If you are reading your first Track by Track, here on iStandardProducers.com, then there are a few things you must know:
#1 We focus mostly on the beats … obviously – hence the name “PRODUCERS” in iStandardProducers.com… however we are still reviewing the record as a whole.
#2 EVERY track gets equal shine…
#3 You know how we do it…we don’t check the credits until the album is heard in its entirety! Lets get into it!
Cage’s last album, 2005’s breakout Hell’s Winter, was a cathartic album, the most focused effort from a guy who previously had made rap records promoting PCP, necrophilia, and dissing Eminem. The production credits from that LP read like an indie All-Star squad: El-P, RJD2, DJ Shadow, Camu Tao and Blockhead. Cage’s new album is Depart From Me, and it’s not only aptly titled from his previous approaches on the mic—musically, this album sounds like nothing else the former Leak Brother has ever packaged on one CD. New comer F. Sean Martin handles the bulk of the album, which gives it a strong rock/industrial/emo vibe. Call it Hip Hop for Hot Topic.
“Nothing Left to Say” produced by El-P
This track is very El-Producto and sounds like a companion to Hell’s Winter and El-P’s own I’ll Sleep When You’re Dead. Slippery synths, oil barrel kicks, futuristic b-boy drum loops—it’s all here as expected. The beautiful thing about El-P is that he understands how to craft music landscapes for albums, not singles. The arrangement caters to Cage’s delivery and emotion. And the fat west coast synth that kicks in at 4:02 is superb. This is the first of four tracks El-P handles, and he sets off the album perfectly.
“Beat Kids” produced by F. Sean Martin
I don’t know much about Sean Martin and I assume he comes from a rock/punk background. His fingerprints all over the LP and “Beat Kids” is his first contribution. He and Cage collaborated closely throughout the album. “Beat Kids” is built off a heavy guitar lick and unfurnished drums. It’s not an energetic or pounding track, and the hook kinda kills any momentum the guitars built.
“Dr. Strong” produced by F. Sean Martin
The industrial drum patterns here remind me of Marilyn Manson’s “Beautiful People” with a BPM probably approaching 120. I like the blissful guitars on the hook. The rest of the track features a buzzing guitar loop. A pretty straight forward beat in relation to everything else on here.
“I Lost My Mind In Connecticut” produced by F. Sean Martin
The first, dare I say, pretty production on the album. “I Lost My Mind in Connecticut” has a Deftones meets Mars Volta feel to it, as if all the glitters and gold will be burned down at any moment. The prancing hi hats and ominous synths create a drugged-out atmosphere as Cage ponders suicide. A very strong album cut and impressive effort from Sean Martin.
“I Lost It in Havertown” produced by El-P
Ah-ha! Here’s the danger we were waiting for! Just like Outkast has “Art of Storytellin Pt. 1” and “Pt. 2” where not much is in common musically, “I Lost It in Havertown” continues Cage’s story from “Connecticut” while El-P cranks up the paranoia and hectic movement with his filthy synths and drums. This is more of an interlude, and it works well as a whole.
“Teenage Hands” produced by Cage & El-P
“Teenage Hands” sounds like a Rick Rubin/RUN-DMC demo remixed by Biohazard. The 80’s drum machine is in full effect, as are the plodding metal guitar chords. The old school vibe is continued by Cage’s delivery and storytelling skills of a high school shorty he’s planning on scooping. The triangle hits are a nice touch during the bridge. Another interlude but pretty damn cool.
“Eating Its Way Out of Me” produced by El-P
El-P taps into the dirty South craze, slowing down the BPM to the 70’s and adding a hefty handclap with some freaky synths. Again, this would never work as a single, but “Eating Its Way Out of Me” adds another dynamic to Depart From Me. The woozy synths during the second half of the track are great accents and would sound right at home on a chopped-and-screwed Devin the Dude track. The vocals effects on the hook enhance Cage’s story too.
“Kick Rocks” produced by F. Sean Martin
“Kick Rocks” reminds me of the funny punk songs the Beastie Boys used to do on Check Your Head and Ill Communication that work great on a mixtape for a house party and add a lighthearted touch to otherwise serious pieces on an album. The surf drums rock and the candy guitars are effective. This would be a great song to do live.
“Captain Bumout” produced by F. Sean Martin
Wow—this is the first real stretch on the album. The hook seems to be channeling the Killers and some UK rock bands of the 90’s. Really poppy production with some new wave tendencies. Fans of Movies For the Blind have definitely checked out by this point. This could be a crossover record if TRL still existed and alternative radio didn’t kick the bucket.
“Strain” produced by Aesop Rock
Finally, some good ol’ hip hop drums again! Aesop Rock makes his only beat for the album, and his trademark swamp funk swing is on display. This is definitely the dirtiest, most guitar-heavy track he’s ever done (his wife is a bassist) and it fits the rest of the album sonically. The quirky synth notes that twinkle during the hook are kinda cool. Not the strongest album cut though.
“Fat Kids Need an Anthem” produced by F. Sean Martin
Everything about this track is a little too obnoxious for me. A novelty track that lets Cage unleash his former chubby demons, but nothing exceptional besides live drums and clipping guitars once again. Probably the worst song on the album from both sides.
“Look At What You Did” produced by F. Sean Martin
And then, Sean Martin goes and immediately redeems himself! I guess in contrast with “Fat Kids”, “Look At What You Did” could be described as “sunny”. Another synth and guitar happy track that could be the second or third single off this album. Rapping about vampires in 2009, from a marketing standpoint, is pure gold. See: “Blood, True”. Also: Twilight.
“Depart From Me” produced by F. Sean Martin
At this point, the “synth/guitar/double time drums” formula is indistinguishable. None are flat out wack, and only a few really stick out. “Depart From Me” is pretty stale by itself and can’t really hang with “Captain Bumout” or “Eating Its Way Out of Me”. Just a very moody beat here by Sean Martin that doesn’t dictate any emotion or make me want to do anything besides drive into a brick wall. The hook is pretty catchy at the minimum.
“I Never Know You” produced by F. Sean Martin
This is the first single that has really ruffled feathers of longtime Cage fans. The ¾ time gives the track character. The hook has a great build-up and climax compared to some of the other arrangements. “I Never Know You” reminds me of a slower version of “Shoot Frank” from Hell’s Winter, another divisive single from Cage as he expands his palette. While neither track really is my cup of tea, both feature minimal productions that allow Cage to shine. I did notice that I like this track more when I’m not watching the video for it. Is that good or bad?
Depart From Me sounds like the beginning of an entire new style for future Cage releases. While Sean Martin isn’t really a hip hop producer by trade, he has some stand-out moments on here…and some awful ones. The three headed monster of Syntarum (that’s synth/guitar/drums) really lost steam towards the end of the album. It’s good for Cage to experiment because his next album should be better groomed sonically after going way out to Mannywood (left field) for this LP. Longtime fans are already hate blogging this while Vans Warped Tour kids are tattooing some of the lyrics from Depart on their necks. Different strokes and all that!
Rating: 3 out of 5
