understood. A poet lends their artistic voice towards creating both clarity and opacity, not necessarily aspiring to be agreed with. If you were to ask a guy like KRS-One, he might tell you that the idea of poets lending their voices to an established sound was what built hip hop. Never Better is tight. Not good-tight (though it is), but tight like it’s the result of months, if not years, of hard training—with only the leanest of beats and lyrics remaining. In combining his sharp poetry with the raw sounds of Never Better, P.O.S. has something that, again, can only remind me of I’ll Sleep When You’re Dead. The reason for the comparison isn’t simply in sound, but in theory—both albums showcase poets representing unique styles, unique deliveries, and unique sounds somewhere within the context of a now well established genre. And, years from now, if you were to ask whomever it is that follows in KRS-One’s footsteps, they might very well tell you that albums such as these two were some of the first to transition hip hop into what it is yet to become.
P.O.S. “Goodbye” (mp3)
agreed on ISWYD. was never a big el-p fan before, but i think that album is hip hop’s “OK Computer.” it’s really that good.
excited to hear the new POS, especially after reading this.
In terms of ongoing impact, I’d agree with you there… something in me doubt that El-P will ever be as commercially viable as Radiohead though.
Yeah, the first listen I was blown away and each subsequent listen and shown me a new layer of sounds and lyrics that I missed the first time. He really set the bar pretty high with this one.
WOOOOOOOOOOOOOOOOO
gonna be tough to top this one as far as local releases go this year.
an El-P comparison seems spot-on, but Radiohead? wowzer
First of all, Chris, I have to commend you on a well-written and thought-out review.
I couldn’t agree more with your insights into the album and the ISWYD comparison.
This review was a pleasure to read. The album is just insane.
Thank you very much for the kind words Joe – the second this went up I thought people would be getting on me for being over-the-top… but I think that I’m secure with the thoughts now… this album is insane. I think I’ve listened to it 20 times the past three days, and I still have find myself spacing out at moments, a little awed by it.
You’re most welcome Chris and no man, you didn’t over do it at all. I find myself in awe at times and I’m sure I will for days, weeks, years to come.
You expressed many of my own sentiments in a more concise manner than I could ever muster.
Spot-on review and I look forward to reading more from you.
The Saul Williams & Trent Reznor record one-upped?
I can see the comparison but I wouldn’t make it… didn’t like the record. I’d like to think I know what they were trying to do there, but I think everything became overshadowed immediately by the “FREE SHIT, YO!” aspect of the release… I’m including in that the actual recording of the album.
I recieved this album, pre order it, couldnt wait!! this ablum is un like anything i have heard as far as hip/hop…Its amazing, lyrics are incredable, beats and drums are crazy good…Guarnteed peeps that buy this album will love it!
Well done on this one. Great break down of the entire feeling of the album. I agree this is going to be hard to top for local albums but there are plenty to look forward to.
I enjoyed your review. I agree with most everything you mentioned save for some of the commentary regarding the production. To preface, I’m a huge fan of Lazerbeak’s. I’ve enjoyed just about everything he’s done, including some of his earlier work that he shared at The Last of the Record Buyers (Legend recognize Legend! Haha!). I even border on worshipping based on such tracks as “Stand Up!”. With that said the production on “Goodbye” and “Low Light Lowlife” just doesn’t fit not only the album but also the emcees and the content. Without getting too long-winded, I’d call these tracks too polished P.O.S and crew. That is not to say that P.O.S hasn’t damn-near perfected his flow, but that’s just not the style or the feelings I get from the content. Despite these two tracks that were underwhelming for me, the rest of the album is chalk full of borderline genius production with drums that had me entirely convinced that I was going to find a live band/drummer in the credits on some.
As for the lyrical content. I believe P.O.S has definitely upped his game. Especially with the introspective “Out of Category” and the excellent character-building and story-telling in “Been Afraid.” I haven’t heard anything quite like these from P.O.S.
I, too, was gobsmacked by El-P’s “I’ll Sleep When Your Dead.” Bravo in your final paragraph describing it as the sound of what is yet to come. It couldn’t have been put better. However, I don’t feel like this album is on par with ISWYD. It’s not nearly as cohesive while being extremely experimental at the same time as El-P’s. Even disregarding the beautifully seamless transitions between tracks on ISWYD and the appropriate studio chatter, ISWYD has the same feeling on every track while having a completely unique sound, story, and message on each one as well… if that makes any sense.
Ugh, I ramble. Anyway, that’s way more than my two cents.
I will say that, again, I enjoyed your review and your blog. Keep it up!
One!
On your thought about overall cohesiveness, I think you’re right – Never Better doesn’t mirror ISWYD in that respect. Similar tracks to those you mention as feeling out of place on Never Better aren’t heard on El-P’s disc, every track on that album feels like it can only exist within the context of everything around it.
Some cats are getting on me for still huffing and puffing about how much I enjoy Never Better, which is alright with me–I stand by it, this album is gold.
Great review, but I’m not sure if I agree with Brock on “Low Light” and “Goodbye,” and you with the ISWYD comparison.
I think El-P’s cd is alright, but it just didn’t do anything for me. I felt like the beats overshadowed the lyrics and I just couldn’t get into El-P’s flow. I understand the reference, but I personally like Never Better a whole lot better.
Now as for the two tracks that Brock didn’t think fit, I wholly disagree. Those tracks are purely P.O.S. and to me just represent his range and variety. Low Light is just a fantastic Doomtree track and I love Dessa’s verse. Goodbye is a throwback to his punk rock roots with the killer base line and the fantastic chorus.
Overall, I love this album. I feel like it’s his best so far and that’s saying something because I’ve played the hell out of the other two and the Doomtree stuff to boot. This is a cd that I’ll be coming back to for years.
Thanks for taking the time to read through the review and comments – really appreciate that!
Gotta stick to my guns here – that El-P disc is classic.
Just ran into this blog. Great review and I love the comparison of the first commenter on El-P and Hip-Hop’s OK Computer. Great blog, another one to feed now!
In a recent interview p.o.s. said he aimed to make something that wasn’t catchy or pop at all-he succeeded. But I think your review and the subsequent comments prove he made something brilliant that after multiple listens becomes catchy only because of the brilliance displayed. Definitely a great start to the year
Excellent review…I couldn’t agree more. I’ve been a P.O.S. and Doomtree fan for a while (ever since Ipecac Neat) and this album truly was a breakthrough. It’s good to see that even while “Apple-Bottom Jeans” and crunk-rap, autotune nonsense may still litter the radio, there is a distinct and startlingly different branch of music being created (and nowadays, finally recognized) which can be called, in your words, nothing short of true poetry. Someday people will look back on this album, and be able to say nothing but “wow”.
Now I just have to go pick up a copy of “I’ll Sleep When You’re Dead”.
Not to say that there’s anything too wrong with apple-bottom jeans & crunk rap (yeeeeah), but it’s a refreshing album to toss into the mix.