[.ca] Pimp To Eat

From Amazon.co.uk:
Analog Brothers are a band of intergalactic space pimps featuring two high-profile booty commanders, Kool Keith (aka Keith Korg) and Ice-T (aka Ice Oscillator). Pimp To Eat follows them as they carry out night-time raids on 24-hour convenience stores to stock up on sugar-drenched junk food, and check the hair follicles of their, er, companions, for freshness. This all-analog five-piece--including Mark Moog, Silver Synth and group leader Rex Roland--rap in synthetically tweaked vocals across a canvas of synths that slither and squeal like an ecstatic high-class call girl. Gathering their oversized fur-lined overcoats around them, they slide majestically through cosmic soul ("So Bad", "Country Girl") and roughed-up space gangsta boogie ("Who Wanna Be Down", "War"). The sing-a-long "Shut Down Show" even features their protégées the Synth A Size Sisters, a six-piece girl group who make like an atonal, cracked-out Chiffons. Musically, the Analog Brothers aren't giving anything away to move your body, but the immaculate presentation and sly lyrical seduction of these pimps will have you turned out in no time just the same. File under felonious hip-hop. --Chris Campion

Pop Rap Wannabees:
This is the biggest dissapointment in hip hop history. Ice T and Kool Keith were supposed to be great together. But this Cd \ostunk\c. Don not waste your money. Listen to these wack lyrics, "I'll sh*t on you n*ggas, cause I'm richer than you n*ggas." And bunch of other \ostuff\c that makes no sense and is not good hip hop. I liked Dr. Octagon but this \ostuff\c was the worst Cd Kool Keith has ever made. PERIOD

Communication and the Lyrical Salad:
What do the Analog Brothers do? They provide simplistic mastery of the motions through lyrical and instrumental juxtapositioning, mentally maneuvering their audience back into a mindset when musical evolution was a display of syllables and highly-motivated barrages of intensity. Who are the perpetrators? Keith Korg, Ice the Ocilator, Silver Synth, Mark Moog, and Rex Roland. Their mission? To explore strange, newly evolving lyrical worlds, to seeking new life and new civilizations, boldly going where no cliche has ever thought about traversing before. The voyages that Kool Keith takes his listeners on are a bizarre ride into the gray-matter of a constantly evolving lyrical genius as he pledges his allegiance to no other force but himself and the messages he adopts. Sometimes this works wonderfully, depicting the struggles of an artist that walks well outside the incorporated synthesis of marketing ploys and top 20 beats and doing it well, and sometimes this vessel submerges a little too fast, making his listeners wonder just what he was thinking as he crafted an odyssey that simply didn't work. Regardless, this normally pushes him well past the incessantly covered valleys of the mainstream, over the hills and through the woods of musical variety and into places less traversed by artist. In many places, like this release, it shines, too. So, what is the Analog Brothers release about? Well, it strays into a multitude of places through a variety of spoken methods, but it normally returns to the focal point that it is based around; that of pimping and the mindset of those behind the fur coats and driven attitudes. In it, the performance of Keith Korg is strong and, in parts, he is accompanied by an equally-accentable Ice-T. Still, The Ocilator sometimes comes up limp in the lyrical realm, making one question the performance given by what I would call the weak spot out of everyone involved - including the nameless contributors that position themselves like powerhouses amongst this bed of stars. This was the worst part of the album, too, knowing that the sometimes descriptive machine wouldn't work in the minimalist beats contrived by the Keith Kool methodology and still keeping on, hoping for the shining spots that were bound to come once more. With all this stated, I'd also like to go on the record as saying that this release wouldn't be for everyone, especially those practicing the art of listening to artists in heavy rotation or those that expect the wonders of the beat with a fresh side of subpar rhymes. Kool Keith is something of a new experience for those uneducated in his field of play and, as such, one should tread lightly when approach his realm of wonder, thinking before diving beneath those sometimes weighty sheets.

Analog Brothers make The Jetsons look like The Flintstones.:
If you thought Kool Keith's Dr. Octagon and Black Elvis was as "spaced-out" as it gets, then you my friend, thought wrong. Boys and girls, I give you, Analog Brothers Pimp to Eat. An "out-of-this-world" hip-hop adventure, where Star Trek and Stargate, are things of ancient history. If having the dangerously bizarre Kool Keith isn't enough to convince you Pimp to Eat is far off in left field, then maybe the exotic combination of both Kool Keith and the more cliched rapper Ice T will. In fact, Pimp to Eat is so far in left field, it's past the warning track. Equipped with Keith Korg, Ice Oscillator, Silver Synth, and Rex Roland, the Analog Brothers cook up quite a recipe, and boy is the outcome yummy. Analog Intro, to Analog Outro, the album itself does not dissatisfy. Pimp to Eat, is no classic such as the flawless Dr. Octagon and Dr. Dooom projects from Kool Keith, but if you're looking for that abstract flavor of hip-hop, this may be just as good. The production isn't up to par with Keith's other releases, which is the principal flaw with the album. Lyrically, Pimp to Eat is in a category of it's own. That could be good or bad, depending who's listening. I honestly thought Ice T would devalue the album with his predictable and mediocre rap style, but my unfaithfulness in Ice Oscillator proved to be a complete bombshell, as he ripped each and every track he spit on. The others (Keith Korg, Silver Synth, & Rex Roland) were on point as well. If you're looking for superbly produced hip-hop, then by all means turn away. If you can withstand second-rate instrumentals, laced with lyrics of that beyond your usual Kool Keith standard, look no further.

A surprisingly good cd:
Kool Keith is one of the best, but even an all-out Keith fan like me would be scratching his head at Keith teaming up with copkiller-turned-sitcom-actor Ice-T. But this CD is excellent. Not as totally wild as Dr. Dooom or Dr. Octagon, but great like Matthew. Just buy it and don't listen to that "commercial hip-hot ship" (you know what I mean) no more. It'll rot your brain and make your breath stink like alligator doodoo.

"We're the Analog Brothers... get outta here kid.":
So... you've fronted the seminal hip-hop group Ultramagnetic MC's, you redefined rap with the legendary Dr. Octagon persona, you've sent said persona to an early grave with the psychotic Dr. Dooom alias... Where d'you go now? Who would have thought it? After a string of solo projects, Kool Keith finally teamed up with the Original Gangster himself: Ice-T (plus a couple of other rappers). Dubbing themselves "The Analog Brothers", they lay down the kind of spaced-out grooves and lyrics you'd expect from a Kool Keith-related album. The album seems to center around a definite "pimp" theme (as one might expect, from the album title); not exactly to my tastes when it comes to hip-hop, but I recommend viewing it as a parody of all the mainstream pimp/gangsta rap that infects the airwaves these days. Just listen to Ice-T's short skit on "Who Wanna Be Down?" - is this stuff really supposed to be taken at face value? Also noteworthy is the pseudo-ballad "Country Girl", a lacerating send-up of all the so-called "sensitive" love songs that several rap artists have spewed forth during some of their lesser moments (Kool Keith's intro: "Honey, I ain't going to the strip clubs no more..."). The production is stellar - entirely built up from analogue synths, it offers some of the smoothest futuristic vibes you'll hear from hip-hop these days, and has a certain old-skool flavour to it. The Public Enemy-esque synth-whine on "Who Wanna Be Down?" and the piano bassline of "War" are particular standouts. The lo-fi 808 drum lines may take some adjusting to if your mind has been polluted by the garbage that passes for hip-hop these days, but give it time and you'll learn to love 'em. The lyrics? Mostly excellent. It'll take many listens to fully get your head round the analogies and metaphors these guys spit out - one listen to the first track, "Analog Intro", had me sold. Ever been in an argument with a narrow-minded metalhead who insists that rap's lyrics are childishly simplistic compared to metal's? Just show them the lyric sheet to this album (you'll have to search for it on the web, I'm afraid - it isn't supplied in the booklet) and they'll walk away with their tail between their legs (and, not to mention, my foot up their @$$). Why does this only get a four, then? It's quite simple: a sizeable portion of this CD is cliched garbage that really should not have made the final cut. This is, I believe, due in part to Rex Roland's irritating-beyond-belief falsetto whining (which, thankfully, isn't too prominent on most tracks, if present at all). Singing has no place in hip-hop. Trip-hop, yes, certainly, but not hip-hop. It's also due to lyrics that, on occasion, sink down into the pimp cliches that they're supposed to be satirising. It doesn't happen often, but when it does, it's downright annoying. Still, overall I feel this is a very worthy album and one that all "tru" hip-hop heads shouldn't hesitate in adding to their collection.

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