Album Review: ILLClinton- Illanta II

As I've mentioned before, I occasionally peruse the homepage of sites like Datpiff or Live Mixtapes to see what’s hot in the rap mixtape game, and also escape the horrible monotony of my workday, as well as the awful dad rock I've had to subject myself to lately when trying to find music to review for this site, as well as others.

It usually takes a little while to find something that I can really connect with when I do browse a site like Datpiff, and this is one of those occasions where you make a choice based on the cover art, or in some cases, the artist’s name. ILLClinton is definitely one of those occasions.

In the world of indie rock, a band name with a pun in it, or a play on words, is often cause for a huge eye roll—such is the case with Dale Earnhardt JR JR, or Dananananaykroyd. But for some reason, I can't get enough of jokes based on the names of Bill or Hillary Clinton—like Katie Got Bandz’s mixtape from last year—Drillary Clinton. That’s brilliant. I mean, I didn't listen to it or anything, but come on. You have to admit—it’s clever.

ILLClinton is also incredibly clever—both in name, as well as in lyrical content. A duo based out of Atlanta, their latest effort, Illanta II, is nothing short of refreshing and impressive. It combines a breathless delivery and flow with a wide variety of inventive, laid back beats.

Illanta II is the kind of record that moves incredibly quickly, but in listening, you should (hopefully) have no problem keeping up with it. It alternates between very modern and frenetic tracks, then switching gears to a more classic, old school sound. The best example of this tricky, well-executed juxtaposition is towards the end, with the in-song shift that occurs “Father Forgive Me/American Horror Story,” and then following that up with the “we’ve got something important to say” track “The People.”

It’s really tough to pin down what makes this a captivating listen. It may have a lot to do with the gusto of ILLClinton’s MC Brennan, who switches between an effortless sounding flow, and an incredibly feverish cadence. It may also have a lot to do with the production—not only alternating between a very modern and present sound, and a 90s “alternative” hip-hop vibe—it can be combined on the same track. The double shot of strong openers, “The Wait is Over, Thank Jehovah,” and “Northside Flow,” are outstanding examples of how contemporary beats with a nostalgic overall aesthetic can work, and work well.

Another strength on Illanta II is the brevity of each song. The longest clocks in at less than 5 minutes—the shortest, just under 2. It makes for a very quickly paced record that never wears out its welcome. It also is one of those rare cases where when it finishes, you're left wanting more.

In a landscape that is often dominated by flaccid, marquee name records, or so-so efforts, ILLClinton have made an incredibly smart album that demands your attention, and is possibly one of the first great hip-hop releases of 2014.

Illanta II is available now FOR FREE from Datpiff.