Review: Mos Def, The Ecstatic

By Matthew Jussim

In late 2006, Brooklyn-born emcee Mos Def quietly released the album “True Magic,” which was an unimpressive and uninspired follow up to his 2004 success, “The New Danger.” Proving he still has what it takes, Def’s 2009 release “The Ecstatic” has recaptured his unique sound and the creative style that has made him a successful artist for over a decade.

On the album, Def spits clever narratives about most anything; growing up in Brooklyn, luxury hotels, even touching on President Obama. The album is politically charged, but Mos Def never tries to force his ideals on the listener. Throughout the tracks he paints a picture of the social and political landscape of America and lets his fans decide what to believe.

The album kicks off with “Supermagic,” a fast-drumming, socially conscious track. Def raps “You are living at time of extremism/A time of revolution/A time when there's got to be a change.” Although the lyrics are meaningful and pertinent, Def isn’t overly political on the track; he just touches on current issues, but doesn’t offer up many details on how to fix them.

The first single released, “Life In Marvelous Times,” is one of the best tracks on the album. The rapper contemplates the present state of racial and cultural affairs in America on top of a heavy hitting beat and vivid lyrics. The rapper has always had a skill for telling a story with his rhymes and on “Marvelous Times” he brings listeners back to his childhood in Brooklyn. “This is Bed Stuy 82'/9th floor, 3 tiny rooms one view/Buck-town, Roosevelt house/They green grass is green/Our green grass is brown.”

Def looks to the future on this album, but also keeps his past in mind. On “History,” he collaborates with former BlackStar partner and fellow Brooklyn emcee Talib Kweli. Both rhyme about the timing of their births, with Def rapping “I was born in a season where the world was quiet and cold.” Kweli’s verse on the track is one of the best he has written in years, channeling his previous efforts such as “Get By” and “Gun Music.” He name-drops President Ford and the storming of Saigon, bringing some cultural significance to the track.

Throughout the album, Def delves explores the post-9/11 fear-filled era of American life and society. The skit that opens “The Embassy” includes an airline captain describing with elaborate and vicious detail the guns pilots carry in the cockpit. His voice is distorted and a bit frightening but the skit does not simply add shock factor, but makes a point about safety and fear in America.

The track “Auditorium,” produced by DJ Madlib, has an infectious beat, littered with eerie sounds and a cameo by Slick Rick. The guest star’s appearance is intelligent and timely, with Rick imagining himself as a rapping soldier in Iraq.

The album has a solid list of tracks, but there are a few blemishes scattered throughout. “No Hay Nada Mas,” a track entirely in Spanish, feels a bit out of place. The beat for “Twilite Speedball” feels uninspired with its simple piano key strokes, but Def’s lyrics help make the track tolerable.

“The Ecstatic” is a welcome return for Def and is easily one of the MC’s best releases of his career. Along with Q-Tip’s “The Renaissance,” this album proves that socially conscious hip-hop is still relevant in 2009.