Tag Archives: shadows

#1179: Madvillain – Shadows of Tomorrow

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Almost slap-bang in the middle of Madvillainy, the certified classic alternative hip-hop album made by the legendary pairing of producer Madlib and rapper MF DOOM (RIP) comes ‘Shadows of Tomorrow’. I’m trying to think of how I felt about the track when I first heard the LP sometime during 2013… Nothing comes to mind. But I do remember playing it to a good mate of mine when I was visiting him in university the following year. One of those times where I was like, “Hey, have you heard of this album, Madvillainy? It’s sick, man.” Played it really loudly too. It probably sounded strange to the people he was sharing his accommodation with. But I think by that point I’d become friends with all of them at that point, so anything was fair game. Safe to say, it must have clicked with me somewhere along the way.

The track’s first half is rapped by Lord Quasimoto who, for those not in the know, is just Madlib but with his voice altered to a higher pitch. If you’re interested in what you hear, The Unseen would be a good place to start in order to obtain more knowledge on the Quasimoto character. For the second half, Madlib raps with his normal voice. And I want to say that this was the first track where he had ever done this. If not, someone correct me please. But I want to say I read that somewhere. Left me thinking maybe he should rap with his natural tone a lot more often, he’s got the voice to do it. But only he could find the records he does in order to make an instrumental like the one here. Sometimes you just have to stick to what you know you do best, I guess.

All in all, ‘Shadows of Tomorrow’ is a tribute to other legendary artist, composer and all-round cosmic man Sun Ra. In fact, the lyrics are one of Sun Ra’s poems entitled ‘The Shadow of Tomorrow’. So really, all of Madlib’s work on the track goes onto the instrumental, as he pretty much recites the poem word for word – maybe adding an additional word here and there. The ode to Sun Ra is further emphasised by the sampling of the man himself, with excerpts of his dialogue taken from the 1974 film, Space Is the Place, in which Sun Ra stars. The instrumental’s enough to put you in a trance. I think it’s the fact that the music stays in one chord, led by that droning note, which also gives it this mystic Eastern quality. And if you’re one who’s deep into philosophy and the workings of time, then I couldn’t think of a better song to listen that would get your brain working.

#756: Billy Talent – Living in the Shadows

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It never occurred to me how many songs from the first Billy Talent album begin with the letter ‘L’. It feels like I wrote the last one to do so only a few days ago. It’s been three weeks! There are only three songs on that record that begin with that letter, but that still makes up a quarter of the tracklist. This is the last one from those that I’ll cover. It’s ‘Living in the Shadows’, and it’s the second song on the album.

This track just carries on the anger and ferocity that is established on album opener ‘This Is How It Goes’ and threaded throughout the 41 minutes the album lasts for. There’s a theme of seeing through artifice and lies that also runs through the album – and a lot of the band’s discography, thinking about it – and it’s definitely the predominant subject in this song too. Ben Kowalewicz’s sings/screams about those who hop on trends and put on a front to try and look cool but are ultimately lying to themselves because it isn’t truly how they are. All of this is summed up in a chorus which blasts these people for trying to change other people when they don’t even know themselves and are ‘living in the shadows’.

I think this song’s just great. Everything about it is so furious. How Kowalewicz’s can switch from singing to screaming in a split-second during the choruses is beyond me. And the song’s ending where he repeats the chorus among the barrage of guitars, snare hits and cymbals makes it a classic to me. I see it like a sister song to ‘This Is How It Goes’; they’re both sort of similar musically and even use the stop-starting guitar break in their respective instrumental bridges. Both those tracks are just so negatively charged in their outlook of the world… but they both work as a great one-two punch to begin the album.