A BITTER Tomorrow

21 years ago, the Wu-Tang Clan has sent a loud reputation in the whole world. Meanwhile verhallendes echo comes back now - but in the meantime it has become definitively old. An insight that equally is not really new for critics such purists, because actually the once great and proud clan is no longer a long time as a collective so quite up to par. Even with "A Better Tomorrow", their first album together since 2007 "8 Diagrams", probably more fans are lost than gained added. The chapter "communities" should be permanently closed in the interest of all. Still "Wu-Tang" remains.

It is in principle always an event that the Clansmen have ever found in a further merger and RZA, GZA and Co. is to have at all in a Booth reason enough for at least a detailed preview. But seven years are not so little time now and so some people but sounds a little tamer than ever. In particular, the notice about Inspectah Deck, who knew otherwise always convince with razor-sharp delivery, but here on album length rather bored and equal in opener "Ruckus In B Minor" with "innovative" film and Seriennamendropping will intervene. Not a good start when one of the best and especially the most underrated MCs of his generation has to make do with it. And actually raps RZA? Even after repeated listening remain rather uninspired roared Hooks or quiet before him genuschelte "rape" stick in a negative way. All others are present with its distinctive organs, but in the overall picture you will not escape the impression that a certain age as restraint has taken hold, which is a direct hit at least in the case of GZA. And then there's "The Rebel m'apelle, capiche, comprende?"

Musically discloses a view of the booklet an active participation of Adrian Younge. The composer and producer who helped in the recent past, even Ghost Faces "Twelve Reasons to Die" with coherent live instrumentation on the jumps and may have been responsible also here, the case "8 Diagrams" chosen and side projects such as. "Chamber Music "intensive way to further underpin. But what in which a project works just fine, does not necessarily bear fruit elsewhere: The beats and arrangements have received a total of an even much stronger impact than live in the direct predecessor, but that simply was lost even more punch. As a counter-example can be called again the side projects "Chamber Music" and "Legendary Weapons", in which the Revelations have served a much tighter music backing which the lo-fi sound reminded wonderful bygone days. Even RZA's typical aesthetics of semi-finished, shaolin esque melody sounds snippets, but also can not have the same effect, too little gloomy and hard are the productions of most tracks, as the few exceptions still could tear what. He prefers to stay his film music-like direction faithful and tries rather be with "Necklace" at an extremely coherent and sound collage but bored with it considerably. At some moments thus seems "A Better Tomorrow" like a soundtrack without accompanying film. Other "highlights": "40th Street Black / We Will Fight" is the uptempo number the "Gravel Pit" on the album and both the hook and the completely unmotivated synths in "Hold The Heater" invite you to head scratching. Ever the Hooks: Even when "crushed egos" or "Never Let Go" they are either disfigured by RZA's roar or slanted song and not just bear witness of invested dedication to the project. And if you ever a new edition of "Son of a Preacher Man" used with "Preacher's Daughter" is sometimes undecided.

But it is by no means all S ****** what stinks. "Miracle" to show what lies dormant for a dramaturgical potential in almost cinematographic live instrumentation. A sugar-sweet duet as Hook opens on innocent gambling Piano the track and established an almost fairy-tale atmosphere. The harder then affects the sudden use of drums, accompanied by sinister seething strings, but alternating with the lonely sound of a sad flute and taken together unite the opposing forces of the song and its inevitable collision course consistent. About the different stanzas of time the Arrangement is increasingly transforming, is threatening and if at the end also keep sawed synths catchment and the hook is sung vigorously as distorted, then the climax is perfect. Great cinema (and characteristically produced by 4th Disciple, an eternal of RZA's proteges). And the title track is a soul-infected beauty. Here, where the production of optimism breaks new ground, also fits the relaxed presentation of all precisely.

The few positive outliers can not hide the fact that "A Better Tomorrow" represents a bitter disappointment. A Wu-Tang Clan album, in which the then dutifully built samples from kung fu movies are like grotesque foreign body is doomed to failure simply. No coherence and apparently also not in the mood, at least on plate under common name seems the "communities" to be dead. Still "Wu-Tang" remains. "Forever".