The Unbound Project Vol.1

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A hip hop compilation based around a socially-conscious "cause" is hardly unusual, but it's rare that the musical ambition matches the issue at hand. This is different though. The Unbound Project's accompanying booklet - featuring grabbed images from hyperreal, richly-saturated news report/CCTV footage in all their lurid, tortured, digitally-compressed beauty - is a sobering read through a litany of civil rights infringements and the warped Criminal Justice System in America (particularly California). Indeed, what it means to be a Black American at this point, and in particular to highlight the plight of Mumia Abu-Jamal, the former Black Panther and longtime death row resident. Suffice to say, there's a lot of angry people here, and this album represents a progressive interrogation of the Criminal Justice System in America. That it does this via proud progressive hip hop heightens its ability to make a difference. Contributors include Talib Kweli and Hi-Tek, Medina Green, Aceyalone, J Rocc, Blackalicious, muMs the Schemer, Poor Righteous Teachers, Rakaa-Iriscience, and The Unbound Allstars - a collective voice impressively composed of Divine Styler, Zack De La Rocha, Afu-Ra, Last Emporer, Dead Prez, Chuck D, "and more"(!). But the standout tracks are as follows: Mike Ladd featuring Seein' I's "Social Policy Derelicts", harsh words distilled across Ladd's now-familiar spasmodic beats; the tempered, impassioned lyrics matched step for step by the skeletally sparse groove. Ursula Rucker shows yet again what real talent is, "Soon"'s impassioned message all the more affecting due to her uniquely cool, mannered delivery, her soulful sense of ambience, and Timbaland-in-treacle beats. J Rocc's near-ambient/hip hop interludes provide moments of respite, to draw breath amidst the surrounding flood of testament, and his cutup of Gil Scott Heron's "The Revolution Will Not Be Televised" seems an entirely appropriate re-statement here. And Jerry Quickly's "Strata" catches the ear too, pitched somewhere between a Busta Rhymes-style assault and coming on like a Black militant Frank Zappa(!), a peculiarly-warped vaudeville chorus amidst machine-gunned verses, see-sawing across the rolling piano and plunging double-bass. It's a truly distinctive piece, followed by Saul Williams' "Dance Of The Dead", which is so dark it's emanating from the same subterranean depths plumbed by the likes of Ice and Dälek, with its zombied delivery and the suspiciously electronic sub-bass, seemingly an early warning system for the flashes of drum'n'bass which soon come. Mike Ladd's awesome "Feb, 4th 1999 (For All Those Killed By The Cops)" brings the album to a close, with its dignified and righteous stance, head held high. Barely a weak track here, and some real gems, proudly do justive to their cause. Further resources promised at http://www.realized.net/