Ronan O'Brien“We wanna THANK the fans, this album is the GIVE BACK!” were the words Chuck D and Flavor Flav introduced this surprise album release. On their sixteenth studio album, the hip-hop legends deliver once more.
Know Your Enemy
Public Enemy are, to put it simply, old-school legends of hip-hop. For the past forty years, the duo of Chuck D and Flavor Flav found themselves at the beginning of a revolution. Known for their unapologetic pro-Black and political commentary in their music, Public Enemy were the voice of a generation of African Americans. Courtesy of their DJ collective, The Bomb Squad, their sound is sample-heavy and punchy. Chuck D’s hard rhythmic delivery with Flavor Flav’s often nonsensical and humorous style make them a generational talent.
The group found real success with their second album, It Takes A Nation Of Millions To Hold Us Back in 1988. Following this with their equally successful third, Fear Of A Black Planet, the group were firmly cemented in the hip-hop scene. This did not come without its flaws, Public Enemy were often criticised by the media and politicians for their angry and outspoken stance. However, Public Enemy were lauded as revolutionaries by many, due to this very same reason. Famously, they and other hip-hop artists were denied airtime at the 1989 Grammy Awards, causing Sinead O’Connor to perform with Public Enemy’s logo shaved into her head as an act of solidarity.
Later years saw little success that reached the height of their second and third album, but Public Enemy’s creativity never stopped. The group were one of the first to release an album on mp3 and spearheaded the creation of rap metal. The band are cited and recognised as an influence by many successful artists. This led to their introduction into the Rock & Roll Hall of Fame in 2013.
Black Sky Over The Projects
Dropped with no prior announcements, Public Enemy’s sixteenth album is a thank you. The gratitude is to their fans, who they express incredible appreciation for. This is reflected, as the release was initially solely available on Bandcamp, where fans could pay whatever they wanted for the first 72 hours. The release date coincided with their one-off show at London’s Royal Albert Hall, followed by a global tour.
Going into this album, I did not expect to like it, given that I wasn’t a huge fan of their music. But boy was I wrong. Classic hip-hop can often be hard for me to contextualise, as I have been spoiled with 21st century production. Laden with old-school drums, heavy samples and an interesting blend of genres in the instrumentals, Black Sky Over The Projects: Apartment 2025 blew me away. The raw delivery in Chuck D’s flows and the political messaging saturating the lyrical content made it an incredibly enjoyable listen.
Siick
The album opens with an eerie and foreboding sound, with many cut-up samples providing commentary. It reminds me a lot of MF Doom, and the recurring use of a single line, “We haven’t much time” adds to the trepidation. The drums kick in and they are old-school. The sound is punchy and the beat induces head bobbing. The melody is played by a single distorted guitar line, which gives the song a rock sound. In true Public Enemy fashion, Chuck D lays down some hard truths about modern society. Flavor Flav provides the rhymes and support with some great lines also.
The interlude is what really caught my attention though. As the song rises, the drums break out into a heavy metal beat, while Chuck D and Flavor Flav channel their inner Death Grips. The two are angry at the world, and they express it brilliantly through their music here. The political dysfunction and turbulent economy crises are referenced by Chuck D, who is locked in from the very start. The song is a hard-hitter, and it’s just the beginning. They remind the listener what they are in for, in case they forgot, with a valiant cry; “Public Enemy No. 1!”
What Eye Said
Continuing on the political stance, Chuck D navigates through several beat changes to speak his mind. The first beat is funky, the guitar is riffing with a fat drum beat. It’s smooth, but the lyrics are anything but. The flow is steady, but Chuck D challenges those who can’t write a rhyme the easy way. There is a political nod to the ongoing genocide in Gaza, “These microphones designed like war drones / Who drop bombs / On women, children, and moms” which showcases Chuck D at his very best.
The second beat change is funkier and faster, with the bass guitar and saxophone coming through stronger. Chuck D once again throws remarks about his adversaries in hip-hop, informing them “Chess ain’t checkers / I’m in a world you can only hope to get to”. The beat picks up before breaking into a number of changes. It’s not an easy listen to groove to, but somehow Chuck D stays steady throughout it all. He’s showing off in a way and he doesn’t care. “What I said” is the reiteration, and it feels like he’s putting the younger rappers in their place.
March Madness
Flavor Flav takes the reins for the majority of the closing track, and he’s got a good reason to. His flow swings in a near-awkward way, but he hits every beat to perfection. The beat is modern, but the duo’s style is old-school. Lyrically, the message is powerful. The song addresses gun control and school shootings in the USA. An ongoing problem, the inclusion of a real 9-1-1 call from a distressed teacher at the beginning reminds the listener of the macabre reality.
The real hard-hitting emotion comes from Chuck D’s verse, in which he expresses frustration with the lawmakers. The tone is one of disgust, at the government appealing to the NRA and how children should not have to attend school in fear. “Kids supposed to have fun, none of this run for cover for your life” is a line that points out the sad reality of modern America. In truly admirable fashion, Public Enemy donated all proceeds from the single to charities that aim to prevent gun violence. This comes as no surprise, as Public Enemy have always been advocates for peace.
Believe The Hype
As mentioned, I did not expect to like this album as much as I did. It doesn’t surprise me though, as classic hip-hop to modern beats is something I am a huge fan of. Modern classics like Nas’ King’s Disease and A Tribe Called Quest’s We got it from Here… Thank You 4 Your Service are both in my rotation. I’m glad to now add this album to that collection too.
