hearsay

Mark Abraham of Cokemachineglow has very quickly become my new favorite music reviewer. After first blindsiding me with his thoughtful and engaging (and 2,359-word) review of an album that I otherwise wasn’t too interested in, and then the ‘No Big Hair’-awarded review of Shapeshifters by Detroit-by-way-of-Ann Arbor rapper, Invincible. Being a longtime lover of Detroit (I don’t want to give up to much personal information, but about 6 years ago I did a lengthy study on the exact issues that the above video for “Locusts” touches upon), I have long had an affinity for all things Detroit and, in particular, Detroit hip-hop. I never ended up moving there, but as guest rapper Finale explains towards the beginning of the track, “D speaks to me.”

It is my assumption that most of the country understands there is something odd about Detroit. I recall that the 2006 Superbowl offered a brief glimpse to the rest of what had become of the city that had had the collective back of the entire country turned on it. I would argue that, at least before Katrina, it most clearly exemplified problems of urban decay and suburbanism in the United States – particularly in how they relate to class and race. But at the same time, I always saw something there unique and beautiful – not only the city itself – but also in the community that remained after the suburban ‘white flight‘ as a matter of pride in the face of a intended and racist attack on its culture. And it is this attack upon the city, both in the historical sense and again today as the city seeks to rebuild and redevelop Detroit. Finale kicks the track off on this note, saying:

Condos remodel my gold turf
For what it’s worth soul got left in the earth
On the search I stood in front of Compu
Where the Hudson builders spoke first
And said, “I was here”

For the most part the song speaks to the specific issues of Detroit. But within the greater context of Invincible’s album, it continues a thematic criticism of disenfranchisement and attention to the processes of change. What I am most impressed by in the way she addresses such a complex topic is that she avoids a typical preservationist argument – that cities need to be protected from change, like plastic wrap over your living room couch. Cities are not stagnant and within them change is not only necessary but inevitable. But finding a means of enacting a conscious and positive change is what is important for preserving culture and communities. Repeating elements of her track on Palestinian displacement, “People Not Places,” she is focused on the culture of Detroit rather than its buildings. She is concerned by demolition within the city, but specific to how it affects residents:

It’s serve and removal
Of residents, with urban renewal
The reverend is the realtor
Here to save and heal you

Invincible and Finale weave together historical fact with reports on the current state of Detroit seamlessly, but if I had one criticism of the track it would be the ‘stay focused’/'never let the locusts approach us’ suggestion of the chorus to simply avoid development and real estate developers. This shortcoming picked up on by the documentary/music video though, both in providing additional historical background, as well as in answers and solutions to the problem.

The interviewees note that development has to come from within in order to maintain the character of the city. And in this regard, yes, Detroit’s developers are to blame. But development in America is simply an equation of profit margins and – with the exception of a few that put their interest in communities ahead of the bottom line – developers will always do the minimum amount that will provide the highest return. In this regard city government needs to set the bar for maintaining cultural heritage as well as to promote a positive change. Thus far in Detroit, the only solutions have been ‘get rich quick‘ schemes that Invincible & Finale reference: the aforementioned Compuware World Headquarters, the People Mover monorail, and a multitude of casinos – all foreign to the character of Detroit.

I don’t know that I could give the album – which is as much an exercise in cultural theory as it is a creative display of musical talent – enough of a plug. I haven’t even touched upon her flow, demeanor, or multisyllabic rhymes. Her voice really reminds me of someone but I can’t quite place it. Maybe Qwel? And you have to admit that House Shoes‘ beat is fantastic, vol. 3. The packaging comes with anecdotes about each track, and can be picked up from any good retailer and most of the online sources. Really, an astounding debut.

: Invincible (feat. Finale) – Locusts :