SLAUGHTERHOUSE - Slaughterhouse | Review By: Conan Milne


Release Date : 11th August (Slaugust) 2009

Label : E1 Entertainment

Rating: 4.5/5

 

Dub Quotable: an otherwise impeccable release; one that proves that Hip-Hop is not only alive, but as potent and inspiring as it has ever been.

..........................................................................................
Related Media

Slaughterhouse - The One (Video)
Slaughterhouse - Woodstock Hood Hop (Feat. M.O.P)
Slaughterhouse - Fight Club
Joell Ortiz - Move On (Slaugherhouse Remix Ft. Crooekd I, Joe Budden & Royce Da 5'9")
Joe Budden - Slaughterhouse (Remix) (Feat. Royce Da 5′9″, Crooked I, Nino Bless & Joell Ortiz)
..........................................................................................

Much has been written about the bond shared by Slaughterhouse’s four members. Four cult lyricists who have all flirted with superstardom individually, the quintet is more intent on preserving what’s left of their genres credibility. To do this, they prioritize awe-inspiring verses over catchy, incessant jingles. Each rhyme Crooked I; Joe Budden; Royce Da 5’ 9”, or Joell Ortiz spits is delivered with passion and zeal, rendering the lullaby deliveries favored by radio all the more uncaring. Swiftly delivering their eponymous debut, their mission statement is extended to a full set. The result is arguably the finest Hip-Hop album of this year.

“My n-ggas asked what direction to go on this track / I said, F-ck with the rest, and spaz out,” blurts Royce Da 5’ 9” on “Onslaught 2.” More than a throwaway instruction, it’s a telling explanation of the motivation behind the album. All four members use the project as a platform to show the world that they are the complete MC. On regal opener “Sound Off,” the artists utilize breakneck double-time flows over the tumbling drums and confident brass. On this particular cut, it’s the relatively fresh-faced Joell Ortiz that steals the limelight. “I pour sweat when I perform shows,” he growls, “What I record goes down as the best / But the vets won’t let that torch go.”

Often it’s too hard to play favorites, though. On a track entitled “Lyrical Murderers,” it’s a foregone conclusion that everyone will unveil their finest bars. The West Coast’s own Crook is a welcome foil to the shovelled bass and unusually weighty strings. Revelling in his dismissal of rappers that oppose his troupe, he concludes that, “Most rappers are comedy gold / They like their boyfriends sodomy hole / They’re full of sh-t!” Budden emphatically echoes these sentiments over the creepy pitch of “Microphone.” Compelling with his frustrated delivery, he laments, “Too many dogs, not enough barking yet / Too many blueprints, not enough architects.”

Differentiating themselves from such stale peers, “Cuckoo” finds Slaughterhouse welcoming their various eccentricities. Pouncing on DJ Khalil’s frenzied bass, Joey gleefully announces, “I’m weird, I’m into voodoo / You know how dude do / Towel on the bed / F-cked while she bloody / And call it So Whoop.” ‘Polygraph Crooked,’ meanwhile, points to his psychotic live persona as proof of being slightly unhinged. “Just look at the show we did last,” he exemplifies, “N-gga came out in a Dickies suit and a pig mask!”

Although the majority of the album isn’t vastly conceptual, there are further glimmers of each MCs prowess in this department. “Pray (It’s A Shame)” sees a devious Royce suggest that praying for forgiveness is ultimately futile. Resigned (at least on this song) to venture to Hell “in a handbasket,” he somberly claims, “I pop pills, abuse liquor, and kill n-ggas / When I die, God ain’t gon’ judge / He gon’ deal with us.” On the breathtaking “Rain Drops,” meanwhile, Crook tributes his late Aunt in one chilling contribution. Emotionally raw from describing her violent demise, he goes on: “I’m talking about Momma’s identical twin / I see your face when I’m looking at her / Reminder of how I’ve been in the cold / Since I was fourteen years old.” Rarely will you hear a Hip-Hop verse this poignant.

Listening to Slaughterhouse, it is apparent that the unwaveringly dedicated quintet have strived for musical perfection. What the final product makes clear is that, although it lacks enough conceptual work to warrant the title 'classic,' its creators are capable of reaching such a coveted plateau. Ignoring this sole criticism, you are left with an otherwise impeccable release; one that proves that Hip-Hop is not only alive, but as potent and inspiring as it has ever been. Crook, Joell, Joey, and Royce's mission to preserve their cultures credibility has proven a success. One can only hope that this result will strengthen their bond, and see them build upon the unrivalled foundations laid.



 

..........................................................................................
The views expressed here are those of the authors and not
necessarily those of Dubcnn as an organisation.
..........................................................................................