Todd E. Jones- The Music Journalism of Todd E. Jones

Interview with LADYBIRDS (Teeter Sperber of LadybiRdS) - by Todd E. Jones

toddejones — Wed, 27 Jun 2007 18:02:00 GMT

“The LadybirRdS of Regional Community Theater”

An Interview with LADYBIRDS

(Teeter Sperber of LadybiRdS)

(June. 2007)

Interview by Todd E. Jones

Regional community theater is known for the independent productions and extreme emotional melodrama. Using the witty aspects of these feelings, LadybiRdS is a musical group that possesses these qualities with a tongue in cheek wit. LadybiRdS is a kooky, bubbly electronic pop duo consisting of Teeter Sperber on vocals and Tyler Pursel on music. Both members were in the now defunct group, Ley Royal Scam. Pursel is also in the somewhat well known hip-hop group Gym Class Heroes (on Fueled By Ramen Records). Together as LadybiRdS, Sperber and Pursel create adorable pop tracks. Their music has a child-like sound, which could propel them into writing songs for children’s shows or movies. Underneath the quirky and cutesy sound, Sperber’s lyrics deal with heartbreak, loss, love, and change. Released on Creep Records, “Regional Community Theater” is the debut album by LadybiRdS. The LP is a collection of 12 interesting, catchy, and fun synth-pop songs. The group enlisted several guest vocalists for their debut album too. Max Bemis of Say Anything (J Records) appears on the title track and “Maxim And The Headphone Life”. Matt Pryor of The Get Up Kids sings on “Cooper, Thanks For The Birds”. Justin Johnson of The Danger O’s appears on the magnificently poignant “Shark Party”. Neil Sabatino of Fairmont appears on “Lady Of Travel And Leisure”. On an extremely humid day in June 2007, I had a lovely conversation with Teeter Sperber that spanned the country. As I was in New Jersey, she was in Oregon teaching snowboarding to pre-pubescent boys. Like true regional community theater, the music of LadybiRdS has the independent energy and quirky love of homespun fun. Although local theater can sometimes be ridiculously dull and cheap, LadybiRdS has brought something wonderful new and poignant to entertainment.

TODD E. JONES: “What goes on?”

TEETER SPERBER: “Hello Todd E. Jones! How are you? This is Teeter Sperber, full time spaz. I am hiding out from all the kids! I work at a summer snowboarding program in Mt Hood, Oregon. I am responsible for making sure 12 wily 9 year old boys make it onto the mountain this morning in one piece.”

TODD E. JONES: “Tell us about the debut LadybiRdS album, ‘Regional Community Theater’, which was just released on Creep Records.”

TEETER SPERBER: “Well, 'Regional Community Theater' is super poppy. Tyler and I made up a new genre name called Indie Electro-Duff! It’s like a more street version of Hillary Duff or something. We made it in a punk house basement in suburban PA. It took a month and it was super fun.”

TODD E. JONES: “Favorite song on the ‘Regional Community Theater’?”

TEETER SPERBER: “The title track, ‘Regional Community Theater’ is my absolute fav, because I love, love, love the way Max sings the word ‘best’. Also, the melody that Ty wrote for the chorus, kind of makes me want to cry, in the best possible way. That song is extra-personal because it's about Ty and my former fake-not-fake mall emo band, Ley Royal Scam. Also, how we sort of imploded because we started off as a joke. We were forced to become ‘real’ and just couldn't get along. I really dig how in the beginning, I go, ‘Haha, I had no idea!’ in my scratchy chipmunk-style voice. While recording, I came into the song at the wrong bar and they caught me messing up on tape.”

TODD E. JONES: “How did you get involved with Max Bemis of Say Anything for the songs ‘Regional Community Theater’ and ‘Maxim And The Headphone Life’?”

TEETER SPERBER: “Well, interestingly enough, before the release of Say Anything's record, ‘Is A Real Boy’, myself and my best friend were hired to write voice-over sketches between every song for the record. It was a sort of a Max Against The World type theme with Stephen Trask of Hedwig the Angry Inch. We worked together on it for a long while. Max was super young and spazzy. At the time, I remember he would make lots of nervous facial ticks, kind of adorable style. Unfortunately, the project ended up not working out because our lawyers kept butting heads over ultimate ownership of the work. But Max and I remained really good friends, in spite of it all because he's rad and I'm obsessed with his Mom. When Ty and I decided to make a record, Max was the first person I asked. He was instantly down.”

TODD E. JONES: “One of my favorite songs on the album is ‘Shark Party’. What was the inspiration behind this track? What is it about?”

TEETER SPERBER: “Oof! Subject matter on this one is a pretty clichéd brand of, par for the course style: ‘I miss that special person’s guts so bad so if I just join romantic forces with someone else, they'll totally be easier to forget’. Or not. Does that make any sense?”

TODD E. JONES: “How did you meet Tyler Pursel and eventually form Ladybirds?”

TEETER SPERBER: “Ty and I met through Ley Royal Scam. We we're instant buds. His guitar parts used to make me want to tear my hair out because they were so good. He's the best guitarist I have ever known. I had a super bad crush on him for like 5 minutes too. When LRS would play live, I'd often drink Alize and try to make out with him on stage, but he'd never let me. The straight-up denial cut like a knife, but I was able to get over it and forge ahead! Shortly after Ley Royal Scam threw in the towel, Ty joined Gym Class Heroes and started touring the world. I moved into a small cottage on the Oregon Coast and made a solemn vow to break up with music. I had planned on not listening to anything other than Lucinda Williams again and was for sure never ever, ever, ever going to make my own music, as I was definitely still dealing with severe heartache from LRS falling apart. Even though that band was totally micro, on the grand scale of things, it was super important to me. Todd, check it! The tunes are amazing! http://www.leyroyalscam.com! Also, maybe you've noticed that the L, the R, and the S in LadybiRdS are often capitalized? That's why I chose the name. Ley Royal Scam por vida! Long story even longer, he called me last October and asked me to make an electro-pop record with him. I'm pretty sure I said ‘No’ at first. And then, I said ‘Yes’. Then, I went to Sayulita, Mexico for a month and a half and came up with the band name. Bam! In January, we took all month to record the album and it was only then that LadybiRdS formally existed.”

TODD E. JONES: “You also have Patt Pryor of The Get Up Kids, Justin Johnson of The Danger O's, and Neil Sabatino of Fairmont on your album too. How and why did you get all of these guests on the album? Which was your favorite collaboration?”

TEETER SPERBER: “Well, initially, in my mind, I had wanted to call the record ‘And In Come The Boys’. I was hoping to collaborate with a cool new dude on every song, most likely because I am terrified of singing and it seemed easier to hide behind someone else’s voice. But, Ty really wanted us to have our own identity as a band as well. So, we decided to stop at 4 guest vocalists. 5 if you count the kid chorus. I chose Matt of Get Up Kids because they we're one of the most influential bands of my musical upbringing. I used to follow them all over the globe, super fan style, to watch them bring the rock. I love his gravelly voice more than anything. I just admire him a whole bunch. Neil from Fairmont had invited me to sing on their record, ‘Wait and Hope’, a few months previous. So, I thought it would be super cool to return the kindness. Justin from the Danger O's was a given because they are also on Creep Records and Ty really enjoys creating a family vibe with the bands that are a part of the label. Plus, dude totally sounds like Sting when he sings, so why not!”

TODD E. JONES: “Which was your favorite collaboration from the album?”

TEETER SPERBER: “I'd have to say the one with Max. It was primarily because when we were done recording, we ate lots of garbagey snacks from the gas station mini-mart and drank cold frosty ones. We watched ‘DeGrassi: The Next Generation’ and all talked about how we'd kill to be on the soundtrack to that show. The he played me almost every song off of "Is A Real Boy..." acoustic, as well as ‘Since You've Been Gone’ by Kelly Clarkson. Then, we fell asleep. Best night ever!”

TODD E. JONES: “What is the creative process like? Does Tyler make the music first or do you start out with a set theme or lyrics?”

TEETER SPERBER: “Ty created all the instrumentation while he was on tour with Gym Class Heroes and I was traveling through Mexico. I didn't get to hear any of the finished tracks until I arrived at the studio to work pre-production. I was responsible for all or most of the lyrical content, so I came in with those ready and then Ty chose which words were going to go with which song. We worked together for a week straight, posted up in a sunny bedroom with nothing but a keyboard before we recorded, working out melodies and vocal patterns and such. It was more collaborative and calm than anything I'd ever done. We had tons of fun and laughed a lot.”

TODD E. JONES: “Musically, what else have you been working on?”

TEETER SPERBER: “The main thing I've been doing is practicing frantically for two cover songs I want LadybiRdS to do. I want to do ‘Black’ by Okkervil River, the best band of our generation and ‘Only You’ by Yaz. Practicing entails not only singing each song multiple times a day, but also calling, texting and e-mail harassing Ty, begging him to make time for us to do this. Gym Class is super busy so we'll see!”

TODD E. JONES: “How did you get involved with Creep Records?”

TEETER SPERBER: “Creep Records is the only reason LadybiRdS even exists! Arik, head honcho over there, was the one who encouraged Ty to make a record and agreed to record us for free before he had even heard one track. They've never put out anything as indie or cheesy as us before, so it should be interesting!”

TODD E. JONES: “Word association. When I say a name, you say the first word that pops into your head. So, if I say, ‘The Velvet Underground’, you may say ‘Lou Reed’, ‘Heroin’, or ‘Andy Warhol’. Okay?”

TEETER SPERBER: “Some or most will be more than one word, is that Okay?”

TODD E. JONES: “Blondie.”

TEETER SPERBER: “Stone cold fox.”

TODD E. JONES: “Felt.”

TEETER SPERBER: “Barely audible mumbling.”

TODD E. JONES: “The Dandy Warhols.”

TEETER SPERBER: “Alcoholics.”

TODD E. JONES: “Pixies.”

TEETER SPERBER: “Where is my mind?”

TODD E. JONES: “Momus.”

TEETER SPERBER: “God Of satire and mockery!”

TODD E. JONES: “Severed Heads.”

TEETER SPERBER: “Noisy synthesizer arrangements.”

TODD E. JONES: “Roxy Music.”

TEETER SPERBER: “English art rock.”

TODD E. JONES: “Kahimi Karie.”

TEETER SPERBER: “Whispery pop!”

TODD E. JONES: “Jarvis Cocker.”

TEETER SPERBER: “Pickled eggs and sherbet.”

TODD E. JONES: “Cibo Matto.”

TEETER SPERBER: “Japantastic!”

TODD E. JONES: “Close Lobsters.”

TEETER SPERBER: “Scotland #1.”

TODD E. JONES: “Joy Division.”

TEETER SPERBER: “Post punk pioneers.”

TODD E. JONES: “Happy Mondays.”

TEETER SPERBER: “Manchester forevs.”

TODD E. JONES: “Stone Roses.”

TEETER SPERBER: “Ian Brown looks like a monkey.”

TODD E. JONES: “The Fall.”

TEETER SPERBER: “Violent audience reactions.”

TODD E. JONES: “George Bush.”

TEETER SPERBER: “Idiocracy.”

TODD E. JONES: “Where were you during the September 11^th terrorist attack? How did you deal with it?”

TEETER SPERBER: “On September 11th, I was watching the towers fall from my rooftop in Brooklyn. I'm one of those people who has a hard time talking about it.”

TODD E. JONES: “Did you ever get romantically involved with Ty?

TEETER SPERBER: “Never! When were in Ley Royal Scam my band mate and songwriting partner Tom told me I was strictly forbidden from trying to make out with him because he thought it would complicate things. Plus, Ty totally wasn't interested anyway. So it all worked out for the best. But from the second he joined LRS I loved his guts so bad cause he was cuter and indier than all the other boys in the band. So we became insta-besties, Ty and I, and made everyone else jealous.”

TODD E. JONES: “Are you in a romantic relationship now?”

TEETER SPERBER: “No way! I had a super long one that wrecked me and I don't think ill ever have one again, sincerely. I'm feverishly independent and am not psyched on the idea of being in relationship jail again. Does that sound terrible?”

TODD E. JONES: “What turns you on?”

TEETER SPERBER: “Like, in dudes? Ack! As a general rule? Brown hair, brown eyes, and rail thin. Skateboarder a plus.”

TODD E. JONES: “What happened with your last relationship?”

TEETER SPERBER: “My last real relationship, or at least, the last one that was real to me, ended pretty, very, very badly, years ago. I'm one of those people who can't forget, can't let go, keeps replaying it in their head, idealizing the memories more than they should probably be idealized but unable to think any other way. It's something that I've never gotten over. And, I don't suspect that I ever will. We were young and we each brought out relatively toxic side of each other, a very toxic side of me, for sure. He was beautiful, funny, smart, passionate, skinny and had these amazing brown eyes. I can't imagine that a day will come that I will ever, ever, ever love anyone more than I loved him. I think about him every single day. It's totally insane and counterproductive. I often wish that I could go back and do things differently or I'll sometimes play out scenes in my head where he shows up at my front door on the Oregon Coast and says, ‘Let's make this work’ and I say ‘Yes, let's’. Then, it’s super peaceful, warm and amazing for the rest of our lives. Totally debilitating thought patterns. I can't believe I just said all of that. I never ever, ever say it out loud. No one knows I feel this way. Ack!”

TODD E. JONES: “Tell me about how and why you named the band, LadybiRdS.”

TEETER SPERBER: “Tyler and I used to be in a fake-not-fake mall emo band called Ley Royal Scam. That time in our lives was amazing and volatile. Although it ended somewhat abruptly, it was worth every second of time invested in it for all of the memories made. In perfect tune with my gratuitous letting go issues, primary targets we aforementioned ex-boyfriend, indie rock from 1995 to 1998, and the memory of my former band, I think about Ley Royal Scam every single day. I miss it so much and I'm so glad we did it even though it was insanely humbling and made me cry more times than I can count on one hand. Side note, Ty tells me I shouldn't talk about it so much cause this is a new musical chapter for us, but I can't even for one second help it! Shhhhh! When Ty and I started LadybiRdS, it seemed fitting, because Ley Royal Scam was how we met and fell musically and plutonically in love, to pay homage to the legacy of it through the band name. That's why whenever the band name is written out, in a perfect world at least; the L, the R, and the S will always be capitalized. Very recently kids started picking up on the full circle band to band capitalize connection, which I think is rad. I will always capitalize it as long as this band exists. I encourage everyone else to do the same, so I don't spaz out, because I am bananas.”

TODD E. JONES: “What is the meaning behind the title of the album, 'Regional Community Theater'?

TEETER SPERBER: “The title, ‘Regional Community Theater’ is an ode to how dramatic both Tyler and I are. Oh wait, Tyler's not dramatic at all. He's super mellow. I guess it's an ode to how dramatic I am. Can't even help it, I was born this way! More specifically, when we were writing the vocal patterns to this song in the guest bedroom of the Creep House during pre-production, I sang one of the lines from the chorus, 'How can we be the best, yet be failing all the time?' with just an impossible amount of gusto, emphasizing the word 'best' like I was the star of some small town musical. Ty started hysterically laughing and then once I composed myself I apologized for getting all ‘Regional Community Theater’ on his ass. He said instantly that that phrase needed to be the title of our record and I completely agreed.”

TODD E. JONES: “What is the biggest misconception do you think that people have about you?

TEETER SPERBER: “I am like ridiculously high energy. I can't be sure why, but I always, always have been. I'm spunky and somewhat out of control and my personality is oft described as ‘bubbly’, which is kind of whatever, but such is life. The most important thing in my life is to be sure that I'm laughing and being silly and having fun at pretty much all times. Since this is the bulk of who I am, people think I'm happy and bananas all the time, you know, cartoon character style. And if I'm not, it kind of cracks a hole in their universe because they don't recognize the black and white of me. It's not all grey, all party zone all the time. I get totally stampy sometimes, like wanting to beat my pillow with a tennis racket. I guess that would be the biggest thing. Or, that I'm rich because of my company. This couldn't be farther from the truth, cause all sisters live pretty hand to mouth trying to make it work.”

TODD E. JONES: “Where did you grow up? What kind of kid were you?”

TEETER SPERBER: “I grew up in suburban New Jersey, Exit 109 on the Garden State Parkway, as the youngest kid of the coolest family ever. I was a total spaz and I had wily blonde ponytails and talked like a chipmunk, very much like I do today. I loved choreographing dramatic dance routines in my backyard to sweeping Top 40 hits, in anticipation of someday performing them for whatever boy I loved at the time. I also sent love notes to dudes sprayed heavily in perfume.”

TODD E. JONES: “What was the last dream you remember?”

TEETER SPERBER: “I just had this awful dream recently that my sister Amy died in a plane crash on the way to her wedding. I have 3 sisters, 2 are identical twins. I woke up sweating and freaking out. I called my sister right away and was like. ‘Oh my God! I just had the most terrible dream that that you died!’ and she was all teets. I'm totally okay, but I did have this equally terrifying dream that the accessories buyers from Urban Outfitters were chasing me. It was funny, sort of. At least the Urban Outfitters part was cause they steal designs from young designers all the time, so we are always paranoid that they are going to yank one of our styles. This fear totally manifested itself in Sis Aims dreams. Amazing!”

TODD E. JONES: “What was the last incident of sexism you experienced?”

TEETER SPERBER: “I can't really remember. I suspect because I don't let anything or anyone tell me what to do or get in my way.”

TODD E. JONES: “Tell us about the last time a guy or a girl tried to hit on you.”

TEETER SPERBER: “Swear to the Lord the Jesus the Christ, - dudes never hit on me…ever, ever. I've often been told that I send out a real air of indifference in terms of joining any kind of romantic force. Not that I'm distant or anything, I'm super duper friendly, but I am never really looking to build a life with anyone - primarily because my ‘picker is broken’, i.e. ‘picker of dudes’. So, I think the energy I emanate is more like, ‘Oh My God! You are all my buds! Let’s go play guitar hero!’ As a result, they never hit on me, either because I'm indifferent and broken, or because I'm totally gross. Can't be sure which.”

TODD E. JONES: “What was the worst date you ever had?

TEETER SPERBER: “I’ve never been on a date. No lie!”

TODD E. JONES: “Tell me about Ley Royal Scam.”

TEETER SPERBER: “Not a proper album, no. We had 11 awesome songs. They're all on our website and then we recorded a mall punk version of a Lucinda Williams song. I worry that it might make her cringe, if she ever heard it, but never commercially released. Our demo is so funny though, the packaging. I have to get you one for sure.”

TODD E. JONES: “So Ley Royal Scam is totally over?”

TEETER SPERBER: “Yes, totally over. But, I am still obsessed with it. I think about it everyday. I loved those songs, or at least some of them, so much.”

TODD E. JONES: “Did you ever hear of the group Lady & Bird with Keren Ann? Was there any confusion between your band and the band, Lady & Bird?”

TEETER SPERBER: “No. No confusion, but people sometimes forget that were Ladybirds, plural style. She is incredible I've heard her isn't she also some crazy like fashion icon super babe? I've seen photos of her and she's total babe alert style.”

TODD E. JONES: “Do you think success and credibility are mutually exclusive?”

TEETER SPERBER: “No. Case in point, Prince.”

TODD E. JONES: “What have you been listening to in the last couple of days?”

TEETER SPERBER: “I've been listening to Okkervil River 'Black Sheep Boy' non-stop and Ratatat 'Classics'. Also, Brett Smiley and Milk N Cookies.”

TODD E. JONES: “What else do you do besides music?”

TEETER SPERBER: “My bag design company that I have with my sisters. http://www.31cornlane.com. We make tote bags and accessories for sassy young girls.”

TODD E. JONES: “Will there be another LadybiRdS album?”

TEETER SPERBER: “I definitely want there to be another LadybiRdS album. I know Ty does too. He's already started writing new tunes. It's really just a matter of time, as long as Gym Class Heroes keeps blowing it out the framework, ‘Cupids Chokehold’ top-of-the-charts, word! Ty will be stuck squarely in the Gym Class Heroes vortex. And as long as I stay attention deficit and solo sojourner style, I will continue traveling non-stop so I can see the world while I'm not attached to anything or anyone. It's Teeter time!”

TODD E. JONES: “What’s next?”

TEETER SPERBER: “Oh My God, in a perfect world, a spot on the ‘Degrassi: The Next Generation’ soundtrack!" Then, and only then could Ty and I could die truly happy.”

TODD E. JONES: “Final words?”

TEETER SPERBER: “Okkervil River is the best band of the last 10 years! Also, I love Superchunk and Jawbreaker and Archers of Loaf with all my heart and I will into perpetuity and beyond. Also, Terry Sperber, my mom, is a really classy lady.”

THANK YOU LADYBIRDS ! ! !

Interview by Todd E. Jones

toddejones@yahoo.com

NOTICE: This interview is property of Todd E. Jones and cannot be duplicated or posted without written permission.

OFFICIAL WEBSITES:

The official LADYBIRDS website: http://www.suzdawg.com/ladybirds

The official LADYBIRDS MySpace page: http://www.myspace.com/weareladybirds

VIDEO:

"The Brown & Red Divide"
http://www.youtube.com/watch?v=_BL84p87M8Y

EL-P “I’ll Sleep When You’re Dead” - review by Todd E. Jones

toddejones — Wed, 20 Jun 2007 18:07:00 GMT

“I’ll Sleep When You’re Dead” by EL-P

(Definitive Jux)

Review by Todd E. Jones

toddejones@yahoo.com

Theme music for the apocalypse has been provided by El-P. If “apocalyptic hip-hop” was not a term I just created for this article, El-P would be the genre’s father. Originally signed to Rawkus Records with the independent group Company Flow, El-P has risen to mythical heights in the world of underground / independent hip-hop. He is a white emcee/producer from New York who cannot conveniently fit under only one label. He is not a backpack rapper. He is not a religious zealot. He is not a gimmicky wannabe who is exploiting the culture. Simply, El-P is his complicated self. Founder of the now legendary independent record label, Definitive Jux, El Producto has earned his much deserved respect. As a label founder, El-P used Definitive Jux as a vehicle to release dense and high quality albums by C Rayz Walz, Cannibal Ox, The Perceptionists, Aesop Rock, Mr. Lif, and others. His cacophonic production style is gloriously unique and dramatically powerful. His drums have a juggernaut force and his melodies are lush soundscapes. He has contributed production for albums like “The Cold Vein” by Cannibal Ox, “Black Dialogue” by The Perceptionists, “I Phantom” and “Mo’ Mega” by Mr. Lif, and “Year Of The Beast” by C Rayz Walz. From start to finish, El-P’s “Fantastic Damage” was his challenging and thought-provoking debut solo album. Standout cuts included “Blood”, “Deep Space 9MM”, and “Fantastic Damage.” A true hip-hop producer, El-P also released varied instrumental albums. Released on Thirsty Ear Records, “High Water” showcased his talents by capturing his production skills with jazz band. Released on Definitive Jux, “Collecting The Kid” was a refreshing compilation of tracks from various projects El-P had been working on. “Constellation (Remix)” (featuring Stephanie Vezina) and “Oxycontin” (featuring Camu Tao) were exceptional tracks. Fans were yearning for El-P’s next complete solo album. When people thought El-P could not top “Fantastic Damage”, they were amazed when El-P’s sophomore album surpassed his previous work. “I’ll Sleep When You’re Dead” is a glorious, intelligent, and powerful album. While the “Fantastic Damage” LP was described as somewhat difficult listening, “I’ll Sleep When You’re Dead” is exceptionally constructed, instantly entertaining, and intellectually memorable. Hip-hop will never experience another album like “I’ll Sleep When You’re Dead”.

“I’ll Sleep When You’re Dead” contains multiple tracks of epic proportions. The opening cut, “Tasmanian Pan Coaster” possesses a powerful crescendo and thick bouncing rhythms. El-P’s chorus is a shocking epiphany, “…This is the sound of what you don’t know killing you / This is the sound of what you don’t believe still true / This is that sound of what you don’t want still in you / TPC motherf*cker / Cop a feel or two…” The song features Omar Rodriguez-Lopez and Cedric Bixler-Zavala of The Mars Volta. Mr. Dibbs also contributes turntable cutting to the track. During the song’s conclusion, the use of a distorted guitar intertwined with an operatic vocal sample creates a devastating cinematic sound. “Flyentology” features Trent Reznor of Nine Inch Nails on vocals. Even people who are sick of Trent Reznor will probably appreciate the song. El-P uses Reznor’s vocals in a very intelligent way. He is careful not to overuse Reznor too. Since the song does not clash with the other tracks, the album’s flow is maintained. The animated music video for “Flyentology” gives the song a complete new dimension while telling a creative and fantastic story. El-P’s view on religion and spirituality is extremely refreshing. “…There are atheists in the foxholes / There is no intellect in the air / There are no scientists on the way down / Just a working example of faith verses physics…” His creativity leaves much to interpretation. The epic conclusion of the album is “Poisonville Kids No Wins”. El-P’s soft spoken, heartfelt delivery is enhanced by the song’s structure. The beat stops and restarts throughout the track, gaining more momentum and power every time. The massively hypnotic chorus is a thick, melodic beat crescendo. Chan Marshall of Cat Power adds poignantly ethereal vocals during the song’s finale, “…Never, ever, ever gonna get that way again...” Cinematically epic, these songs bring hip-hop to creative heights.

The album also includes tracks that are shorter in length but not quality. “Drive” is possibly the most instantly appealing song on the album. For the chorus, a sped-up vocal sample is used before each line. El-P’s verses are wonderfully frustrating. El-P raps, “…I’m not a depressed man / I’m just a f*cking New Yorker / Who knows that sitting in traffic with these bastards is torture…” El-P’s “Drive” is proof that he can create a somewhat catchy yet clever solo track that has the potential to be a single. “Up All Night” is a bouncy, intelligent track with thick, electronic melodies and swirling drum rhythms. In the hook, El-P states that he is not a person to be taken advantage of, “…I see you all regardless / I know what lies are like / I might have been born yesterday, sir / But I stayed up all night...” Another bounce-driven track with a memorable chorus is “Smithereens (Stop Cryin)”. El-P’s quick double-time flow adds a cool diversity to the album. He even adds melody to his hook. “No Kings” is a tight cut which features a deep-voiced Tame-One (formerly of Artifacts). “Run The Numbers” (featuring Aesop Rock) is a catchy track which will have you shouting “Find those detonators!” El-P’s melodic repetition of “Na-na-na-na-na-na-na” makes the song catchy, fun, yet still intelligent. Another powerful track, “The Overly Dramatic Truth” is sexually harsh and insanely aggressive.

Only a handful of songs do not have the same intensity or replay value as the other tracks on the album. “Habeas Corpses (Draconian Love)” is an overdone track with the repeated hook: “I found love on a prison ship.” Cage contributes vocals to the track. Although Cage and El-P work well together, the album’s other songs are more satisfying. The only other somewhat filler track is the short and angry “Dear Sirs”. To call these tracks filler is somewhat unfair because the depth and meaning of each song does shine with creativity.

“I’ll Sleep When You’re Dead” displays a major maturation in El-P. His production talents have become extremely unique, but massively emotional. As an emcee, he has begun to master his flow and delivery as well as his cadence. Although “Fantastic Damage” was a solid album, “I’ll Sleep When You’re Dead” is incredibly tighter and more accessible. The album’s accessibility never forsakes the usual complicated beauty of his music. While the album may also be considered a challenging listen compared to most hip-hop CDs, “I’ll Sleep When You’re Dead” is beautifully challenging and executed with an intellectual precision. Although the album may go over people’s heads, intelligent and open-minded music lovers should appreciate the record’s multiple layers of creativity. Simply, “I’ll Sleep When You’re Dead” by El-P is a complicated modern hip-hop classic.

Review by Todd E. Jones

toddejones@yahoo.com

WARNING: This copy written review is property of Todd E. Jones and cannot be duplicated or published without official permission.

WEBSITES:

EL-P's "I'll Sleep When You're Dead" - blog: http://iswyd.blogspot.com/

The official Definitive Jux Web Site: http://www.definitivejux.net/