Detroit hip-hop has been firmly under a microscope for the last several decades, especially ever since the emergence of the likes of Eminem, Royce Da 5'9", and Slum Village in the late nineties. While certainly bringing forth a new territory of talent within the "Motor City", more from the D would emerge to bring forth their own unique contributions over the years. From the likes of Guilty Simpson, Black Milk, Elzhi, Big Sean, Em's crew D12, Obie Trice, and even the current batch of emcees such as Boldy James, Babyface Ray, Danny Brown, Kash Doll, Tee Grizzley, and the ever-entertaining Bruiser Wolf are keeping the legacy of Detroit alive, well, and damn sure kicking. Within the D's underground, while a few names such as Marv Won, Fatt Father, Finale, Journalist 103, Boog Brown, and Denmark Vessey all have garnered respect and much earned props over the years, one name tends to pop quite often among the most talented and unique, and that's Quelle Chris. Known for his somewhat eccentric, yet intriguing and notable, penmanship and delivery, Chris is an emcee that is left of center with his approach to hip-hop and how he sees the world in which he lives. He's also the hubby of (seemingly) legendary retired emcee, Jean Grae, and one can only imagine the bars in that union. You can best believe Chris will give you gems and bars to rewind and decipher and is anything but a trendy emcee. His discography contains some quite excellent releases that deserve to be among the D's most proud releases, whether in the subterrain or in the mainstream. We're going to take a look at this discography and attempt to bring more people to appreciate the talent that is Quelle Chris. Let's begin!
11. 2Dirt4TV (EP)
Production: Dibia$e
Guests: Crown Nation
We start with the debut project from Quelle Chris, 2Dirt4TV. This six song EP was primarily produced by Dibia$e, and was filled with neck-thumping boom-bap that had Quelle flowing nicely, but wasn't as abstract as most of his following efforts. The promise with cuts such as "Live Alone, Die Alone", the title track, and "MFK" are pretty enjoyable tracks that easily highlight Quelle's skills and lets everyone know he was on the come-up. Nothing much else to state except we hear the birth of someone with a lot of potential, and 2Dirt4TV was a pleasant introduction.
10. Shotgun & Sleek Rifle
Production: artist, Roc Marciano, House Shoes
Guests: Denmark Vessey, Roc Marciano, Danny Brown, others
Quelle followed the aforementioned, 2Dirt4TV, with his official debut effort, Shotgun & Sleek Rifle. Easily as raw-sounding as 2Dirt4TV, if not more, this production is very nineties-sounding in terms boom-bap drums with mostly jazz-esque soundscapes. Not quite the eclectic and layered production we would hear in the next several offerings, but this marked a crucial point in how we would be hearing Quelle going forward. With underground heavy hitters such as Roc Marciano and Danny Brown contributing to this album in the form of the very dope cut, "Shotgun" (which features fellow Detroit native, Danny Brown, and Roc Marci), as well as other thumpers such as "The Crook" and the Denmark Vessey-assisted "Mo Money, Less Problems" to help further exemplify how enjoyable this album is. While there are other cuts such as the stoner anthem, "Another Blunt" and "By The Duffles", and "Still Wasted" that throw the momentum off some, Shotgun & Slick Rifle is an overall very good first full-length effort by Quelle and showed his progression, even if by a little, from his prior effort. No real conceptual themes or ideas here, just rhyming. Sometimes, less is more.
9. Ghost At the Finish Line
Production: artist, Chris Keyz, Knxwledge, Oh No, Denmark Vessey
Guests: Guilty Simpson, The Alchemist, Denmark Vessey, Black Milk, Marv Won, others
After signing with underground favorite label, Mello Music Group, he released his MMG debut, Ghost At The Finish Line in 2013. This album came just after releasing his impressive mixtape, 2Dirt4TV2: Niggas Is Men, just seven months before. This also makes his first very cohesive album up to this point as well. With Quelle picturing himself as someone who wants to live life on his own terms and prove he can overcome anything, he spouts this rhetoric in his own unique way on cuts such as the incredible-sounding, "Loop Dreams", which shows himself as someone that's hungry enough to make it in this rap game in spite of the odds against him, even if he's own worst enemy at times. The majority of this album is quirky and oddball-ish, such is Quelle himself, thus making cuts like "Super Fuck", "PRX II" (featuring fellow Detroit native, Guilty Simpson, and even a verse from Uncle Al, himself, The Alchemist), and the Busta Rhymes-sprinkled "Look At Shorty" charming, humorous, and clever. Very aware of his prowess within underground hip-hop, he's not afraid to occasionally throw daggers at himself as a means of self-depreciating humor on cuts like the brooding sounds of "King Is Dead", the murky melodies of "Wait A Minute", and the Oh No-produced, "What Up", in which we hear some aggressive delivery from him that isn't replicated too often throughout this album. Other cuts like the Black Milk/Denmark Vessey-assisted "Coke Rap Drug Game", the Marv Won/Fuzz Scoota/House Shoes-assisted, "With Open Arms", and the title track are enjoyable, rotation-worthy cuts that help make Ghost at The Finish Line a great album for Quelle Chris and brought him more of a following than before.
8. 2Dirt4TV2: Niggas Is Men
Production: artist, Messiah Muzik, others
Guests: Denmark Vessey, Cavalier, Tanya Morgan, others
The first of his 2013 projects was the sequel to his 2Dirt4TV mixtape, 2Dirt4TV: Niggas Is Men (of course the second was the aforementioned Ghost at The Finish Line). The majority of the production here was provided by frequent Backwoodz Studios' beatsmith, Messiah Muzik (who's been known for working with the likes of Armand Hammer, Mach-Hommy, Your Old Droog, DefCee, Cavalier, and Rome Streetz since). Messiah's left-of-center production has some very shining moments on this album. On the other hand, so does Quelle's, as his production abilities start to show themselves on this release, as is evidenced on cuts like "Good Days" and "We Eat It". However, the award must go to Messiah here, as cuts like the introspective cuts of "Old Friend", the drum-less vocal soul samplings of "Retrograde", and "Addiction Cycles". His laid-back, nasal delivery also somehow seems to do fine with this production, plus his wit and occasional humorous bars help this mixtape right along each song. Perhaps the only drawback to this release is that "Retrograde" is the only cut we get from him solo, as frequent collaborators Cavalier, Denmark Vessey, and Fresh Daily are on every track of this album in some sort of fashion. Whatever the case, 2Dirt4TV2: Niggas Is Men is a more tightly packed, better flowing release than prior efforts were, and this helps make this effort a very good one.
7. Death Tape 1: Black Cottonwood (EP) w/ Cavalier
Production: artist
Guests: Denmark Vessey, others
It was only a matter of time before we saw very frequent collaborators, Qulle Chris and Cavalier, deliver a project together, and they definitely delivered the type of project one would expect. The project is in the form of their EP, Death Tape 1: Black Cottonwood. The project is deliberately sequenced in unorthodox order, with an interlude being the first track and the "Intro" being the third track and the "Outro" being the fifth track. Plus, the "Intro" sounds like a complete interlude, as does the "Outro", but the rest of the project is quite the impressive one. With Quelle at the boards, this project is filled jazzy landscapes mixed with occasional avant-garde and psychedelic undertones, much like the majority of his projects. Minimalist drum patterns are also the rule hear, but their chemistry is as strong as ever on cuts like "Broad Daylight", the old seventies rock-sampled "Purple Robes", and the closer, "Tears as Modern Art". If there was any complaint here, it would be the numerous interludes that go along with the "Intro" and "Outro", thus only bringing forth five tracks. Be that as it may, Death Tape 1: Black Cottonwood is an abstract menace that shows the dexterous nature of Cav and quelle. With reports of a Death Tape 2 on the horizon, let's hope this will be a whole album of their undeniable chemistry and left-field talents.
6.2Dirt4TV3: Innocent Country
Production: artist, Chris Keyz
Guests: Denmark Vessey, Cavalier, others
Following up his very enjoyable, Ghost at The Finish Line, Quelle Chris collaborated with right-hand producer, Chris Keyz, to deliver the third part of the 2Dirt4TV series, Innocent Country. Keyz being the primary producer of this project, and he handles the production here excellently. More introspective than his past projects, Quelle is starting to navigate himself throughout his train of thought within this album. Starting the album off is a beautiful piano solo by Keyz called "Freedom & Fear" that is as serene of an instrumental as you'll find as an intro for any rap album to this day. From there, we go into one of his singles, "Where the Wild Things Roam", in which we hear Quelle deliver his signature nasal delivery and humorous bars over a mundane beat. On other cuts like "Well Running Deep", Quelle gets a little confessional where he exhibits bits of regrets from mistakes he's made along the way. Most times, you can't fully understand where he's trying to go with his thoughts, as most don't make a ton of sense. Every now and then, you'll catch what he's saying, and they can hit as being relatable, whether in humor or vulnerable. He gets back with his smoked-out lyricism and delivery on cuts like "Nothing Move", the Madlib-sounding "The Plan", and especially the pro-drugs cut "DrugFest Too Thousand Too", which could easily be a stoner's anthem for 4/20. The album's climax actually arrives at the end, with the heavy closer, "I Asked God", in which he expresses frustrations within his life and examines the complexities of his thoughts. With Innocent Country, Quelle Chris comes off more as a stoned weed head with moments of clarity and discombobulated thoughts, that although they come off occasionally perplexing, every now and then, you feel him. This, along with Keyz' sharp and fitting production, makes this album a good step towards better outputs from him.
5. Being You Is Great; I Wish I Could Be You More Often
Production: artist, Chris Keyz, The Alchemist, Mndsgn, others
Guests: Denmark Vessey, Cavalier, Roc Marciano, Jean Grae, House Shoes, Homeboy Sandman, Elzhi, others
One of the most iconic songs in the peak of the Motown era was Smokey Robinson & The Miracles' "Tears of A Clown", in which Smokey depicted the sadness of an otherwise happy and jovial man on the outside. Here, in the world of Quelle Chris, he has a tendency to be the same way on Being You Is Great, I Wish I Could Be You More Often. This follow-up to the aforementioned Innocent Country is more of a sobering self-look at his struggles with confidence, self-assurance, and the inconsistent nature of his duality complex of these topics. He starts the album after the intro with the cut "Buddies", which has him refreshingly giving himself essential affirmations that in many ways don't sound forced. but in fact, sound like it took him a while to get to this point. On the bananas "Popeye", Quelle is rhyming over a CRAZY vocal harmonic sample over a slick, yet effective, drum kick that has him in conflict with sustaining these aforementioned affirmations by examining his own failures, while on "In Case I Lose Myself In The Crowd", he, along with Cavalier, Goose, Iman Omari, and Denmark Vessey, place value on always being yourself and never getting caught up with anyone else's identity. He continues this need for self-value on the dumb dope "BS Vibes", where he stresses the need to be your authentic self in hip-hop and not get swayed by how anyone else feels you should be for your own craft. One of the more intriguing cuts is the Cavalier-assisted, "Calm Before", which has both emcees in senses of duality. Clearly in a battle with maintaining what peace he does have while in search of more joy, their outlook of a "glass half full/half empty" approach is pretty endearing over a lo-fi shoulder bouncer. Other standouts include the Alchemist-crafted "Pendulum Swing", "Birthdaze", "It's Great to Be", and "Learn To love Hate" (this may or may not have an assist from Madlib's stoned alter ego, Quasimoto), which all show more complexity into Quelle's mind state and his constantly changing self-awareness. Clearly, Being You Is Great, I Wish I Could You More Often is an album with a lot of unpacking, but once you get through some of his intricate lyrics and thought process, you'll realize this is a regular guy with the same insecurities as anyone that does his best to persevere and maintain, thus realizing he's both his biggest fan, and his worst enemy.
4. Everything's Fine w/ Jean Grae
Production: artist
Guests: Denmark Vessey, Your Old Droog, Anna Wise, Hannibal Burress, others
One of the most surprising unions in hip-hop occurred when Quelle married legendary rhyme animal, Jean Grae, in 2018. Jean had collabed with him on Being You Is Great..., and since then, she's been on nearly every Quelle project. In the year they formally sealed their union, they released their debut collaborative effort, Everything's Fine. Filled with satire, sarcasm, witty humor, and stereotypical imagery, these two got the assignment and got it down packed. In an era, at the time, of a narcissistic and egomaniacal president, racial tension at times never seen in generations, sexuality issues at an all-time high, and other societal issues, they made excellent music addressing these and other m matters in such comical, yet dark, ways. Highlights such as the deliberate ode to bandwagoners and those that can't think for themselves, "My Contributions to This Scam", "Peacock", and the Droog-assisted, "Scoop of Dirt" exemplify such means of how they're using real-life sadness and converting it into comical, satirical imagery, with dope and complex production by Quelle. Their deliberate approach to throwing middle fingers up to the world, culture, society, and industry they're in is a big part of what makes this album a special project. They could give a damn less what you or anyone else thinks of them, and the defiance disguised as dark humor is strangely refreshing. They keep the need to expose the stupidity of those that are more concerned with "go along to get along" more than shaking the table on cuts like "Breakfast Of Champions" and the defiant "Zero", but the more calm moments appear at the end with the cuts "River" and "Waiting For The Moon", in which they are each other's muse for all the things that would run any normal couple rampant, they absorb and challenge. Grae's verbal swordsmanship compliments Quelle's stoner, yet insightful, delivery and Everything's Fine is an excellent example of an "us against the world" mind state while telling the societal norms to go straight to hell. No, everything isn't fine, but these two emcees use it as an opportunity to deal with the chaos in their own comedic and unorthodox way.
3. Innocent Country 2
Production: artist, Chris Keyz
Guests: Earl Sweatshirt, Denmark Vessey, Cavalier, Pink Siifu, billy woods, Homeboy Sandman, others
The more we hear from Quelle, the more we continue to hear an evolving emcee that's not afraid to push creative envelopes through his complicated lyricism, yet relatable themes. We hear that especially with Innocent Country 2, the sequel to the aforementioned 2Dirt4TV3: Innocent Country. This project has him back with Chris Keyz at the production helm, and Keyz returns with his brand of jazzy sounds that are filled with essential melodies and engaging, yet easy sounding, percussion that isn't necessarily neck-snapping, but very effective to the listener. Easily a refreshing change from the unorthodox nature of some his previous works and not as heavy as the likes of Being You Is Great... or Guns, Innocent Country 2 has Quelle just trying to maintain good vibes and relaxing themes. Cuts like "Horizon", "Grease from the Elbows" with the ever-eclectic Pink Siifu, and "Mirage" are so blissfully crafted and written with such relaxation and nothing overly heady that it makes the listener vibe with him instantaneously. The ironic nature and humorous tones of "Black Twitter" has him giving a shout to the subgenre of the app formerly known as Twitter (sure we know it's X, but who REALLY calls it X?) that engages Blacks' viewpoints of the world, current events, and cultural critiques and praises. However, it's the cut "Graphic Bleed Outs" that has the weightiest subject matter, that has a betrayed lover feeling the severity of the loss, but seeking the peace of the moment at the same time over a flute sample that just wonderfully fits. If Innocent Country 2 had a flaw in the system, it's that Quelle sometimes appears TOO laid-back and is oblivious to his real emotions in certain cuts, however, this album is essentially an album that's made for those Sunday drives that are filled with no drama and attempts at obtaining tranquility.
2. Guns
Production: artist, Chris Keyz
Guests: Mach-Hommy, Denmark Vessey, Cavalier, Jean Grae, Bilal Salaam, others
Unlike the previous album mentioned, this is an image-heavy album. Quelle Chris decided to dig into some darker terrain with his 2019 offering, the simply titled, Guns. Clearly written and delivered at a time where gun violence was at an all-time high, this album examined the underbelly of the country and society at that time and, because he is who he is, he tends to go left of center throughout the album. While the charming Jean Grae duet, "You, Me, and Nobody Else" is worth the rotation and serves as a wholesome moment on the album, moments like these aren't everywhere. On "It's The Law", Quelle examines racism in society and especially within our legal system. It's blunt, unsettling, and delivered in a way only Quelle can present it. You definitely get his meaning. The somewhat deranged "Obamacare" has him playing the role of a drugged-up sociopath that is lawless in his outlook, while on the excellent Chris Keyz-produced title track, Quelle conjures up Nas' amazing, "I Gave You Power", in which he plays the first-person role of a gun and how much destruction he can cause in cities and communities. Perhaps no cut exemplifies the urgency of the album and its theme than the short cut, "Spray & Pray", in which we have Quelle plays the role of a shooter and how he was birthed into the game of being a shooter. Quelle Chris presented a vivid, occasionally disturbing, but certainly an alarming piece of work with Guns, in which Quelle delivered arguably the heaviest album within his discography, but one that was as needed as Being You Is Great..., only with more of a bleak undertone and alarming PSA.
1. DEATHFAME
Production: artist, Chris Keyz, Knxwledge
Guests: Pink Siifu, Navy Blue, Denmark Vessey, Cavalier, others
If there's one thing Quelle can be known for and that's his fearless approach of allowing you into his headspace and giving you the allowance of seeing his insecurities and vulnerabilities in all of his laid-back, stoned, and unconventional spoken-rhymes style. With DEATHFAME, Quelle expresses his appreciation of who he is and his career without having to sacrifice himself for the chance of fame and notoriety. Throughout the album, you hear introspection from him in unconventional and unorthodox ways, but you leave still knowing it's what Quelle Chris does and does damn well. A darker musical tome than the past Quelle Chris/Chris Keyz collaborative efforts, this album hits in sections of the brooding, lo-fi stripped back production more times than not, and this was likely done on purpose. Take for instance, "Feed The Heads" and "King Is Black", which are murky and minimalist in nature, but presents Quelle's messages more distinctly. We hear bits of their unique musical chemistry we're more used to with cuts like the Navy Blue-assisted, "So Tired You Can't Stop Dreaming", in which the piano-laced, yet slightly psychedelic, vibe to it is essential Quelle. The title track is a lullaby-sounding cut that has him indicting record companies' exploitations and how they clearly demonstrate rule 4,080, while the jazz lounge piano keys of the anti-fame ode, "How Could They Love Somebody Like Me" is a brilliant, avant-garde track in its approach with quelle taking us on an echo-heavy ride that is as left-brained as one could imagine from Quelle. The album hits its peak with the simply INCREDIBLE collab with Pink Siifu and MoRuf, "The Sky Is Blue Because the Sunset Is Red", as Quelle examines the pain of a breakup yet the perseverance of maintaining and going forward. With impressive verses from the aforementioned (Pink Siifu just BELONGS on this cut) over the best production on the album that belongs to past collaborator, Knxwledge, with a piano sample with an ethereal, yet haunting, harmonic sample underneath. Quelle Chris delivered a career high with DEATHFAME, in which we hear a usually humous, witty, and insightful Chris get replaced with a more serious, introspective, and artistic emcee that's secure with not getting caught up in what we consider fame, and staying true to his craft and art. This is definitely an album that is to be cherished for not just his structure, but his principle.
Quelle Chris is a gift within the underground sector of not just Detroit hip-hop, but as a whole within hip-hop as well. The Grammy nominated-emcee/producer (his work with Lizzo is what got him nominated BTW) is as unique as he is talented. His brand of stoner, laid-back, and blunt (no pun intended) truth has become loved and greatly respected over the years, and he has quite the discography to show for it. This year, he assisted with Cavalier's exceptional, Different Type Time, and is finishing up the Death Tape 2 project with Cavalier, as well as a rumored collaboration with Uncle Al as well. Needless to say, Quelle is still a quality emcee, producer, and overall artists. The D got a good one here with Quelle.
Some standout tracks from his discography:
The Sky Is Blue Because The Sunset Is Red feat. MoRes and Pink Siifu (production: Chris Keyz & Knxwledge)
I Asked God (production: Chris Keyz)
Old Friend feat. Cavalier (production: Messiah Muzik)
In Retrograde (production: Messiah Muzik)
Loop Dreams (production: Chris Keyz)
Wait A Minute (production: artist)
Nothing Moves (production: Chris Keyz)
Look At Shorty (production: Knxwledge)
Black Twitter feat. MosEL and Nelson Bandela (production: Chris Keyz)
Pendulum Swing feat. Homeboy Sandman (production: The Alchemist)
BS Vibes feat. House Shoes (production: Chris Keyz)
My Contribution To This Scam feat. Jean Grae (production: artist)
Gold, Purple, Orange feat. Jean Grae (production: artist)
River feat. Jean Grae and Anna Wise (production: artist)
Guns (production: Chris Keys)
Calm Before feat Cavalier (production: Chris Keyz)
Wild Minks feat. Mach-Hommy (production: artist)
Grease From The Elbows feat. Pink Siifu and billy woods (production: Chris Keyz)
So Tired You Can't Stop Dreaming feat. Navy Blue (production: artist)
Birthdaze (production: Swarvy)
Live Alone, Die Alone (production: Dibia$e)
Shotgun feat. Danny Brown and Roc Marciano (production: artist)
By The Duffles (production: artist)
Popeye (production: artist)
Tears As Modern Art feat. Cavalier (production: artist)
Box Of Wheaties feat. Denmark Vessy, Maurese, and Ronnie "Hands" Palmolive (production: artist)
Symbolic (production: artist)
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