Madlib: Sound Ancestors | 4ZZZ Brisbane 102.1FM

- Sound Ancestors sees legendary producer Madlib return to his flavour of solo instrumentals after years of side projects including his collab with Freddie Gibbs. The project sees Madlib explore various genres including latin and bossa nova, soul, jazz, hip-hop, grime and even modern house music with his unique chopping style and ear for unknown samples.

With Sound Ancestors, Madlib, with a little help from the editing arranging and mastering chops of Four Tet's Kieran Hebden, has chosen to lessen his brand of chopped-up '70's-esque vocals in favour of mostly straight instrumentals with a few exceptions. One of these is The Call: a pretty simple track that comes closest to anything remotely classic rock on the record. Using the standard rock formula of guitars, bass and drums, Madlib begins to switch up the track towards the end with subtle scratching. The vocals are a nice addition, implementing a virtually unknown Terry Britten sample reminiscent of Wings-era McCartney.

Road of the Lonely Ones is the project’s standout; a golden age soul and bossa nova combination backed by power heavy drumming and subtle yet gorgeous Spanish guitars. Another vocal-heavy cut, Lonely Ones sees the sampled singer reminiscing and depressed as he ponders a failed relationship. Infused with an angelic supporting choir, the single is one of Madlib’s best in years.

Loose Goose is one of several tracks that brings out clear UK grime and electronic influences as Madlib tries his hand at something more modern in the style of a house producer (i.e. Jamie xx or Nicolas Jaar). The bass-kick of the track is accompanied by pounding synths that sound almost oboe-like and bring a certain flair that is missed throughout the rest of the album.

The title track is an immediate hit to the face with a minute of strong, rhythmic drumming before escalating to a jazz breakdown. The breakdown is raw with no clear composition but rather several instruments repeating their own singular sections that seem to almost fit together but never quite click; in the best way possible.

Two for 2- For Dilla returns Madlib closer to his roots through the style of late great J Dilla, a frequent partner and close friend of the producer. The first section is built upon a few simple repetitive bass notes with cut up soul vocals layered on top in typical Dilla fashion. The second half is more grandiose with mariachi trumpets and a trade-up of male vocals for female. The chopping effect is prominent on this half with the female vocals being simply sounds rather than coherent sentences.

Closing track Duumbiyay is sadly a relatively flat-note to end on focusing too heavily on quite an annoying vocal sample that loops for the better part of three minutes. The backing production sums up the record quite nicely with splashes of jazz pianos, bongo drums and bass filtered through what can almost be described as a washing effect. While the vocal sample fits in time perfectly with everything around it; I wish there were more to the track so it could fully shine.

Sound Ancestors is a must for instrumental hip-hop fans while still providing something for those who’ve been drawn to Madlib’s rapper collaborations over his solo output. The sheer number of genres explored on the record allow it to be a continually rewarding listen made lovingly by one of the best to ever to do it.

- James Chadwick.
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