Atmosphere’s fans may be easily slotted into two categories: the first group (made up of “purists,” “old-schoolers,” and “chill heads”) was disappointed with the direction the group took with the album Seven’s Travels and flabbergasted with the follow-up You Can’t Imagine How Much Fun We’re Having, while the second faction (“progressives,” “late-comers,” “banger lovers,” and “emo-hip hop heads”) acclaimed Seven’s Travels, many believing the last album was Atmosphere’s best. Personally, I enjoy each of the albums and I have appreciated the growth and mature experimentation of both Slug and Ant. My favorite songs span the entire catalogue, from “God Loves Ugly” (from the album of the same name) to “Pour Me Another” (from You Can’t Imagine…).

After hearing Strictly Leakage, a thoroughly tight album that Atmosphere offered para gratis online, it seemed clear that they were maintaining the direction of You Can’t Imagine…. The album is chock full of party jams, laced with diverse samples—including horns, keys and all types of percussion, upbeat production by Ant and bouncy rhymes by Slug, who continued with his introspective, yet often mockingly sarcastic, lyrics. I assume that I was not the only one surprised the first time I placed When Life Gives You Lemons, You Paint That S**t Gold into my CD player. After Strictly Leakage, I was expecting more of an escapist-type album, but this new one encourages you to think.

In one sense, Atmosphere’s sixth full-length album is a great departure from the course the group was heading. However, it’s really only a divergence if you view their work as a line graph, measuring the overall tempo of each album. It is true you would find the new album throws the graph out of whack. When Life Gives You Lemons… (subsequently referred to simply as Lemons), in a sense, is a reversion to Atmosphere’s style of yesteryear. The songs are chill and laid-back, rather than the hard-hitting bangers that you might expect if you have been following their progression.

On the other hand, dig a little deeper and it is evident that Lemons is a smooth transition for Slug and Ant. From early on, whether it was musically, lyrically or even in regards to the business end, they have experimented with aspects of their careers, establishing themselves as true innovators in the underground hip hop scene. For instance, check out the Rhymesayers website for some of the strategies Atmosphere used to promote the release of Lemons.

One of the hallmarks of an Atmosphere album is the intense, descriptive lyrics. Listening to an entire record will make you feel as if you know Slug. He is a remarkably proficient storyteller and opens himself up to the audience in a way that very few artists feel capable. Lemons may be the best piece of evidence for this forté. While people are used to Slug’s reflective, introspective tales, on this album he opted to concentrate on major themes, using third-person narratives as his canvas to express himself. At first, I found his choice of subject matter a bit surprising, but as the album progressed, thematic patterns emerged. Slug did write in the first-person for some of the songs, but I believe the other stories reveal as much about the MC. It was not long before I was more impressed with these songs, consisting of Slug’s metaphors, allegories and fables. For example, the song “The Skinny” takes Slug’s use of metaphors to a whole new level, as he uses a story of a prostitute and her pimp to detail the difficulties of cigarette addiction. Clearly, it is possible to be introspective, while writing songs about other people in a storytelling format. Interestingly, track one is titled “Like the Rest of Us,” six is “You,” and 11 is “Me.”

Overall, Slug seems less pissed off and angry on this release; instead, possibly sad, possibly relieved. Without a doubt, there is a sense of optimism and hope throughout Lemons and even a sense of resolution. I read an interview a few months ago about how Slug recently cleaned up his drinking habit, which had become quite a problem. I imagine this helps explain the sense of resolution that is subtly spread throughout the tracks. Among the personal topics, Slug penned songs dealing with themes of addiction, maturity, and parenthood. It is easy to find the same topics in the stories from others’ point of view as well.

Musically, Lemons is a dichotomy for what is to be anticipated. Over the past couple of years, Atmosphere has developed quite an impressive live show, first bringing on a full band for a limited number of songs. Soon the band was on stage for more of the show. Thus, it is not shocking to hear pianos and guitars on the new tracks. Ant’s synthesizer-based production remains strong and Lemons is easily their most musical album to date. This is the first album that Ant did not use samples (except for some of the drums), opting for full instrumental compositions on all tracks, leading to swirling arrangements with cleaner, simpler beats and some nice breaks. I particularly like how on “Painting,” with a bass leading the way, you can feel the lapsteel’s notes bend around Slug’s rhymes. The variety of styles on Lemons is substantial, rocking from the simple, minimalist pieces (Slug rhymes and sings along the silky riffs of a guitar on “Guarantees”) to complex, layered songs (he spits over the backing of a piano, guitar, bass, flute, percussion and a beatboxing Tom Waits on “the Waitress”.)

Go ahead and read that again. I’ll wait here.

You really don’t believe me? I don’t blame you. Seriously though, check out track 14 if you want to hear Mr. Waits bust out his best Rahzel impression. There are other guests as well, including TV on the Radio’s Tunde Adebimpe holding down backup vocals and the “delaymodeler pedal thing” (or so the liner notes say) on “Your Glasshouse.”

Be forewarned, if you like the new Kanye album due to its listenability or you like to pick up a hip hop album once in a while, simply to throw in your car stereo and nod your head as you drive, this might not be the album for you. Do not get me wrong, you may love it anyway, but it will certainly be for other reasons, as you are not going to get a commercial rap album with Lemons. If you consider yourself more of a casual hip hop fan, you might want to pick up You Can’t Imagine… or download the free Strictly Leakage here as an alternative before checking out Lemons.

If you want to know what each individual track sounds like, you are going to have to pick up the album. However, Atmosphere and Rhymesayers have generously “leaked” the first single “Shoulda Known” and you can download that from here. Compared to some of the earlier tracks on Lemons, this seems more similar to the Slug and Ant of old. Electronic beats and fuzzy basslines combine for a nice, deep funk. While musically it is in the bottom half of the songs on the album, the lyrics are tight: “I’ve got a restraining order against Satan’s daughter and I keep it at the bottom of this Jameson and water.”

You’ll also find a couple of my personal favorites from the album streaming below. I hope that you will also enjoy “You” and “Wild Wild Horses” as much as I do. “You” features playfully soulful hooks that sound like if it was a sample, it might be the lovechild of a poppier selection out of the Roots and Gnarls Barkley catalogue. The upbeat funk beats and bouncy lyrics work well and I dig the straightforward bass lines rocking to the beat. “Wild Wild Horses” has a ‘70s mystical vibe until horns (a trumpet) enter over the buzzing bass. The extremely catchy hook overlays the horns. I actually picture two to three guys standing next to each other, tooting them in a row. This song features another detailed story that challenges Slick Rick.

I hope I didn’t just commit a sin…

If that’s not enough of a sample for you, here is what I think of the first couple of tracks:

Right from the start, with the opening song, “Like the Rest of Us,” it is quite apparent that this is a departure from Atmosphere’s previous efforts. With flavors of a lullaby, the album kicks off slow. Extremely slow, in fact, for a hip hop album. Nursery music chimes queue the listener to perk up and pay attention, before jazzy piano chords jump off the track. Slug’s words blend in smoothly. His voice falls back in a murmur, the words whispered effortlessly out of the back of his throat. This is a particularly interesting song to start the album with, as it is a very different sound than one would expect from both Slug and Ant. Like many songs on this album, the poetic storylines may be interpreted differently, but I believe no matter how you take it, Slug is expressing thoughts of improving oneself

The soulful piano chords and clapping of “Puppets” is quite a contrast from the previous track, but the listener should sense that the music is building. Early on in the track, Slug starts to give a taste of what is to come.

I know a guy with a rock star life, but he still don’t fly so he’s mad at the sky. He sits me down. He kicks some wisdom. He’s been around, I give him a listen. Seems like he’s got a lot of complaints about how nowadays things ain’t the same.

The story is intricate and interesting, but the lines that jump out for me are when he spits, “Don’t ever do a dance with the devil now. That smile is a sign that you’re sellin’ out. Judgement, gossip, ethics – let’s just exploit all this excess.”

Believe he would have more credibility if he wasn’t just another drunk pill junky. It’s obvious to me that he’s still hungry for the superstars a little bad lucky. Go ahead and get mad at god, point your fingers at your dad and at santa claus. Listen all of y’all it’s a sabotage. Wouldn’t look so bad with the bandage off.

That “Sabotage” reference is a nod to the Beasties. Just after the hook, the drums kick in, the song picks up, and it becomes difficult to keep your body from reacting (whether it’s your head, foot or whatever). The song builds to a climactic ending, as Channy Casselle’s harmonizing backing vocals emphasize the gospel aspects of the song. This is the second song in a row with some references to drug addiction, but the themes are very different here. I believe the lyrics deal with having a fear of success and blaming problems on everyone but yourself.

Sound: A-
Lyrics: A
Production: A-
Vocals: A-
Overall: A-

Packaging/Liner Notes: A+

[Order via Fifth Element]

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