‘Look at this asshole with his fucking T-shirt. Who does he think he is, James Dean?’ — Cadence Weapon suffers for fashion
DETAILS
Rollie Pemberton’s liner notes for his latest album, Afterparty Babies, contain no lyrics, no essays, no Dylan-esque epic poetry. Just some cool motion photography and small-print thank yous inconspicuously placed on the last page. After all the requisites, one line strikes unexpectedly with its bareness: “Most of this album, like most of 2006, is about Stephanie. Sorry about everything.”
“People have been asking me about her lately,” says Pemberton, better known as Cadence Weapon. “Stephanie is a very fascinating girl. She lives in Germany now. I did some press in Berlin and we hung out — it was my birthday. It was good to see her. She’s kind of like a muse for me. Whenever I’m around her, I feel extremely inspired. I used to like her quite a bit, and it didn’t really follow through properly. I’ve written so many songs about her and I decided to put that one — track No. 9 — on the album, but I reference her probably three more times.”
With its sporadically harsh beats and unusual rhythms, Pemberton’s sincere approach to music-making draws many comparisons to the English “grime” sound. Just as Dizzee Rascal isn’t afraid to rap with an accent about cultural esoterica, Pemberton embraces his roots, folding the inspirations of the people and places around him into the boom-boom-thump-ticka-boom of a thousand speakers exploding in a Timbaland-esque cacophony.
“It’s about the approach that I have,” he says. “It's just trying to be really honest. Just cut loose of all the bullshit. It’s the real deal. No more pageantry, no more character, it’s Rollie. That’s my approach to it.”
While Pemberton’s debut LP, Breaking Kayfabe, reflected this ethos in its hectic, experimental sound, Afterparty Babies sees the creative approach evolve into something more cohesive. Older and more experienced, Pemberton’s new confidence manifests as boldness throughout the album, each track distinct in content but related in bombast. Despite this, the album has been receiving lower — though not inconsiderable — scores from some reviewers. Notably, the influential Pitchfork Media, Pemberton’s former employer, scored the album a full point lower (seven out of 10) than Breaking Kayfabe.
“I didn't realize how much power they had [while working there] until I started getting e-mails from labels that were like ‘review this record,’ or getting responses that were like ‘you sunk this record,’” says Pemberton. “And I was like, really? I didn't take it that seriously. And now, I get a review that’s like seven, and some people won't even download my album. It's crazy.
“My favourite part about that review is when the guy says I contradict myself because I have a song where I’m talking about fashion, but I’m wearing clothes in the [CD] booklet,” he goes on. “So maybe I shouldn’t have worn any clothes. I had a striped shirt on — a T-shirt with a lightning bolt on it. That’s the rational choice for all people. I’m a real follower with my lightning-bolt shirt. It’s like, look at this asshole with his fucking T-shirt. Who does he think he is, James Dean?”
Though Pemberton is quick to criticize Pitchfork evangelism by music enthusiasts, he’s more critical of the intellectual monopoly the media group seems to hold over the industry. Once again, Pemberton’s integrity and humility informs his stance — not insignificant for someone who’s had such a large impact on the Canadian indie scene’s perception of hip hop.
“With the Internet, it's a lot easier to have your opinions given to you,” says Pemberton. “Rather than actively searching out music, rather than going out every Tuesday and checking out what the new records are, people are just checking out this bible and decide based on that. And I feel kind of bad having been a part of that.
“I’m not trying to be a hero or anything,” he says. “I listen to Timbaland — as much commercial rap as anybody else, really. I’m not a do-gooder. I guess I'm kind of a weird guy.”
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