If you're thinking Rjd2 has something to do with Star Wars, you might be in for a shock. His first three first albums, "Dead Ringer" (2002), "The Horror" (2003) and "Since We Last Spoke" (2004), were praised for the cinematic scope of their productions and their over-the-top use of music samples.
Unlike big-time producers such as Kanye West, Rjd2 has used samples almost exclusively to create lush soundscapes full of break-beats. His seemingly boundless creativity has brought him to the forefront of the backpacking hip-hop community, producing for such rappers as Aceyalone, Murs and Aesop Rock. One of the most popular artists on the Def Jux label, his future in the underground hip-hop scene seems as bright as DJ Shadow's.
Yet after Rjd2's recent album, all this acclaim must be referenced in the past tense. "The Third Hand" (2007) is the closest thing to an artistic suicide since Mariah Carey's "Glitter" (2001). The fact that Rjd2 left Def Jux for XL Records, a British alternative pop label, was a sure sign that the artistic direction of Ramble John "RJ" Krohn was about to change drastically.
Rjd2 left Def Jux, a label known for their open-mindedness, since his new album simply did not reflect the label's image. It seems strange that any label would let such a prolific figure go, but their logic holds, as Rjd2's latest effort simply does not stack up to his previous output.
While the opening notes of the album seem surprisingly cheery, the shock of hearing Rjd2's voice on "You Never Had It So Good," is rather hard to get over. It's easy to see why Rjd2 got his start as a producer and not a singer. Quite frankly, he seems to belong to that strange cast of "singers" who amuse us during the first rounds of "American Idol."
What in the world possessed him to sing on nearly every song on the album is beyond anyone's guess. Perhaps it was because he produced the entire album alone in his basement. Apparently, all work and no play makes "RJ" a dull boy, and frankly a dull listen. The only leftover signs of greatness are in Rjd2's productions, which unlike previous work do not contain any samples.
The album's bright spots, songs like "Work It Out," and "Beyond the Beyond" have sufficiently strong production to make the singing seem bearable. However, it is the rare instrumentals such as "Get It" that shine the most. But for every moment in which Rjd2's voice fades and his production is given a chance to express itself on its own, there is a vocal performance which is equally horrifying.
"Laws of the Gods" is an example of a particularly cruel and unusual punishment. In other words, listeners who thought old tracks like "The Horror" and "Iced Lightning" were the best thing since sliced bread have no business here. To be quite frank, those who appreciate good music over misguided artistic ramblings shouldn't touch this album with a 10-foot pole, unless they can find an instrumental version.
DJ Shadow's "The Outsider," which came out a mere six months ago, might have seemed like a disappointment, but Rjd2 really pushes the boundary in terms of good artists making poor career decisions. Hopefully, if the Rjd2 of "The Third Hand" is indeed the same artist as the one of old, his listeners will be able to make him realize that this kind of output is simply unacceptable.
