Album Review - Black Thought & Danger Mouse: Cheat Codes
Cheat Codes is the first collaborative album by The Roots’ Black Thought and iconic indie-rap producer Danger Mouse. Even though it was released in August of this year, there still is yet to be another album, let alone rap album, that tops this project in consistency, technical prowess and overall production. Both artists have found their career taking very separate paths along the line, where Black Thought now occupies a spot in Jimmy Fallon’s recurring band on his late-night talk show, while Danger Mouse has continued to uphold his reputation through work with A$AP Rocky, Red Hot Chili Peppers, among others. Both artists were pioneers in a new era of underground hip-hop that transcended the east and west coast rivalry that dominated the 90s; a feud that has become a relic of the past. With Cheat Codes, the duo fortifies their placement in the lore of hip-hop’s narrative arc. This album is a product of its time, but also full of reminiscence for the past that built the foundation for this point in the artists’ lives.
Sometimes (9/10): The album kicks off with an ode to the marginalized. The track samples Gwen McRae’s “Love Without Sex” as its backing vocals to emphasize the danger of growing up in a world of suppression and oppression. Black Thought follows this notion by inciting unity between such groups when he labels them as “prisoners of Azkaban/thinkin’ of a master plan” to suggest that the mind should never be at rest during troubled times. The complex rhyme scheme enables each bar to flow into each other in a natural progression.
Cheat Codes (9.5/10): Black Thought shouts out his Philadelphia area code, 215, of where he grew up. This spoken shout-out appropriately sets the thematic tone of the track; a song where the rapper analogizes African-American youth to a video game where one tries to discover cheat codes to get ahead. The simple higher key piano motif throughout the song gives it a youthful exuberance that supports this notion, concluding with a choir of children for even more emphatic effect.
The Darkest Part (feat. Raekwon and Kid Sister) (8.5/10): “The Darkest Part” is also guided by a piano melody, although slightly more complex, in addition to a chorus that gives the redundant tune a short rest. Black Thought and Danger Mouse employ Kid Sister for the hook and Raekwon for his own verse that outlines the criminality of the music industry. References to luxury cars killing African-American careers offers the concern for the commodification of music, particularly hip-hop. Raekwon even mentions receiving a message from the heavens to “keep it brief like an elevator”, as if the upper-echelon of society does not actually want to hear what artists are truly trying to convey.
No Gold Teeth (9/10): The instrumental for this track is layered and rich, breaking into what sounds like coins smashing together every so often. This bodes well for the focus of “No Gold Teeth”, as Black Thought highlights his own career’s growth that was fueled more so by talent than mass appeal and publicity.
Because (feat. Joey Bada$$, Russ and Dylan Cartilidge) (9/10): Dylan Cartildge’s raspy delivery coated by record scratches serves as a haunting introduction into this extensive posse cut. The title “Because” demands a cause and reason for how American society has developed, and the track’s guests give many explanations. Joey Bada$$ talks about getting randomly frisked for drugs, for which his mother told him to take in stride, further desensitizing him to its inequality; while Russ mocks rappers who feel the need to show their tough authenticity by flashing guns or violence as a means of flexing their value.
Belize (feat. MF DOOM) (10/10): A posthumous verse from the great MF Doom shines in its utter irreverence that balances itself between self-referential satire and impactful social commentary. Doom reflects on his hatred for his own musical genre because of the others who fortify the stigma that surrounds it, but he began to feel indifferent once he felt confident enough in his abilities to create his own lane.
Aquamarine (feat. Michael Kiwanuka) (10/10): “Aquamarine”’s introduction is almost reminiscent of a cinematic walk-up to a boxing ring, of which Black Thought surely does not pull any punches. Continuing with the film allusions, this cut is basically a concise autobiography of Black Thought’s life, of which he felt could end at any moment. Michael Kiwanuka’s buttery chorus accentuates this notion when he sings that “everything's burning down/when I close my eyes again”.
Identical Deaths (8/10): A lyrical barrage that might be too technical for its own good, Black Thought is relentless on “Identical Deaths”. The instrumental contains lush bells, but is ultimately quite skeletal; this leaves a bright spotlight on Black Thought’s performance. This cut is more of a continuation of the tropes that were found in “Aquamarine”, but it is sonically tight enough to be inoffensive.
Strangers (feat. A$AP Rocky and Run the Jewels) (8.5/10): Another posse cut! This time featuring A$AP Rocky and Run the Jewels alongside Black thought with gravelly vocal effects layered upon them. There’s no real motive of the track that is consistently apparent throughout each verse, but each rapper showcases their own form of brilliant wordplay that makes it enjoyable from start to finish. A couple of my favorites are when Rocky threatens “see you with my third eye/peep you just with one eye closed”, as well as when Killer Mike states “I'm out with Lenin and writin' in red ink again”.
Close to Famous (8.5/10): “Close to Famous” has a title that is quite self-explanatory; Black Thought acknowledges his constant proximity to fame and glory, but maintains his standard of creative quality. Black Thought mentions in the track how he can never perform with a cordless microphone; this bodes well for his claims to authenticity, as he seems to want to remain literally, and mentally, grounded in his art.
Saltwater (feat. Conway the Machine) (10/10): Easily my favorite production on the LP, Danger Mouse implements minor beat breaks that accentuate the intensity of the track, which is comparable in effect to the jarring taste of something like its name. Griselda’s Conway the Machine has no conviction when he starts his verse, as he rewinds it halfway through to just let listeners know that he’s that lyrically proficient. Black Thought adds his usually dense wordplay to the cut with lines like “the streets is a bitch, you up in the club with her/you should cеase and desist, but you too in love with hеr”.
Violas and Lupitas (10/10): How else could the duo end their prosperous attempt at a collaborative album but with a swan song of sorts? The literal violas that build the foundation for the track return back at times, but Danger Mouse often opts for his typical weapons of a piano and drums. “Violas and Lupitas” is permeated by pop-culture references, like Sidney Poitier and Bruce Springsteen, describing the different manners in how Black Thought feels his music embodies.