The debut full-length from Shane Reis

  Shine on, you crazy rapper
By SAM PFEIFLE  |  August 30, 2013

beat_reis_headshot_main

Documenting his interior monologue Shane Reis is part of a new hip hop trend.  

Maybe you heard about Martin Manley. A long-time Kansas City sportswriter, he made the extraordinary decision to plan his own suicide 14 months in advance, all the while documenting his life on a website that went live on the occasion of his death.

It’s interesting that he would at the same time wish to die and effectively live on forever in the annals of the Web, his every interest and familial detail articulated. He was at once documentarian and the guy who shuts off the lights at the end of the show.

There’s something similar going on in hip hop these days, as rappers increasingly create albums that document their interior monologue, hyper-personal introspections over R&B samples and bouncy snares. Further, there are often assurances that said rapper won’t forget his/her upbringing when the big-time hits, that the fire that forged the rapper in question is vital to the forward trajectory of the big hip-hop career and the music, itself.

In other words, you can’t know their music without knowing them.

Shane Reis goes so far as to ponder “what woulda happened if I had died this weekend” late in his debut full-length, The Reis & Shine, a 17-track collection of indie-pop contemporary rap, with familiar nods to the soul and funk traditions. On “If Tomorrow Never Comes,” Kristina Kentigian, quickly becoming a studio pro’s pro and piling up credits on local albums (the hip-hop equivalent to a horn section with Ryan Zoidis and Dave Noyes), croons behind the first couple verses, then knocks out a beautifully executed sung verse of her own.

Like Manley and his website, Reis declares his intentions bluntly, in a cadence like a more-deliberate Bread. “I got a lotta shit to say,” he informs us early on the title and opening track, keeping us up to speed on everything from his age (23) to his foibles: “Hear the people whispering, say I don’t belong.”

It’s not this reviewer’s place to psychoanalyze, but there’s certainly no shortage of fodder here for anyone who might like to take a swing. It’s like he’s lying on the couch laying himself bare.

Heck, in “Human Nature” we get the entire thought process behind whether he should be jealous of his significant other or not. Through one of the more progressive tracks, with back-step beats and an off-time piano cadence, he details the real reason why she decided to put her ring in her purse when out at the club: She didn’t want to lose it like he had done.

Maybe it will strike you as too intimate. Maybe you’ll relate.

The album as a whole is in some ways like De La Soul’s Plug 1 & Plug 2, which is more throwback-’90s, but similarly delivers a consistent style of hip hop with every track, rather than mixing ballads and bangers or changing up vocal deliveries for effect. You might not have all the songs committed to memory, but every track is very listenable.

Nor do the guest spots by talented MCs like Spose, Lady Essence, Jay Caron, and Syn the Shaman overpower their tracks. They mold their flows to Reis’s like a tasteful lead guitar solo.

1  |  2  |   next >
  Topics: CD Reviews , Shane Reis
| More


Most Popular
ARTICLES BY SAM PFEIFLE
Share this entry with Delicious
  •   SEVEN-MAN ARMY  |  July 24, 2014
    Lately, it’s been open season on “Wagon Wheel,” which has become the acoustic musician’s “Freebird,” one of the very few songs that people actually know well enough to find it funny to request.
  •   AMOS LIBBY'S FIVE WEEKS IN THE HEART OF THE CONFLICT  |  July 23, 2014
    "(Israeli) immigration asked me at the airport why I didn’t leave when I could have and I said it was because I felt safe. They told me I was nuts.”
  •   WHAT YOU SAY, RYAN?  |  July 16, 2014
    Ryan’s calling card is his sincerity. While the production and presentation are of a genre, you won’t find him talking about puffing the chron or dissing women or dropping a million f-bombs or using a bunch of contemporary rap jargon. He’s got a plan and he executes it, with more variety and modes of attack than he’s had on display to this point.
  •   BETTY CODY, 1921-2014  |  July 11, 2014
    The Maine music community lost a hidden giant last week with the death of Betty Cody, at 92.
  •   ADVENTURES IN LO-FI  |  July 11, 2014
    One obvious reason for heavy music is catharsis, a healthy release for all the built-up bullshit modern life entails. Like kickboxing class for suburban women, but with lots of black clothing and long hair.

 See all articles by: SAM PFEIFLE