FINLESS BROWN are an eclectic set of musicians from Japan and Ohio, settling into San Francisco with an obviously different approach to their Rap manifesto. The CD is coolly subdued stuff, with a minor key feel and some artful melodies offsetting serious-minded staccato vocals and busy lo-fi scratching.
Shared vocals between Paulie Rhyme and Moto (husband and wife) must have a lot to do with the leftfieldness. "Rap Politics" is more Kanye West than 50 cent – offering plenty of verbal gymnastics among the rippling bass lines.
The full line up is Akwaman, drums; Moto vocals; Paulie Rhyme Vocals; Huge, Bass; Paco, Guitar and Keys; DJ Tron; Turntables. It’s a tightly organised with a confident voice that might get louder, but could hardly get more unified. There's nothing flashy, but there's lots of hooks and inventions and every track stands up as a separate tune in its own right. A couple of listens through and you won’t be mistaking Finless Brown for any other rap artist. That has got to be a big plus in a world of standardised product.
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Take "Number Two" as an example. There's something I like about a US artist prepared to even think about that number … but this has a twist of doo wap in the backing track and a bass that sticks like a harpoon to reel you right in.
Moto's lines in "Lies" could be in Japanese. Paulie's angry politics are distinctly not, but the contrast is an attention grabber. Paco's guitar is a nice touch wherever it shows up on the album, a Latin flavour in the mix.
www.browntownwreckords.com
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