El-P

I’ll Sleep When You’re Dead

[4/5] The knock on El-P and his label, Def Jux (and this writer admits to doing some of the knocking over the years), has been that at times both seemed to equate density-both musical and lyrical-with quality. Consider I’ll Sleep When You’re Dead the answer to that complaint; its grooves are El-P’s most overloaded yet. But the hip-hop, carefully arranged over four well-spent years, now approaches symphonic heights on songs like “Tasmanian Pain Coaster” and the future-shocker “Habeas Corpses (Draconian Love).” If you’re celeb-spotting for the guest shots from Trent Reznor, Cat Power’s Chan Marshall and others, you’ll need sharp ears, but that’s really not the point. Neither is the political frustration that occasionally surfaces. El-P’s official follow-up to his 2002 debut is most notable for its sheer artistry; intricate, lovingly assembled and rightfully buzzing on its own creative juice, it’s full of the old-fashioned care and craft hip-hop has largely forgotten. (DEF JUX) Dan LeRoy

ROCKS LIKE:

Mike Ladd’s Easy Listening 4 Armegeddon

DJ Shadow’s Endtroducing…

The Disposable Heroes Of Hiphoprisy’s Hypocrisy Is The Greatest Luxury

IN-STORE SESSION with EL-P

You not only grew a pretty killer ’stache during the making of this album, you have a theory about how changing your appearance for the ill helps you stay indoors and keep working, right?

There are some other examples of it. Growing a Mohawk. Or shaving random spots into your head. Maybe growing a beard and then shaving half of it off. But I think the mustache is the most proper form. It forces a man to reevaluate himself every time he looks in the mirror. Unfortunately, I actually started liking it-or at least, liking the idea of not giving a flying fuck how I looked. I compare it to Peter Parker and the black Spider-Man suit. You know deep down it’s wrong, but you enjoy the power it gives you.

It sounds like we haven’t seen the last of it.

I have to admit, recently the mustache has been calling to me. I think it’s very possible the mustache might make a guest appearance at a few shows.

On a slightly more serious note, the big-name guest appearances on I’ll Sleep When You’re Dead-like the Mars Volta on “Tasmanian Pain Coaster”-are pretty subtle.

There are two schools of thought about that. One is, “Where the fuck are all the guests on this record?” [Laughs.] But my response is, “They’re just woven into the record.” I’ve known [the Mars Volta] for a while. We met in 2002, and they asked me to go on tour, but unfortunately the timing wasn’t right. Then we were talking about doing a remix album, but it didn’t happen. But we stayed cool and stayed in touch. I just think those guys are so fucking badass at what they do. Trent [Reznor, who appears on “Flyentology”] was a similar situation. He had reached out to me, and I did a remix. So I approached him about being on this record, and I was just blown away by the generosity. Obviously, at this level, he doesn’t have to do anything.

The politics of this album are fairly subtle as well.

I don’t think musicians should be lecturing anyone about anything. You don’t need El-P’s bullshit geopolitical perspective. I tried to be political through an eloquent portrayal of a personal experience. I want you to feel like I’m capturing a moment-what it’s like to be fucked up and human and in New York City at this time. There need to be more records of the time.

That used to be hip-hop’s job, though.

I just think there needs to be more passionate music, period. Those records become my soundtrack. Those records become my heroes. And those are the only kinds of records worth making. -Dan LeRoy