Us - The Truth

I am down for this cause. By far, one of the best albums of 2001. There's my vote, I'm sticking to it. I won't go further until I reveal that I am biased. I have been clamoring for any material from Us (I witnessed the cover art development of their last EP "If Not Us then Who?" but neglected to secure a copy, go figure…), I know both members of the band, and I am a sucker for free-flow. But this is not something that I am promoting as a charity, this is something that I am promoting as a vision, as an idea, as a reviving of music- that old time religion music that had energy, heart, and originality. The mooks have had their say: It is time to do something different than embrace the pain of the dysfunctional family, and I nominate this recording as the cornerstone for the movement. Us is a group originated from friendship in Charlotte, NC, and relocated and still maintained in Asheville, NC. They are fresh, they are original: The premise is rapped vocals over house beats, which isn't unique in itself, but Us are still green yet, and their zeal for music is enough to stop the toughest critic in his tracks. Us are earnest folk, and their music is pummeling and emotional, which is unusual in the current musical saccharine environment. Energy is one of the key elements in their newest effort, "The Truth." Opening with "Sacrifice", whose chorus is the challenging "Be willing to die for what you believe in…" and whose musical introduction is Clint Mansell with more testosterone, one is instantly preoccupied that this is rap without the shag-carpet bravado that has not been seen since the likes of Mos Def. There's anger, unity, and a murky, metallic tightrope vein pumping you through and into "UndercatS/Proven", whose production is meaty and lyrics equally hearty. This is music that sounds seamless, effortless, but is obviously that of perfectionists. Ending the first half of the disc, which is divided into "Dispatch One" and "Dispatch Two", is the insistently two-toned "Explosive Minds", peppered with whispers and delicate bass placement and superb flow where Cuthbertson urges himself and, more abstractly, the audience, to "take a claim to this throne/pharaohs of a sound of our own." It's heavy, but dynamic at the same time. Proving that "Explosive Minds" isn't the only piece that contains gorgeous breaks, we are brought into "Microphone Arm", whose chorus and driving rhythm rival Rage Against the Machine's most fist-pumping anthems and whose message is solely to win you over. The Middle Eastern infused, trance-like beginning of "The Process" explores not only what kind of creative method is practiced for Cuthbertson's lyrics, but also alludes to the true, core meaning of all music: To inform along with entertaining. Closer inspection reveals tribute to the bond between Gronquist and Cuthbertson, but it's more tender than that of the Ruff Ryders crew, and much more realistic. The final track, "Best Believe", is gnarly in music and boastful in lyric, but is still as strong and defiant as the rest of the album. So go, buy this album. It's got something for everyone, because it's not a handpicked, individual audience effort. Gronquist proves to be extraordinarily talented, Cuthbertson becomes an approximate Saul Williams: There are elements of everything from Dark Side of the Moon to Esthero, from Windowlicker to DMX. This album is nothing if not a settlement and unity for many tastes for music. The levels might be a little off, but you can adjust this- you cannot adjust the pure adrenaline of this music, you cannot adjust the contagious energy. This is an undeniable, forceful template of talent, and you're all the better with it in your custody. [www.musicuntouchable.com]